Volume 69, No. 3 May/June 2023

Devoted to All Automatic Musical Instruments

Journal of the Musical Box Society International

Volume 69, No. 3 May/June 2023

5 PresidentÕs Message
7 EditorÕs Notes
8 Trustee Bio: Rich Poppe
9 Trustee Bio: Rick Swaney
40 Mid-Year TrusteesÕ
Meeting Minutes
50 In Memoriam

MBSI News

On the Cover
Don Taig (http://mechanicalmusic.net) was kind enough to share images of a Herophon and a Manopan, both produced by the Pietschmann firm of Berlin, Germany. Read Dr. Albert LštzÕs detailed history of the Pietschmann family and the history of the prolific music box-making company starting on Page 19.

Mechanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and musician all at the same time. Play an automatic musical instrument in a room full of people and all else will stop as the machine enraptures the audience with the sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.matically-played machine that produces melodic sound including discs and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instru.ments at once using vacuum and air pressure; player and reproducing pianos that use variable vacuum to strike piano wires; phonographs; and self-playing stringed, wind, and percussion instruments of any kind.
The Musical Box Society International, chartered by the New York State Board of Regents, is a nonprofit society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it now has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More information online at www.MBSI.org, or
Call: (417) 576-4280, or
Email: jbeeman.mbsi@att.net

By David Corkrum
MBSI President
Greetings everyone.
This is the time of year I look forward to receiving a registration packet for the next annual meeting. I cannot wait to see what is in store for the society and its members at the upcoming gathering. The Snowbelt Chapter has been working diligently on this yearÕs meeting and I can be sure you will not want to miss it. The Snowbelt Chapter has had some fantastic meetings in the past, including the Disney-like paddlewheel adventure down the Mississippi River in the middle of a horrendous thunderstorm. It certainly was an exciting time for those of us on board.
Our meeting in the San Francisco, CA, Bay Area was very successful in spite of a few minor problems with the hotel. There were also a few minor problems with the tours but most attendees generally accepted this and quickly moved on.
IÕve heard people make a few negative comments in the past about annual meetings because, in their opinion, Òthe location is too far away,Ó or Òwe donÕt like the program,Ó or ÒweÕve seen that before.Ó Everyone is entitled to their own opinions, but personally I have seen every past host committee working extremely hard and doing the best it can to offer stimulating, interesting and fun workshops, collections and activities. I am sure this yearÕs meeting will be equally as wonderful as in past years so donÕt miss out!
By now, our chapters should have provided the MBSI administrator with their chapter membership lists. It is important that the members of our chapters are also members of the national society. If there is a chapter member who is not a member of the national society, they will receive a letter from the administrator indicating the need to join. Your society leadership continues to search for creative ways to reach new enthusiasts, but it is the responsibility of each of us to do our part to increase membership.
Be sure to send in your registration for this upcoming annual meeting as soon as possible. I would also like to note that you should soon be receiving a request for a proxy vote. This type of membership voting was conducted for the first time last year and will be a common occur.rence each year. As I stated in my message last year, the Society is required to have 10 percent of the membership or at least 100 members, whichever is less, to vote at an annual meeting. Last year, I received 201 proxies which met the requirements. Thank you and I hope to see you in Minnesota.

Mechanical Music

44 Golden Gate
46 Southern California

MIDI
Matt Jaro details the process of adding a MIDI system to his Seeburg H and explains why you might want to consider a MIDI system too. Page 10

MECHANICAL MUSIC

Journal of the Musical Box Society International

Devoted to All Automatic Musical Instruments

Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums, and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offices.
Copyright 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.
MEMBERS: SEND ADDRESS CORRECTIONS TO:
MBSI, PO Box 10196,
Springfield, MO 65808-0196
Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196,
Springfield, MO 65808-0196

Features

9 Outreach Corner
10 Nickel Notes
19 The Pietschmann firm of Berlin (Part 1)

Chapter Reports

MBSI has replanted 230 trees so far as part of the Print ReLeaf program.

MEMBERSHIP APPLICATION

Copy this page, and give it to a potential new member. Spread the word about MBSI.

Last name First Name Initial
Last Name First Name Initial
Address
City State / Zip Postal Code / Country
Phone Fax E-mail
Sponsor (optional)

Check or Money Order Payable to: MBSI Treasurer (US Funds Only)
Mail to: New Member Registration – MBSI
PO Box 10196
Springfield, MO 65808-0196
Visa/MasterCard
Exp. Date CCV
Signature

Membership Dues
US members (per household)………………………………………..$70
Student Membership $30
(online journal access only)
Canada………………………………………………………………………….$80
Other International……………………………………………………….$85
(Add $20 for International air mail.)
Join online: www.mbsi.org/join-mbsi

Welcome new members!

February 2023
Boutin, Joanne
Bristol, VT
Sponsor: Don Caine
Garrett, Pauline
West Friendship, MD
Pesicka, Richard
Lake Stevens, WA
Weiner, Jonathan & Deborah
Greer, SC
March 2023
Boerner, George
Sugar Land, TX
Sponsor: Don Caine
Grigg, Stuart
Grosse Pointe, MI
Jaffe, Lawrence
Langhorne, PA
Rudee, Don & Gail
Seattle, WA
Sponsor: Don Caine
Sachnoff, Marc & Lynn
Seattle, WA
Wolcott, James & Linda
Albuquerque, NM

EditorÕs Notes

MAILING ADDRESS
MBSI Editorial / Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634

By Russell Kasselman
MBSI Editor/Publisher
This past winter was a bit wild and crazy in terms of weather where I live in California. It was the wettest winter since 1978 for our county with a fair bit of flooding and plenty of high surf warnings that made for some wonderful wave watching on our beaches. National news reports lead me to believe the weather wasnÕt much better in the rest of the nation either. But now, spring has sprung and summer is headed our way quickly. Warmer temperatures mean itÕs time to open the windows and the doors and let the fresh air in. I say, letÕs all take it one step further and let our music out as well.
Pick a piece of your favorite music, put it on your favorite machine and open your windows and doors. Let your neighborhood hear the sounds. Pique their interest and invite them in for a tour. What better way to entice a new enthusiast into the hobby of mechanical music?
Summer is a great time for discovery as well. Travel is always a wonderful way to find new things. In addition to planning a trip to the MBSI annual meeting in Minnesota this year, perhaps you might browse the Directory of Members, Museums and Dealers to find a member who lives near a place you have always wanted to visit. Challenge yourself to reach out and contact that member to see if you can stop by and view their collec.tion. Spend a few minutes over coffee exploring your shared interests. DonÕt be shy about asking to tour some local antique stores as the items you find while traveling will certainly be different from the stuff youÕve already seen in your hometown.
We are a society of mechanical music enthusiasts, collectors, restor.ers, music lovers and more. Getting together and sharing what we enjoy about the hobby is the best way to keep things fresh and interesting.
Enjoy yourselves!

Correction

It has been drawn to the editorÕs attention that the image at the bottom of Page 41 of Mechanical Music Jan/Feb 2023 (Vol. 69 No. 1) was reprinted without proper credit. The image in question was extracted from a previous edition of this journal and should have been credited to the Pitt Rivers Museum, University of Oxford, (Accession Number 1943.5.9 B). Permission to use this image was granted by the museum with the express condition that it be properly credited. The editor apologizes for this omission.

Meet your new trustee Rich Poppe

Rich joined MBSI in 1987 after he purchased his first instrument, a Mills Violano, and was looking for a source of music rolls.
He served as chair of the Southeast Chapter in the late 1990s. In 2003, Rich started his first term as an MBSI trustee. That same year, he also became chair of the Meetings Committee which he has served on ever since.
RichÕs interests are early cylinder music boxes, disc boxes, and small keyboardless nickelode.ons. Rich also collects roller organs and has a few street barrel organs.

Upcoming Deadlines

EDITORIAL
Articles and photos for the July/August 2023 issue of Mechanical Music should be submitted by May 25, 2023.
Articles and photos for the September/October 2023 issue of Mechanical Music should be submitted by Jul. 25, 2023.

ADVERTISING
Advertisements for the July/August 2023 issue of Mechanical Music need to be submitted by Jun. 1, 2023.
Advertisements for the September/October 2023 issue of Mechanical Music need to be submitted by Aug. 1, 2023.

Meet trustee-elect Rick Swaney

My interest in mechanical music developed later in life. I was just short of 50 years old when I found my first item in a nearby antique store, a model VV-VIII Victrola gramophone. Then I had to shop for a 78-rpm record. I didnÕt own any records at the time, only cassettes. I remember the excite.ment of hearing it play for the first time. I still have it today (IÕve yet to sell anything from my collection), but itÕs relegated to the upstairs bedroom to make room for more impressive instruments.
Prior to that purchase, I hadnÕt collected anything. I had neither the space nor the funds to be a serious collector before 1995, but then I took a job with Microsoft and moved to the Seattle area. I bought my first house, which gave me space, and bonus stock options gave me funds. It wasnÕt long before my Victrola was joined by an Edison Standard phonograph, a Bremond 6-tune cylinder box, and a bird box. A year later I happened to look through the local newspaperÕs want-ads and spotted a player piano for sale. I immediately called the seller and two days later I had an Angelus-Brinsmead piano playing in my dining room.
In 1997, I was browsing the web for mechanical music when I encountered the MBSI website. As luck would have it, this happened just two weeks before that yearÕs annual meeting in Silverdale, WA, just a short ferry ride away. I attended and spent a signifi.cant portion of my time sitting in the hotel lobby, mesmerized by a Ramey Banjo-Orchestra. I met members of the Northwest International Chapter host.ing the event and immediately joined.
Being a part of the NWI chapter has been great. Meeting so many fellow collectors and seeing their instruments raised my interest in mechanical music to the next level. Plus, IÕve made many good friends along the way. Over the years, I probably have hosted a dozen chapter meetings. IÕve also served as either chapter chair or vice-chair for more years than I can remember.
My collection grew significantly in both quantity and quality. I have around a dozen phonographs, an equal number of music boxes, and many other instruments The stars of my collection are a Wurlitzer Peacock jukebox, a Chickering/Ampico baby grand with a walnut art case, a 15.-inch Regina changer with curved front art glass, and a Mills Violano (the last one from the Sanfilippo warehouse).
At the risk of disappointing you, I must admit that mechanical music is not my primary interest. That honor belongs to magic. As a child I was always interested in puzzles. It was a short jump to learning to do tricks to puzzle others. By age 11, I had learned enough to put on a magic show and did so for a neighborÕs birthday party. That was my first professional show, for which I was paid the grand sum of $2. All through grade school and high school, I spent nearly all my spare time learning, creating and performing magic. I financed this by doing shows for childrenÕs parties on the weekends.
My interest in magic has never waned. I am a longtime member of the two largest magic societies, and I attend one or two magic conventions each year. With few exceptions, my oldest and closest friends are magi.cians. Since my retirement, I have built up my shop and spend a lot of time designing and building magic for other magicians.
I grew up in Whitefish Bay, WI, a small village near Milwaukee. My brother is co-owner of Century Pipe Organs, a company that specializes in building and restoring theater organs. My sister is the most creative, artistic person I know. My interest in engineering and mechanics comes from my father, who was a mechanical engineer.
I graduated from Purdue University with a masterÕs degree in electrical engineering. I had a 40-year career as a software engineer, specializing in microprocessor-based systems. I worked on missile guidance systems, power generation control, and lastly, the Windows operating system.
If my name is familiar, itÕs probably because I have served as the Chair.man of the Website Committee for the past 12 years. My first project was to give the website a new, modern look and expand the feature set. A second redesign is expected to be completed this year.
I am looking forward to serving as a trustee, to have a hand in guiding the future of our society. For me, preser.vation of the past is both a fascinating and important endeavor.

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 July/August 2023 issue is Jun. 1, 2023

Outreach Corner

By Robin Biggins
On Oct. 20, 2022, I set up a one-hour presentation at the Northridge Public Library in Los Angeles, CA, for a live audience and Zoom connection to encourage membership in the MBSI, and to display a variety of mechanical music machines.
The history of the musical box devel.opment was featured and the need for the historical preservation of them was emphasized. The social enjoy.ment of our meetings and the benefits of membership was explained.Ê Selec.tions from the MBSI DVD ÒMarvels of Mechanical Music,Ó showing the operation of a musical box and the fun we all have at the meetings, were viewed on a large screen.
The display included a very early (1810) fusee-driven machine with a sectional comb of just two teeth per section, as well as a variety of cylinder boxes, disc machines, Manivelles, singing birds and a monkey organ.Ê Copies of the MBSI brochure were distributed to those in attendance. We hope to have encouraged some new members.
If you would like information about how to set up an event like this on your own or with members of your local chapter, please contact me at (310) 377-1472 or at robinbiggins@yahoo.com

Nickel Notes

By Matthew Jaro

Why MIDI?
MIDI stands for Musical Instrument Digital Interface. The following is a list of some of the reasons I wanted to add a MIDI capability to my Seeburg H Orchestrion:
¥
I would be able to arrange my own music and play it on the machine. For example, it has been a dream of mine to arrange BachÕs Third Brandenburg Concerto for the Seeburg H.

¥
I could convert files for other machines to play on the Seeburg H. For example, I converted an O roll to play on my H. It would be great to take the wonderful Capitol G roll arrangements, enhance the instrumentation and play them on the H.

¥
Songs can be selected individ.ually, so I donÕt have to play a bunch of songs that came earlier in the roll to get to the one I want.

¥
I could add to my library of H rolls by scanning rolls belonging to other collectors. It is almost impossible to get new H rolls cut today as most perforators cannot handle the 15. inch width of the roll.

¥
I can commission prominent arrangers to make new arrange.ments that I can play without having to perforate new rolls.

¥
The entire MIDI system can be removed almost without a trace so that the value of the machine is not affected by the modifications.

¥
I can still play rolls on the machine in addition to the MIDI files.

There is nothing special about the Seeburg H, except that I have one. You can do this to any machine that is large enough for you to stuff all the parts into, without changing the aesthetics of the machine.
Note Mapping
The first stage in the project was to figure out what MIDI notes would correspond to what tracker bar hole. This problem was simplified by the fact that I could obtain a number of H roll scans with the lowest channel on the tracker bar corresponding to MIDI note D1. I proceeded in tracker bar order with the last note being F8. Note numbering in MIDI starts at C0 (note C octave 0), then C#0, D0. The octaves run from C to C. Thus, after B0, the next note is C1. This works fine, but it is difficult to make sense of the roll when played on the computer since the machine notes are not the same as the MIDI notes and the intervals will sound wrong. This can be fixed by making a Òlistening formatÓ and only going to the roll format after the MIDI file is what you want. A program called GNMIDI can be used to change any assignment of notes on a MIDI file. You would load the roll format to your machine for playing.
System Overview
The MIDI system operates in the following way: A MIDI sequencer is used to select and play the MIDI files. This can be a laptop computer, if desired, or a specialized sequencer. The output of the sequencer goes into a magnet driver. This unit decodes the MIDI signals and activates the appro.priate solenoid valves. The magnets can be either solenoids attached to pallet valves or an integrated solenoid valve. The valves are connected to the tubing of the machine using T fittings. The tubing is opened to the atmo.sphere when the magnet is activated.
Solenoid Valves
I spent a great deal of time trying to select good solenoid valves. The solenoid valve is like a relay. One sole.noid valve is connected to the tubing for each channel in the tracker bar. You cut the tubing, fit a T connector over the two ends and you connect the open end of the T to one nipple of the solenoid valve. When you want to hear a roll, you just attach the roll to the spool frame in the normal manner. When you want to play a MIDI song, you unhook the bottom of the roll and leave the roll hanging down over the tracker bar without connecting the tab to the takeup spool. The vacuum on the tracker bar pulls the paper in and seals the holes of the tracker bar. You can also put masking tape over the tracker bar holes.
One nipple of the solenoid valve is connected to the T connector and the other is left open to the air. When volt.age is applied to the solenoid valve, atmosphere is let into the tubing. This is equivalent to a tracker bar hole letting atmosphere in when there is a hole in the paper roll. Any note can be played by applying 12 volts to the corresponding solenoid valve.
I wanted valves that were small and wouldnÕt draw too much current and were fairly easy to mount. Many people have used the Reisner magnets. They require that you build a chest with pallet valves and nipples for the tubing. This was a lot of work so I kept searching for a better solu.tion. Besides, the magnets are fairly large and space is a consideration. Next, there was a series of cylindrical valves with nipples on eBay and other sources. However, these are hard to mount (I would have to build some kind of strap and they draw a lot of current (350 milliamperes at 12 volts). The current can be reduced by lower.ing the voltage, but then the action will be slower.
I found valves with a 50-ohm coil that only draws 50 milliamps.
They have brackets that are fairly large, but these can be unscrewed revealing the magnet assembly. The bottom of the magnet has threaded holes for mounting. I had several friends order a solenoid valve to see if they were any good. They passed all the tests.
I found valves on Amazon.com that look like they might be good, but I havenÕt tested them. Just search on ÒWSDMAVIS solenoid.Ó IÕm sure you can negotiate quantity prices.
I was concerned that the repetition rate of the new components (T, tubing and solenoid valve) would be too slow to play really fast repeating notes. This would not be acceptable. I built a little Arduino microcontroller circuit that allowed me to vary the length of a note and the length of the silence between notes. The repetition rate was about 10 per second Ð which is fine.
Incidentally, the T fittings were bought from https://www.mcmaster.com/. The part is called a Plastic Barbed Tube Fittings for Air & Water Ð Tight-Seal,ÊTeeÊConnector,ÊforÊ3/16-inchÊTube ID and it is part number 5463K183. They are black, so they match the tubing and cost about $10 for a pack of 10.
Magnet Drivers
Now that we have the solenoid valves (magnets) figured out, we need something to drive them. This means reading a MIDI stream and applying voltage to the proper magnet when the corresponding note is played. The best and lowest-cost system is from klin.gerorgan.com. These are made by Bill Klinger. You get one controller board which can handle up to four driver boards of 32 notes each. I needed three driver boards to handle all the notes in the Seeburg H. The drivers are programmable so that any MIDI note can drive any magnet. There is excel.lent documentation that describes how to wire the magnets and connect the boards. Bill Klinger is always helpful should there be problems. The entire assembly was less than $200. The current handling capability of the drivers is more than sufficient to operate the solenoid valves. I tried to assign the driver chips so that more than one heavily-used channel would not be on the same chip. These are the mandolin rail, hammer rail and sustain pedal channels.
The driver boards contain terminal blocks for fastening the wires that connect the drivers to the magnets. I used 16 conductor flat ribbon cable for this purpose. I tried to keep areas of the machine together so that there wouldnÕt be wires scattered all over the place. This is accomplished by programming the note assignments. A programming file plays all the notes in the order of the terminal blocks. For example, the first note would be the note played to activate driver one, etc. I made board one, pin one correspond to the ÒFlute offÓ signal (MIDI note C4). Similarly, all the registration control signals are kept together on the board because those functions are in one particular place in the machine. I could assign positions on the terminal block to notes higher than the playing range of the machine so they would never be actuated and thereby balance the load somewhat on the driver chips.
Layout
One of the hardest problems was to figure out the layout for the added components. It is vitally important that the whole project be planned carefully before anything is built. There were several things I knew:
¥
The floor of the machine under the spool frame could be used for the power supply, the driver boards and the sequencer. None of these could be very tall because they would interfere with the lower spool frame. The sequencer is in front of the coin drawer, but it is not permanently mounted and can be moved to take coins out.

¥
The inner right side of the case near the drum shelf is close to the registration controls and a bank of 16 magnets can be placed there.

¥
Under the keyboard there is room to mount boards. I divided the space into a treble and a bass section. The treble section would have 40 playing notes plus the mandolin rail.

¥
The treble board must be mounted flat because otherwise it would be impossible to mount a roll on the spool frame.

¥
The bass board would have 26 notes plus the hammer rail and sustain pedal. These controls are on the left side of the keyboard (lowest notes).

¥
The bass board can hang down since there is no spool frame on the left side of the machine.

¥
Notches must be made in the boards to accommodate brackets, etc.

I calculated the size limits on each board so I could mount the solenoid valves properly.
The Power Supply
Since the solenoid valves require 12 volts DC, I needed to build a power supply board. Switching power supplies are readily available and have a much lighter weight than the old system with transformers and chokes. I bought a 12.5 Amp supply (150 watts) for about $26. This gives me enough power to play 52 notes at the same time. The model of the power supply is PS1-150W-12 made by Hengfu. This was ordered from Marlin P. Jones (mpja.com). Tim Westman suggested that I put a 50,000 mfd capacitor across the output to act as a filter. I did this and it is very effective. I added a double-pole switch in a standard outlet box and screwed everything into a small maple board (painted black). The double-pole switch is used to switch both sides of the AC line so you can never get shocked with the power off.
I mounted the Klinger control board and driver boards on an oak board painted black and I connected the output of the power supply to the driver boards and the driver boards to each other and the control board. Number 14 wire was used for this because of the heavy current loads.
Circuit Board Preparation
The design I made called for three boards: a single row of 16 magnets for the registration control, one double row of 41 magnets for the treble notes and the mandolin rail, and a double row of 28 magnets for the bass notes, the hammer rail and the sustain pedal. Since I had a very limited space, I tried different layouts on paper to see what would fit. The boards are all .-inch oak boards that I bought at the local Home Depot. The next step was to go over to Dick HackÕs machine shop. Dick is an expert restorer of mechan.ical music instruments and a good friend. The first step was to cut the boards so that they were the proper length and rip them so the width was correct. Notches had to be cut out for brackets. One must be extremely careful to keep the orientation of the boards correct. I would be looking up at a board from the bottom of the machine. Next, we had to drill the holes for mounting the magnets. The magnets have a 3-millimeter thread (m3). The screws selected were 12-millimeter long pan-head screws. Holes had to be counter-sunk in the board to make sure the screws would not protrude more than about 1/8 inch. Otherwise the screws would dig into the coils of the magnets. Washers would be placed in the large counter sink holes. Since these are machine screws, the alignment must be very precise. Any angle or deviation in spacing would make it impossible to tighten the screws without forcing and cross-threading the magnet holes. We used DickÕs milling machine for this purpose. Since the magnets have metric screws and spacing, we used metric measurements throughout.
Each magnet would have to have one coil lead connected to the ribbon cable (that goes to the drivers), and the anode of a diode. The other lead of the coil and the cathode of the diode go to the positive voltage bus. The diode is a 1N4004 and is reversed biased so that back voltage caused by the coil is shorted out. This protects the drivers. Dick suggested that we use escutcheon pins to fasten the leads together. This was pure genius as it avoided making printed circuit boards or using wire nuts to fasten leads together. Dick mentioned that this is the wiring method generally used in pipe organs.
Wiring the Boards
After the boards were drilled, the magnets had to be mounted and the escutcheon pins hammered into their predrilled holes. There is a bus that supplies the positive voltage that must run the length of the board. The bus wire is Belden 8013 000100 16-gauge tinned bus bar wire (unjacketed). Since the wire is pre-tinned, it is easy to solder to. Sixteen-gauge wire is needed to carry the current for the whole board. The end of the bus bar has standard 16-gauge insulated wire to go to the power supply. The ribbon cable connects all the magnets to the driver boards. The ribbon cable is Amphenol Spectra-Strip 16 conductor flat ribbon cable with 26-gauge wire. The advantage of this cable is that the individual conductors can be unzipped easily without exposing any bare wire. This is important since connections must be made along the entire length of the board. The part number is 191-2601-116. The 1N4004 diodes cost about five cents apiece. Dick Hack helpfully wired most of the boards with me assisting. Care must be taken not to overheat the diodes. We tested all the circuits with an ohmmeter when the wiring was finished. This encompassed testing all the way to the end of the ribbon cables. ItÕs much easier to do testing during the building process than later.
Final Assembly
The next step was to mount the boards in the machine. Wood screws were used for this purpose. After this, the ribbon cables from each board can be dressed and clamped down to the case with little wooden bridges. Then each conductor of the ribbon cable must be stripped and attached to the proper terminal on the driver boards. The layout is such that adjacent notes on the boards are assigned to adjacent terminals, to make the wiring look neat. Next the positive line from each board must be connected to the posi.tive terminal of the power supply.
I made a test file that plays a differ.ent combination of notes in scale order (piano, then piano+violin, then piano+flute, etc.). I used a laptop to play the file (VanBascoÕs MIDI software). VanBasco is available free on the web. The first notes in the file should cancel all the registration presets (violin, flute, xylophone and piano on). Since I was very careful during the construction process and checked everything multiple times, the system worked the first time. If not, you must troubleshoot the problem, looking for incorrect notes or notes not operating. For example, after a length of time, I started getting a cypher on one note (the note would sound continuously and not turn off). This means that atmosphere is getting into the one line. I cut 1/8-inch of tubing off, reattached it and it worked fine. The end of the tubing was just a little stiff and wasnÕt sealing properly on the nipple.
The MIDI Sequencer
I really wanted a wireless system to play the MIDI files. My test version had a dedicated laptop with the cables going into the Seeburg H. This meant that I couldnÕt close the bottom door. A wireless system would hide every.thing. I found the solution in a product made by Brotech Electronics called the ÒMega MIDI SequencerÓ (http://www.brotechelectronics.com/). Their website says:
ÒThe Mega MIDI and Mini MIDI Sequencer (MMS and mMS) areÊtablet controlled MIDI players, designed especially for use on MIDI enabled automated musical instruments such as a band organ. It works with all MIDI to parallel interfaces. The mMS/MMS reads type 0 MIDI files from a local SD memory card, decodes and sequences the MIDI information and streams it to an external device. The hardware is controlled wirelessly via Bluetooth linked to an Android 7-inch tablet (8-inch HD optional). The tablet acts as a remote directory and file name viewer and selector, and has soft keys for Play Selection, Stop, Play Sequential, Play Random, Tempo Change, and more… Also, play songs from a playlist that you create using our MMSÊPlaylist Editor App!Ó
The cost is very reasonable: $300, including an Amazon 7-inch tablet. To use this, I placed the MIDI-sequencer inside the Seeburg H and plugged the MIDI output into the MIDI input of the drivers. I loaded an SD card with a directory named ÒSONGSÓ and another called ÒROLLS.Ó I created MIDI files of my favorite songs (more on that later), and I can select any song on the tablet and play it, or I can play an entire roll. I see my list of songs in alphabetical order on the tablet, and I merely need to select the song I want to play. I could make playlists by adding additional directories. The songs take very little space so I can easily fit as many songs as I want on the SD card. ItÕs super great. I just sit on my couch, and I can listen to any song I want without playing a bunch of unwanted songs on the roll just to get to my song.
The MIDI Files
The MIDI system will read Format 0 MIDI files. These files are limited to one channel. In practice, I put all of the notes of the tracker bar on one channel and one track. I use the latest version of a software program called Cakewalk. This is available for free from Bandlab. There are frequent updates. The software has a Òplayer piano roll viewÓ where the display looks like the H-roll would look pass.ing the tracker bar. This works on all Windows releases including Windows 11. I obtained many H roll scans from Frank Himpsl, who has scanned almost every imaginable type of roll. To divide the roll into songs, start at the first song and select all notes until the end of the song. Then click Òcopy,Ó then ÒnewÓ to make a new file, then ÒpasteÓ to insert the copied parts to the new roll and then ÒsaveÓ with the name of the file being the name of the song. Be sure to select ÒMIDI type 0Ó as the file type (do not select the file type called ÒnormalÓ). Then move the cursor to the second song. Be sure to start where the registrations are cancelled at the end of the previous song. This would be the same as play.ing the roll continuously. For example, a song ends, registers are cancelled, there is a space of a few seconds and then registers are set followed by the next song. In this manner, I can make individual files of each song on the roll in just a few minutes.
There is one other little trick to do: on the H roll, the mandolin rail, the hammer rail and the sustain pedal are all chain perforations. If you look at the actual roll, there is a series of small punches spaced very close to each other. A large slot would not be possible since the paper would split. However, when we play an area with chain perforations, the solenoid valves would chatter, because they are fast and would receive many signals a second (from each image of the small perforations). For an electronic file, we donÕt have to worry about the paper splitting since there is no paper. What we want is a long slot, to keep the mandolin rail down for the dura.tion of the period. I wrote a program in the Cakewalk programming language (CAL) that converts a string of very short notes into one long note. Select the note (for example, hammer rail is D1) and execute the program. All the hammer-rail chains are converted to long slots. Do the same for the sustain and the mandolin rail channels. The program runs instantaneously. I will be glad to share this program with anyone who wants it.
Enjoy!
Now you can sit back and enjoy your Seeburg H with new music or your old favorites. If you ever want to sell the machine and the buyer doesnÕt like MIDI, you can remove everything with a screwdriver in a couple of minutes, so you havenÕt degraded the value of the machine at all.
I know that the learning curve is a bit steep, but I started playing with MIDI files after reading an article Glenn Thomas wrote about MIDI in the AMICA Bulletin (May/June 2016), and eventually I began to have an idea of what I was doing. There is no rush. Take your time and learn as much as you can. There are plenty of people who would be glad to help and even people who will design and install a system for you.
Running the system is super easy:
Turn on your power supply (which turns on the drivers)
Turn on the mega MIDI sequencer (or your laptop)
Turn on your tablet
Select the sequencer application
Select the bluetooth device when prompted (mega/MIDI)
Select the ÒSONGSÓ directory with your songs
Turn on your Seeburg H, making sure the end of the roll covers the tracker bar and the tab is not attached to the takeup spool
Select the song you want to play and press the bar where the song title is displayed
Listen to your song in glorious Seeburg H sound.
As always, Matt Jaro can be reached at mjaro@verizon.net

Implementation of a MIDI System
for the Seeburg H Orchestrion

Matt JaroÕs Seeburg H.

A MIDI system diagram.

All the circuit boards ready to mount.

A detail view of the wiring on the control boards.

This is the detail view for the treble-note control board.

This is the driver board wiring.

This is the power supply module.

This image shows the power supply, sequencer, and drivers.

This is the space where the registration controls will be mounted inside the instrument.

This image shows the area under the keyboard where the bass-note board will be mounted.

This is the area under the keyboard where the treble-note board will be mounted.

This shows the bass-note board mounted and ready for action.

The registration controls successfully installed in the machine.

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 September/October, 2017 issue of The AMICA Bulletin.

Seeking your stories for ….

Did you once spend time finding the perfect musical antique to round out your collection? What was it? How did you find it? Was it in ruins, or in perfect condition?
Was there a time you randomly ran across a unique instrument then found a way to acquire it and restore it so that you might display it and tell the story to all who visit your home?
Answer these questions and you will have the perfect story for ÒThe HuntÓ column in Mechanical Music.
Every mechanical music instrument has a story behind it and the readers of Mechanical Music love to read them all.
Editing help is available if you have a story, but you are not sure how to organize it or present it. The important thing is to get it down and pass it on for the enjoyment of others.
We look forward to hearing from you.
Email your story to editor Russell Kasselman at
editor@mbsi.org or mail a copy to:
MBSI Editorial Offices
130 Coral Court
Pismo Beach, CA 93449

The Hunt

The Pietschmann Firm of Berlin

(Part I)

By Dr. Albert Lštz

C. Pietschmann and
Ch. F. Pietschmann
In 1889 when the harmonica factory owned by Ch. F. Pietschmann & Sšhne of Berlin was transformed into a public company via an initial public offering (more about that in Part II) and came to be called Berliner Musik-Instrumenten-Fabrik AG (Berlin Musical Instruments Factory Inc.)11. Stock Exchange Prospectus of Berliner Musik-Instrumenten-Fabrik Inc., vorm. Ch. F. Pietschmann & Sšhne, Berliner Tageblatt [Berlin Daily Newspaper], 2 June 1889, fourth supplement, p.4. Also in: Berliner Bšrsen-Zei.tung [Berlin Stock Exchange Journal], 1 June 1889, evening issue, fifth supplement, p. 13.
many expected it to be the beginning of a bright future considering the companyÕs economic success in the past. Instead, a catastrophic decline ensued and lasted for years (see Figure 1) followed by the bankruptcy of the successor company, Deutsche Musikwerke System Pietschmann AG (German Mechanical Music System Pietschmann Inc.), in 1901.
The early end of the company may be the reason so little information is available in the literature of mechan.ical music other than descriptions of the instruments produced by the company that can be found in whole.salersÕ historical trade catalogues or given from todayÕs collections. The person with the name ÒCh. F. PietschmannÓ has even been assumed to be a male individual, whereas the abbreviations mean ÒChristine Frie.derike.Ó Despite this, the firm remains one of the most important factories that produced mechanical music in Germany circa 1890. In an 1888 survey of the corresponding German indus.try, the Fabrik Leipziger Musikwerke, formerly Paul Ehrlich & Co., maker of Ariston organettes, ranked as the top earner with a turnover of 1 million Mark, followed by Ch. F. Pietschmann & Sšhne with a turnover of 550,000 Mark.22. Survey of the Fabrication of Mechanical Musical Instruments in Germany, Zeitschrift fŸr Instrumentenbau [Journal for Musical Instrument Making] (Leipzig, 1888-1889), p. 24.
Business activities not related to mechanical music were not included in these figures. The total turnover of the Pietschmann company at that time, including its main product, harmonicas, amounted to 1.2 million Mark33. Stock Exchange Prospectus of Berliner Musik-Instrumenten-Fabrik, reference cited above.
(1 Imperial Mark equals approximately $10). The size of the Pietschmann company can also be judged from the fact that it operated four steam engines with a total power of 240 horsepower, while EhrlichÕs firm had just 30 horsepower.44. Survey of the Fabrication of Mechanical Musical Instruments in Germany, reference cited above. According to the stock exchange prospectus of Berliner Musik-Instrument.en-Fabrik, issued only eight months later, the power was 125 HP, not 240 HP.
Fabrik Leipziger Musikwerke mainly delegated the sale of its products to a general agent named Grob, but Pietschmann & Sšhne maintained a trading station of its own in New York.55. Stock Exchange Prospectus of Berliner Musik-Instrumenten-Fabrik, reference cited above.
According to an enumeration from 1896,66. Festive Edition for the Berlin Industrial Exposition 1896 [Festausgabe 1896 zur Berliner Gewerbeausstellung] of Musik-Instru.menten-Zeitung [Musical Instrument Journal] (Berlin, 1896), p. 22.
the four divisions of the Pietschmann firm were:
¥
Division I: accordions from 1 Mark to 120 Mark per instrument,

¥
Division II: Herophon, Manopan, Dolcine, accord-organs, and miniature harmoniums,

¥
Division III: Celesta,

¥
Division IV: mixed musical items (violins, guitars, mandolins, accord-zithers, flutes, mouth-
organs, strings, and cheap products in large quantities).

The first three instruments listed in Division II were hand-cranked organs with reeds and music on perforated discs or strips for domestic use. The accord-organs could be played by persons without previous practice in playing an organ nor knowledge of musical notation. A very simple notation system for the melody and a series of prefabricated accompanying chords were provided. The Celesta was a disc musical box. An historical Berlin doctoral thesis says that the firm Pietschmann not only sold organs but also used to lend about 40 of them for a weekly fee of 3.50 Mark.77. Heinz Rensmann, Die Entwick.elung und Bedeutung des Berliner Musikinstrumentenbaugewerbes im Handw.erks- und Industriebetrieb [The Development and Importance of the Musical Instrument Making Craft and Industry in Berlin], Thesis (Berlin, 1942), p. 124.

There is different information on the date of foundation of the Pietschmann firm. While the stock exchange prospectus of 1889 states it was begun in 1839, the words ÒFounded in 1835Ó can be read on both sides of a drawing of the factory in Musik-Instrument.en-Zeitung of 1896.88. Festive Edition, reference cited in footnote 6, p. 22 of the reference.
The first entry that can be found in the annual Berlin city directories was in 1843, reading ÒPietzschmann, C., Accordion=Fab.rik., Gertraudtenstr. 26.Ó99. Directory of Berlin 1843 [Allgemeiner Wohnungsanzeiger fŸr Berlin, Charlottenburg und Umgebungen auf das Jahr 1843], p. 336.
Historical annual Berlin directories are available at the Central and City Library of Berlin and can be accessed online. Apart from a few earlier directories, they start with the year 1822 and the 1869 issue is the only missing one. The directories appeared in the beginning of each year thus mirroring the state of the preceding year. Because the Pietschmann firm was listed in the Berlin directory four to eight years after its foundation, the company may have originated outside of Berlin. The spelling ÒPietzschmannÓ instead of ÒPietschmannÓ sometimes appears also in later documents. The name is written correctly in the directory of the year 1844. The home and company address of C. Pietschmann in Gertraudtenstr is in the old Berlin district Cšlln on an island enclosed by the river Spree and a ship canal, some.what southeast of the Royal Palace, also found on the island (Figure 2). Old paintings of the streets of this district show residential dwellings and businesses several stories high that are attached to each other with no gaps in between. St. Petri church was in the center of the district. Today, Gertraudenstra§e is a major thorough.fare with several roads traversing the district. St. Petri was damaged during World War II and was later torn down.
Figure 3 shows essential data regarding members of the Pietsch-mann family, found mainly in church records in the archive of the Berlin Protestant Church (online at www.archion.de, chargeable) and from the trade register excerpts in the Royal Prussian State Gazette (Kšniglich Preussischer Staats-Anzeiger) that can be found online at the Bavarian State Library.
Mr. C. Pietschmann is listed in the Berlin directory of 1843 as owner of an accordion factory for the first time. His name can be found on the top left of the family tree. This is confirmed without any doubt by the baptismal records of his children that mention the address 26 Gertraudenstra§e and the name of the father with his profession, either maker of musical instruments, maker of harmonicas, or owner of a harmonica factory. The essential data of his life could not be found in church records. According to the Berlin directory, the office of his firm was located at 69 Alte Jakobstr. (see Figure 2) when he died in 1870. As he most probably also dwelled there, he must have lived in the parish of the Luisenstadt church whose records for that time are lost. The date of his death was published in a trade register excerpt that says:
ÒUnder no. 3163 of the trade regis.ter, the local firm C. Pietschmann, and as its owner, the merchant and factory-owner Carl Ferdinand Pietschmann is listed. According to todayÕs order, the following has been added: After the death of the owner on 19 January 1870, the firm has passed to his sons, the merchants Ferdinand Carl Pietschmann and Friedrich Ferdinand Pietschmann, both living in Berlin, by way of inheritance. The new partnership has been registered with the name C. Pietschmann under no. 2869 of the trade register. The partners of the partnership founded on 19 January 1870 with the name C. Pietschmann (current office at 69 Alte Jakobstra§e) are: 1) the merchant Ferdinand Carl Pietschmann, 2) the merchant Friedrich Ferdinand Pietschmann, both living in Berlin. This has been recorded in the trade register of the undersigned court under no. 2869.Ó1010. Trade Register of the Royal Municipal Court of Berlin [Handels=Register des Kšnigl. Stadtgerichts zu Berlin]. Royal Prussian State Gazette [Kšniglich Preussischer Staats-Anzei.ger], No. 83, 7 April 1870, p. 1376.

According to the baptismal certificates of the children, Carl Pietschmann senior was married to Christine Friederike Elisabeth Leiste. The church record on her death states Feb. 15, 1816, as her date of birth.1111. Archive of the Berlin Protestant Church [Landeskirchliches Archiv in Berlin, www.archion.de], Berlin-City III, St. Elisabeth, Interments 1888-1889, No. 194.
The Pietschmann couple had four children. Carl Ferdinand Pietschmann junior was born on Sept. 26, 1842,1212. Archive of the Berlin Protestant Church, Berlin-City I, St. Petri, Baptisms, 1840-1843, p. 263, No. 295.
Friedrich Ferdinand on Apr. 28, 1844,1313. Archive of the Berlin Protestant Church, Berlin-City I, St. Petri, Baptisms, 1844-1848, p. 19, No. 129.
Auguste Elisabeth on Nov. 30, 1845,1414. Archive of the Berlin Protestant Church, Berlin-City I, St. Petri, Baptisms, 1844-1848, p. 111, No. 395.
and Gottlieb Wilhelm Richard on Sept. 28, 1850.1515. Archive of the Berlin Protestant Church, Berlin-City I, St. Petri, Baptisms, 1849-1853, p. 126, No. 430.
The youngest son died on Jan. 25, 1855. The cause of death was listed as Òspasms.Ó1616. Archive of the Berlin Protestant Church, Berlin-City I, St. Petri, Interments, 1854-1856, p. 63, No. 29.

Little is known about Carl Pietsch-mann senior. The festive edition of the Musical Instrument Journal on occasion of the Berlin Industrial Exposition 1896 presents some inter.esting information about his person:
ÒHe became famous by construct.ing ten instruments of an orchestra in such a way that a single person could play them simultaneously. The violin was replaced by a big mouth-organ, the trumpet was blown with bellows, while the other instru.ments were played by the knees, the toes and the heels. The inventor travelled through Europe giving concerts with his invention in the major cities and won recognition especially by the well-known great master Gungl.1717. Josef GungÕl (1809-1889), Austrian composer and conductor in the style of Johann Strauss (Son) with great success especially in Berlin and Munich, but also with acclaimed concerts in many cities of Europe and America.
Harmonicas, which can now be bought for a few Marks, cost c. 10 Thalers at that time, and could therefore not be sold in major quantities, until Mr. Pietschmann senior succeeded in the construction of ingenious machines that simpli.fied the production and lowered the price significantly. When the demand began to rise in consequence of this new production method, Mr. Pietsch-mann could increase the turnover of his factory to such an extent that he employed more than 50 persons in his company already in the 1850s.Ó1818. Festive Edition, reference cited in foot.note 6, p. 83 of the reference.

The Berlin directory of 1852 lists 30a Ro§stra§e as the new address of Carl Pietschmann, in the immediate neighbourhood of the former address.1919. Directory of Berlin 1852, p. 374.
Eleven years later, he opened a second business station, in 1868 a third one. These three stations were the office in 69 Alte Jakobstr., the shop in 30a Ro§str., and the factory in 32 Schmid.str. (see Figure 2).
Quite remarkably, his wife was listed in the Berlin directory of 1863 for the first time as ÒPietschmann, C. F., nŽe Leiste, harmonica manufac.turer, 51 Neue Kšnigstr.Ó2020. Directory of Berlin 1863, p. 403.
The Neue Kšnigstra§e, today named Otto-Braun-Stra§e, runs from Alexanderplatz (center of the ancient Berlin) in north-east direction, and led to the Bernau Gate of the town fortification in earlier times.2121. Berlin Street Encyclopedia, Luisenstadt Cultural Society, www.berlingeschichte.de/Strassen/.
In 1866, Mrs. Pietschmann moved to 25 Annenstra§e (see Figure 2). This move is documented both in the Berlin directory and in a trade register excerpt printed in the Royal Prussian State Gazette:
ÒAccording to the order of 5 September 1866, the businesswoman (harmonica factory), the separated Mrs. Christine Elisabeth Friederike Pietschmann, nŽe Leiste, Berlin, has been registered on the same day in the trade register of the undersigned court under no. 4682. Place of business: Berlin (current business address: 25 Annenstra§e), name of the firm: Ch. F. Pietschmann.Ó2222. Trade Register, Royal Prussian State Gazette, No. 218, 7 September 1866, p. 3099.

In addition to her personal entry in the Berlin directory, Mrs. Pietschmann can also be found among Òaccordion manufacturersÓ in the list of trades.men and manufacturers since 1863. Thus, it appears that she owned a harmonica factory of her own in Neue Kšnigstra§e since 1862. According to the language of that time, her firm may also have been just a retail shop.2323. Who is a manufacturer? [Wer ist Fabrikant?] Zeitschrift fŸr Instrumentenbau (Leipzig, 1886-87), p. 348.
The word ÒseparatedÓ in the trade register excerpt of 1866 can only be under.stood as ÒdivorcedÓ or Òbeing in a divorce suitÓ in the light of the follow.ing documents and facts. Prussian Civil Law recognized the separation in the sense of a permanent separation of a married couple without the right of remarriage to others (¤¤ 733, 734) only if both partners were Catholic, because this corresponded to the law of the Catholic Church.2424. Prussian Civil Law [Allgemeines Landrecht fŸr die preussischen Staaten] (Berlin, 1825). Internet Archive, San Francisco, archive.org/details/allgemeinesland02prusgoog, Zweiter Theil, Erster Titel ÒVon der EheÓ, p. 94.
This would not have applied to the Protestant Pietschmann family. There was in addition a separation of no longer than one year, if reconciliation in a divorce suit could be hoped for (¤¤ 727, 728, Appendix ¤ 81). Numerous examples can, however, be found in the Berlin Daily Newspaper of the 19th century showing that the word ÒseparatedÓ was often used instead of Òdivorced.Ó2525. e.g. Berlin Daily Newspaper, 3 February 1889, first supplement, second page: ÒWhat a foolhardy man! Among the happy bridal pairs whose civil marriage has officially been published today, there is also a couple whose representative of the fair sex has already been separated twice and is widowed once. The intrepid bridegroom is a follower of St. Stephen, having succeeded by his ingenuity in finding that rare bride.Ó
Berlin Daily Newspaper, 7 February 1888, p. 4: ÒNevertheless her husband had not been able to fully appreciate the rich bodily qualities of his wife of rare beauty. Thus after just three years, a court pronounced the divorce of the couple. [É] Only after a very short time, Mrs. N. got tired of being simply Mrs. N. She strived for climbing up the ladder of human society, she wanted and had to be at least a baroness. [É] A handsome cavalry officer, a genuine imposing baron had already eagerly courted the beautiful woman when she had not yet been ÔseparatedÕ.Ó
Mrs. Pietschmann was listed with an address different from that of her husband not only in the directories 1863-1867, but also in the following years up to the death of Carl Pietschmann. A further trade register excerpt from the year 1869, which is a most important document for the history of the Pietschmann firm, also provides evidence for the divorce of the Pietschmann couple:
ÒAccording to todayÕs order, the following has been recorded under no. 4682 of our trade register that lists the local business, firm Ch. F. Pietschmann, and as its principal the businesswoman Mrs. Christine Elisabeth Friedericke Pietschmann, nŽe Leiste:
The merchants Ferdinand Carl Pietschmann and Friedrich Ferdi.nand Pietschmann, both of Berlin, have joined the trade business of the businesswoman Christine Elisabeth Friedericke Pietschmann, nŽe Leiste, as business partners, and the now established partnership with the name Ch. F. Pietschmann & Sšhne has been recorded under no. 2535 of the trade register.
The partners of the firm Ch. F. Pietschmann & Sšhne (current business address: 25 Annenstra§e), established in this town on 9 March 1869 as private firm, are:
1) the businesswoman Christine Elisabeth Friedericke Pietschmann, nŽe Leiste,
2) the merchant Ferdinand Carl Pietschmann,
3) the merchant Friedrich Ferdi.nand Pietschmann,
all living in Berlin.
This has been recorded in the trade register of the undersigned court under no. 2535.Ó2626. Trade Register, Royal Prussian State Gazette, No. 60, 11 March 1869, p. 1057.

The abbreviation ÒCh. F.Ó in the company name means ÒChristine Friederike.Ó Mrs. Pietschmann made her two adult sons partners of her firm in spite of the existing similar firm of her former husband, an uncommon event that is only understandable when there is a deep disunion in the family. Usually, sons joined the firm of their father, with the mother unof.ficially assisting in case. The obvious reason for the date of this step of Mrs. Pietschmann was the marriage of her eldest son Carl with Auguste Luise Maria Henkel on May 14, 1869, in the Berlin Zion chapel.2727. Archive of the Berlin Protestant Church, Berlin-City III, Zion, Marriages 1868-1870, p. 29, No. 97.
The Zion chapel in 142 Schšnhauser Allee, near to the address of the home of the brideÕs father, was located approximately one kilometer north-east of todayÕs Zion church, and also, in the same direction, not much farther from 28 Brunnenstra§e in Berlin-North, today Berlin-Center, where the firm Ch. F. Pietschmann & Sšhne had its factory since 1869. The simultaneous inclu.sion of the younger son Ferdinand in the partnership would have avoided conflicts. The Berlin directory of 1870 lists the new firm as ÒPietschmann & Sšhne, Ch. F., Harmonika- und Melodion-Fabrik, Brunnenstr. 28a.Ó A melodion at that time was a generic name for a small desktop organ with reeds and barrel. Figure 4 shows advertisements of the firms C. Pietsch-mann, Ch. F. Pietschmann, and Ch. F. Pietschmann & Sšhne with their corresponding addresses.
The Berlin directory of 1871 provides information on the situation after the death of Carl Pietschmann. Mrs. Pietschmann and her two sons lived in 28 Brunnenstr., the firmÕs office and shop were in 30 Ro§str. and 25 Annenstr., and the factory in 28 Brunnenstr. This means just one of the former business addresses of the father was used (Ro§str.), while the paternal firm itself is not listed. From 1875, the directory did not list the former addresses on the isle in the Spree and in Luisenstadt any more under the entry Ch. F. Pietschmann & Sšhne.2828. Directory of Berlin 1875, p. 665.

Immediately under the entry of Christine Pietschmann in the directory of 1871, one finds ÒLina Pietschmann, geb. (nŽe) Thiel, verw. (widowed) Harmonika-Fabrikant (harmonica manufacturer), Damen-Pensionats-In.haberin (principal of a ladiesÕ boarding-house), Neue Jakobstr. 23.II. (II.=second floor of the front building).Ó Mrs. Lina Pietschmann appears here for the first time in the Berlin directory. There had been no other harmonica manufacturer with the name Pietschmann in Berlin other than Carl Pietschmann senior. Wives were not listed in the directory with the exception of those operating a business of their own. Was this lady the reason for the independence of Mrs. Christine Pietschmann and her two sons? Lina Pietschmann and Christine Pietschmann both appear as widows in the directory of 1873, but Lina Pietschmann does not appear again after that. It may be possible that Mrs. Christine Pietschmann, who could not properly call herself a widow after divorcing her husband, had herself listed as a widow for the first time in the directory in 1873, either because Lina Pietschmann had died, remarried, or possibly even just departed from Berlin. It is also possi.ble that the joint designation of the two ladies as widows may have been just an unfortunate accident based on the assumption that Lina Pietschmann would not be listed any more.
The directory of 1873 also contains the entry ÒC. Pietschmann, Harmon.ikafabrik (harmonica factory), Ro§stra§e 30a, Pt. (ground floor) Inh. (principal) Carl Mehlmann.Ó Carl Mehlmann is mentioned in the direc.tory of 1870 as a harmonica maker for the first time. Since 1871 he lived near the St. Elisabeth church, in whose parish was also the Pietschmann factory at 28 Brunnenstr. In 1876, Mr. Mehlmann was given power of proc.uration for the firm C. Pietschmann, trade register no. 2869, by the heirs Carl and Ferdinand Pietschmann.2929. Berlin Stock Exchange Journal [Berliner Bšrsen Zeitung], 2 December 1876, evening issue, p. 11, third column.
According to the Berlin directory, the firm in 30a Ro§str. was managed by Carl Mehlmann up to 1884, and then by A. Mehlmann up to 1903 (see Figure 5). It was obviously an outlet of Ch. F. Pietschmann & Sšhne like further subsidiary firms appearing in Figure 3. When Ferdinand Pietschmann, the last surviving son of Carl Pietschmann, died in 1903, it was also the last active year of the firm C. Pietschmann. A firm C. Pietschmann with the number 4578 was deleted from the trade register in 1912.3030. Berlin Stock Exchange Journal, 11 Mai 1912, evening issue, p. 17. The excerpts from the trade register in the Berlin Stock Exchange Journal or the Berlin Daily Newspaper can unfortunately not be searched automatically with all relevant entries appearing, because the optical character recognition yields many errors. The situation may hopefully improve with the advances of technique.

Ch. F. Pietschmann & Sons
Brunnenstra§e (Fountainstreet) with the former company premises of Ch. F. Pietschmann & Sons is a part of the main connection between the center of Berlin and the Northern district Gesundbrunnen. The property 28 Brunnenstra§e in todayÕs district Berlin Center is located a little south of the crossing with Anklamer Stra§e (Figure 6). It merges at its eastern border with the property at Fehrbellinerstra§e 45, likewise in former possession of the Pietschmann firm. Fehrbellinerstra§e branches off Anklamer Stra§e approximately 80 meters after the latterÕs crossing with Brunnenstra§e. Different to the premise 28 Brunnenstra§e that was owned by the Pietschmann family since 1871, the two adjacent premises 45 and 46 Fehrbellinerstra§e became a Pietschmann property only in 1876 when houses were erected on them for the first time. Johann Carl Ludwig Henkel, the proprietor of 28 Brunnen.stra§e from 1855 to 1871, who did not live there himself, appears to be the father-in-law of Carl Pietschmann. Mr. HenkelÕs profession, according to the church record of the marriage, was Òproprietor.Ó The directory of 1868 says that he lived in 102 Schšnhauser Allee and owned that house and the adjacent one 101 Schšnhauser Allee. This would also explain why Carl Pietschmann became proprietor of 46 Fehrbellinerstra§e in 1889, namely as a compensation for the loss of 28 Brun.nenstrasse, when that property and 45 Fehrbellinerstra§e were transferred to Berliner Musik-Instrumenten-Fab.rik Inc. Tenements marked the street fronts of all three properties. Also Mrs. Pietschmann and her two sons with their families lived there. The Berlin Daily Newspaper had numer.ous advertisements by which the firm Pietschmann offered shops and apartments in these houses for rent. After a fire in the factory in 1878, the Berlin Daily Newspaper described the premises in the following way:
ÒÉ was reported shortly before midnight and called a major part of the fire brigade to 28 Brunnenstra§e and 45 Fehrbellinerstra§e. Both quite extensive properties of the manufac.turers Ch. F. Pietschmann & Sons are adjacent, are accessible from both sides, and comprise many industrial enterprises, mainly from the timber section, apart from the tenements. The factory of the proprietors uses the largest part of the plot. The factory building is located approximately in the center of the whole area, parallel to the street. It has four floors, each nine windows long, and all its rooms are used for the manufacture of accordions, melodions, mouth-organs etc. The material present, like wood, cardboard, veneer, ivory, shellac, varnish, colors, is huge, the same can be said with regard to the tools. Opposite to the factory, there is a big shed, filled with timber. The board stacks are stored on the floor. There is a second spacious factory building perpendicular to Fehrbellinerstra§e, only a few meters apart from the
Pietschmann factory, that houses cabinet makers on all floors, with a broad house passage to Fehrbelliner.stra§e. The ground rises steeply from Brunnenstra§e and is only accessible by several stairs.Ó3131. Berlin Daily Newspaper, 15 February 1878, first supplement, p. 2.

In 1880, a new large building was erected on the property in Brunnen.stra§e, as the Berlin Daily Newspaper reported:
ÒCeremonious layings of founda.tion-stones are now also performed for greater private buildings. Last Sunday morning at 9, the founda.tion-stone for a big tenement and factory was laid in 28 Brunnenstra§e that are being erected by Mr. Ch. Fr. Pietschmann [badly informed reporter], the well-known harmonica manufacturer. A tin case with a docu.ment in German, Latin, and French was put in the orderly prepared opening of the plot. It mentions the names of the owner of the property, the architect Bruno Sartig, and the master mason E. Brettschneider, and tells the history of the enterprise. In addition to the customary coins, also an issue of Berlin Daily Newspaper and ÒUlkÓ [ÒHoaxÓ, satirical weekly paper, supplement to Berlin Daily Newspaper] was enclosed in the tin case. After the ceremony, there was a happy lunch for all participants.Ó3232. Berlin Daily Newspaper, 19 March 1880, morning issue, p. 5.

An advertisement in the Berlin directory of 1874 indicates the range of products of the firm at that time (Figure 7). The instruments could be purchased directly at the factory, as revealed in an 1882 advertisement announcing an apartment for rent and adding, ÒMore details in the harmon.ika shop in 28a Brunnenstr.Ó3333. Berlin Daily Newspaper, 9 July 1882, Stadt-Anzeiger II [city advertisements II], first page, fourth column.
French and German organettes were offered in the advertisement of Figure 7, but none were designated as originating from PietschmannsÕ own production. The organettes were only traded in 1874, although the firm Pietschmann had called itself a harmonica and melodion factory already as per the directory printed in 1870. It read:
ÒThe famous eldest harmonica factory, Ch. F. Pietschmann & Sons, Berlin, Brunnenstrasse 28, recommends its excellent products. Harmonicas from 5 Sgr. up to 25 Thlr. In addition, we especially recommend small barrel organs, of German and French origin, from 2 . Thlr. up to 20 Thlr. Mouth-organs in all sizes. Wholesale & retail. Inventor of the tremolo harmonica.Ó3434. Directory of Berlin 1874, business advertisements, p. 13.
[Sgr. = Silbergroschen, Thlr. = Thaler. 1 Sgr. = 1/30 Thaler = 1/10 Imperial Mark Å 1 $]
Another advertisement of Pietsch-manns from 1874 says:
ÒFor the musical fancier we recom.mend our harmony-flžtes from 2 to 3. octaves with genuine piano keys, and so-called celestial voices. Each piano-player can play this newly invented instrument. Prices starting at 16 Thaler. Price list free. Ch. F. Pietschmann & Sšhne, Berlin, 28 Brunnenstr.Ó3535. Kladderadatsch, 19 April 1874, p. 2.

Harmony-flžtes were accordions with a keyboard and bellows operated by the second hand or by a pedal.3636. Curt Sachs, Real-Lexikon der Musikinst.rumente [Encyclopedia of Musical Instruments] (Berlin, 1913), p. 180.
ÒCelestial voicesÓ of harmonicas are known today as Òtremolo harmoni.casÓ that have two slightly detuned reeds for each note with a resulting wavering. The term Òcelestial voicesÓ originates from organ-building (voix cŽlestes). ÒSublime harmonyÓ is its equivalent in music boxes.
Figure 8 shows an advertisement for another quite interesting instrument made by the firm Pietschmann. A description can be found in Prager Tagblatt (Prague Daily Newspaper) from 1877. The newspaper was printed in German. This description must either have been copied from a newspaper from Berlin or was written by a Berlin correspondent for Prager Tagblatt, as can be concluded from the text. The company name mentioned at the end of the article was a patent agent in Berlin as the Berlin directory shows.
ÒSeraphon. A new musical instru.ment is being built in the harmonica factory Pietschmann, having been in business here for 40 years (current address: Ch. F. Pietschmann & Sšhne, Brunnenstra§e no. 28). This instrument will probably find general interest. Ð Being called ÔSeraphonÕ by its inventors, it offers the unique advantage in comparison to all other instruments that its playing can be learnt within a single hour on account of an ingenious mechanism. This means, complete musical pieces, even opera arias, can be played with.out ever having been taught so. The instruments are also an embellish.ment for the drawing-room because of their elegant and tasteful design. They have such a charming and soft sound that they must make a pleasant impression even on the most fastidi.ous ear of our music lovers. The music is played with a knob that is pressed in a similar fashion as the telegraph is. The knob sets the mechanics in motion so that a different chord or note is played each time when the knob is pressed. The series of chords forms a musical piece. Thus, the knob need only be pressed according to the rhythm of the musical piece. The only difficulty is the pressing of the knob in the correct rhythm. The inventors have therefore edited a manual that presents a discussion of the instrument and an exact instruction for playing it. Ñ The inventors, the Pietschmann brothers, have applied for a patent on this invention in all states consulting the firm Brand & Nawrocki in this city. The patent applications were granted by all states. We have seen this instrument in different designs, among other forms also as an elegant sewing-table into which the instrument is fitted invisibly, and set in motion by the knob hidden in a pidgeon-hole.Ó3737. Seraphon, Prager Tagblatt [Prague Daily Newspaper], No. 218, 8 August 1877, supple.ment, p.5.

A short description of the Seraphon in Zeitschrift fŸr Instrumentenbau proves that it was an instrument with a pinned barrel.3838. G. Adler, Die neueren Zungen-In.strumente [The recent reed instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 111.
An extant specimen of the Seraphon was described with photos in 2009 in Mechanical Music.3939. Beatrice Farmer and Luuk Goldhoorn, The Seraphon, A Mystery Machine, Mechanical Music (Musical Box Society International, 2009), p. 20.
Because the pedal bellows and some minor parts were missing, and the 32 double reeds had to be overhauled, it underwent a complete restoration. Only one of the six tunes on the barrel could be identified as SchubertÕs ÒSere.nade.Ó The French patent no.114744 of September 1876 describing the instrument is reprinted in the article in English, yet because the patent is kept on microfiche, the drawings are not well resolved. The Imperial German Patent Office was founded on Jul. 1, 1877, so the Seraphon does not appear on their lists. The authors of the article in Mechanical Music could not know that before the foundation of the Imperial German Patent Office patents had to be applied for in the independent states of the German Confederation, and in fact, this was also done in the case of the Seraphon. It was patented in the Kingdom of Bavaria in June 1876,4040. Patentliste Bayern, Juni [Patent List Bavaria, June], Der Arbeitgeber. Archiv fŸr Volkswirtschaft und neue Erfindungen. Centralanzeiger fŸr den Arbeitsmarkt [The Employer. Archive for National Economy and New Inventions. Central Advertiser for the Labour Market] (Frankfurt am Main, 1876), column 14154.
in some smaller states in Thuringia in October 1876,4141. DinglerÕs polytechnisches Journal [DinglerÕs Technical Journal], vol. 223 (Stutt.gart, 1877), p. 115.
and in Austria-Hungary on Nov. 26, 1876.4242. Wiener Zeitung [Vienna Newspaper], no.297, 30 December 1876, mit Amtsblatt zur Wiener Zeitung [supplement Official Journal of Vienna Newspaper], p. 1419, second column, ÒAusschlie§ende PrivilegienÓ [patents], no.5.
The patent filed in Prussia (Jan. 21, 1877) and in two additional small states in February and March 1877 was entitled ÒWillkŸrliche TonverlŠngerung bei LeierkŠstenÓ (Arbitrary Note Prolongment of Organettes). This was probably only a different title of the Seraphon patent, as DinglerÕs Technical Journal already guessed.4343. DinglerÕs polytechnisches Journal, vol. 224 (Stuttgart, 1877), p. 118. In contrast to other archives, there is a relatively high prob.ability that the Prussian patent specification survived World War II, because the archive had been brought to a salt mine. After the end of the war, the archive was transferred to the Soviet-Union, and was later given back to the German Democratic Republic. The Author refrained from a search in the Prussian Secret State Archive in Berlin, where the patent specification might be available under the class-mark I.HA.Rep.120TD, because the expense for the Munichian Author was too great compared to the importance of the expected information, and the success not certain.
The Prussian patent was even mentioned in the just nine-row entry on the barrel organ in Curt SachsÕ ÒReallexikon der Musikin.strumente,Ó4444. Curt Sachs, Real-Lexikon der Musikin.strumente (Berlin, 1913), p. 120, entry ÔDrehorgelÕ. According to Sachs, the Prussian Pietschmann patent had the number 21618.
probably because the Seraphon rendered a performance with individual agogics possible, and with the pedal pumper also with individual dynamics. In April 1877, the Pietschmann firm filed a patent entitled ÒVerbesserung an Leierkas.tenÓ (Improvements of Organettes) in the Kingdom of WŸrttemberg (capital Stuttgart), probably also the Seraphon patent.4545. Der Arbeitgeber (Frankfurt am Main, 1877), column 14529.
The Seraphon appears, however, not to have had great success with the public at large, because the Austrian patent was declared expired on account of economic inactivity in Austria in May 1878.4646. Wiener Zeitung, no.119, 23 May 1878, supplement Official Journal, p. 1147, second column.

As can be learnt from an 1881 publication of the Berlin MerchantsÕ League, 600 workmen produced 300,000 instruments (accordions, melodions, and street organs) in the Pietschmann factory annually, with 250,000 of them designated for export.4747. Vermischtes [Mixed Communications], Zeitschrift fŸr Instrumentenbau (Leipzig, 1882-1883), p. 56.
This is confirmed by an arti.cle of 1898 that gave a report on the Berlin industry of musical instruments in the beginning of the 1880s:4848. Carl Baetz, Die Berliner Musikinstru.menten-Industrie [The Berlin Industry of Musical Instruments], in Berlin und seine Arbeit: Amtlicher Bericht der Berliner Gewer.beausstellung 1896 [The Industry of Berlin: Official report of the Berlin Industrial Exposi.tion 1896] (Berlin, 1898), p. 493.

ÒA further branch of products, whose manufacture had been begun in Berlin, were the accordions, melo.dions, and organettes. It rose to an important part of the export. A single factory working with two steam engines of 20 HP, and employing 600 workers (cabinetmakers, book.binders, tuners, reed makers, gilders, metalworkers, organ builders), produced 300,000 items with a value of 1. million Mark per year at that time. The instruments mainly went to America, but also via England to India and other English colonies, as well as to Australia, Asia, Africa, and many European countries.Ó
In view of an enterprise of this size, the marriage of Ferdinand Pietschmann with Anna Wilhelmine Bertha Martienssen, aged 20, was deemed appropriate to take place in the pompous Berlin Cathedral on Jun. 10, 1879.4949. Archive of the Berlin Protestant Church, Berlin-City I, High Parish and Cathedral Church Berlin [Oberpfarr- und Domkirche zu Berlin], Marriages 1877-1886, June 1879, No. XXIX between No. 23 and No. 24, p. 36.
On account of their compa.nyÕs market position, the Pietschmann family let its members who were related by marriage participate in the success of the firm to a high degree. The lattersÕ trade businesses lived in the clover of the Pietschmann firm, though for example the Martienssen family would not have been starving as owners of a laundry empire with four different locations, as the Berlin directory of 1880 reveals. Together with Gustav Martienssen, Carl and Ferdinand Pietschmann founded an outlet for the products of their factory in Friedrichstra§e (main shop.ping street of Berlin) at the corner Leipzigerstra§e:
ÒThe partners of the private firm founded in Berlin with the name G. Martienssen & Co. on 21 September 1885 (address 194 Friedrichstrasse) are the merchants Carl Gustav August Martienssen, Ferdinand Carl Pietschmann, and Friedrich Ferdinand Pietschmann, all living in Berlin. This has been recorded under no. 9632 of our trade register.Ó5050. Berlin Stock Exchange Journal, 22 September 1885, evening issue, p.15.

The firm was listed in the directory of 1885 as ÒBusiness in musical instruments, main establishment for the Herophon patent of Pietschmann & Sšhne, W (W=Berlin-West, today Berlin-Center) 194 Friedrichstr.Ó5151. Directory of Berlin 1885, p. 655.
The marriage record says that the first name of Ferdinand PietschmannÕs father-in-law was Theodor, so G. Martienssen will probably have been a brother-in-law of Ferdinand Pietsch-mann. The Herophon was a new development of the firm Pietschmann in the year 1883. It was an organette with reeds and music on easily exchangeable perforated cardboard discs and will be described later in this article. In December 1886, Zeitschrift fŸr Instrumentenbau reported that Martienssen Bros., 57 Maiden Lane, New York, NY, had been appointed the exclusive representatives for the Herophon in North America.5252. Zeitschrift fŸr Instrumentenbau (Leipzig, 1886-87), p. 103.
The same journal printed in May 1887 stated that Ch. F. Pietschmann & Sšhne had opened a branch directed by Hermann Kutnow in 91 Chambers Street, New York, NY.5353. Zeitschrift fŸr Instrumentenbau (Leipzig, 1886-87), p. 311.

Shortly before Christmas 1886, an advertisement by the firm G. Mart.ienssen & Co. appeared in the Berlin Daily Newspaper saying:
ÒOrganette (Melodion) with 20% discount (bargain). I have taken over the complete stock of Melodions from a factory that does not continue the production of this article. I therefore offer Melodions with 6 and 8 musical pieces, with and without bell, with single and double reeds per note, at the factory prices and 20% discount, however only as long as the supply permits, and only until Christmas. The instruments are from a highly reputed factory. A free list of the available models and their prices can be supplied. Choice from 16 up to 45 Mark. G. Martienssen & Co., Berlin, business in Herophons and other musical instruments. 194 Friedrichstra§e.Ó5454. Berlin Daily Newspaper, 5 December 1886, advertisement page between p. 3 and p 4.

The advertisement depicts a melo.dion. The image shows nothing more than a simple wooden closed box so it is not included here. From this advertisement it can be concluded that the year 1886 marked the end of the melodion manufacture at Pietsch-mann & Sšhne, because the old barrel instruments had become obsolete on account of the introduction of the Herophon. Still, in 1883, the firm had filed the patent DRP 24073 for a melodion with exchangeable barrel (see Figure 9).
In top view (bottom drawing in Figure 9), the crank action with the worm-gear for the barrel shaft B can be seen, also barrel A that can be pulled out at f through an opening in the side of the instrument case, furthermore the keys o, and, top right in the bottom drawing, the bellows. The upper drawing shows the coupling of the barrel to a part of the barrel shaft with square cross section, and a lever l, by which the keys can be removed from meshing the barrel pins before the exchange of the barrel. Each exchangeable barrel was usually pinned with just one musical piece.
In another advertisement from the year 1885 in the Berlin Daily Newspa.per, G. Martienssen & Co. offered the other main product of PietschmannsÕ, an accordion:
ÒNational-Patent-Harmonica (Imperial German Patent). The loud.est harmonica. By pressing a key, 2 valves are opened simultaneously. Polished in the national colours. Grand format. 2 registers. Price 10 Mark. Sent by cash on delivery. I will take the instrument back within 3 days, if it does not please. G. Martienssen & Co., Berlin, 194 Friedrichstr.Ó5555. Berlin Daily Newspaper, 7 December 1885, morning issue, p. 2.

The National-Patent-Harmonica was based on the patents DRP 24110 and DRP 27003 by PietschmannsÕ from 1883, according to which the keys always opened the valves of two reeds of the same pitch simultane.ously. Thus, the melody voice sounded especially strong. In order to corre.spondingly increase the loudness of the bass voice, the rectangular-shaped resonating chambers with the bass reeds were built as large as possible and covered with a thin resonating board on the side of the reed. The firm Pietschmann valued these two patents so high that they were assigned to the new firm after the transformation to Berliner Musik-Instrumenten-Fabrik.5656. Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-89), p. 438.

There was a huge market for the popular instrument accordion, and the chances for earning money by manu.facturing it had been excellent in the first decades after the development of the instrument around 1820. Since 1867, the firm Berthold at Klingenthal (Saxony) produced machines for the industry of musical instruments, among them also milling-machines for reeds that could produce 4,000 reeds per hour in 1887.5757. Ueber die Entwickelung und Bedeutung der Musikinstrumenten-Industrie des sŠch.sischen Vogtlandes [On the Development and Importance of the Industry of Musical Instru.ments in the Saxonian Vogtland], Zeitschrift fŸr Instrumentenbau (Leipzig, 1886-87), p. 436.
The mass produc.tion and the ensuing high competition caused the prices of especially the simple products to decrease to such an extent that only better quality could still be produced with profit.5858. Die Harmonikafabrikation in dem Bezirke der Geraer Handelskammer [The Production of Harmonicas in the District of the Chamber of Commerce of Gera, East Thuringia], Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-88), p. 366.
The factory-owners tried to take measures against the market conditions by ratio.nalization, manufacture of related products, and reduction of the wages. The firm Pietschmann decided to act similarly:
ÒThe tuners of the harmonica factory Ch. F. Pietschmann & Sšhne in Berlin are striking because of a reduction of their wages by 10%. The reduction of the wages shall be still somewhat higher in some other departments, because the firm had to buy new machines in order to remain competitive, and the machines simplify the work enormously.Ó5959. Zeitschrift fŸr Instrumentenbau (Leipzig, 1885-86), p. 439.

ÒThe harmonica makers of Berlin had a crowded public meeting on the evening of 20 July. The reduction of the wages and the labour conditions of the harmonica factory Pietschmann & Sšhne in Brunnenstrasse [É] were discussed. Two foremen of the factory, Mr. Thiele and Mr. Albrecht, were present who however refused to provide more detailed informa.tion, and only gave to understand that workers unsatisfied with their wages might leave the firm. In view of the presence of the two foremen, the audience did not dare to discuss openly.Ó6060. Zeitschrift fŸr Instrumentenbau (Leipzig, 1885-86), p. 447.

A commission that should negotiate the wages with the directors of the firm failed completely, partly because of its own disagreement, partly on account of a declaration of the directors not to negotiate with the commission, and definitely not to change the prices of the harmonicas. A short time later, the workers of the Herophon department went on strike and demanded not to close the factory during breakfast and lunch, and to be paid wages between 30 and 40 Pfennig [$3 to $4] per hour depending on the function. An assem.bly was forbidden by police.6161. Zeitschrift fŸr Instrumentenbau (Leipzig, 1885-86), p. 458.
Strikes in Germany at that time generally often collapsed because of the weak position of the workers whose rights were severely limited between 1878 and 1890 by the Anti-Socialist Laws of chancellor Bismarck. One example of the laws is that unions were not allowed.
Carl Pietschmann fathered two daughters, one born May 30, 1873, and the other on May 18, 1875. In the baptismal records of St. Elisabeth, 28 Brunnenstra§e is given as his address. Further children of Carl, Ferdinand, and Auguste Pietschmann have not been found, yet the research was not extensive, because no such child was in a leading position in the main firm. Carl and FerdinandÕs sister Auguste was married with the merchant Paul Schulz, as is known from a trade excerpt of 1890 which states:
ÒOn account of the order from 27 June 1890, the following records have been made on the same day: The part.ners of the firm P. Schulz & Wife, nŽe Pietschmann, founded on 15 Novem.ber 1889 as a private firm (business address: 28 a Brunnenstrasse), are the merchant of musical instruments Sigismund Emil Paul Schulz and his wife Elisabeth Auguste Schulz, nŽe Pietschmann, both living in Berlin. This has been recorded under no. 12292 of the trade register.Ó6262. Berlin Stock Exchange Journal, 30 June 1890, evening issue, p. 10.

Auguste Elisabeth had been married with Paul Schulz at least since 1871, because Paul had founded a trade with knobs and haberdashery in Berlin in 1869,6363. Trade Register, Royal Prussian State Gazette, 4 April 1869, p. 1389.
which ceased to exist in 1871. The corresponding trade register record mentioned that the procura.tion of PaulÕs wife, ÒLouise Elisabeth Auguste Schulz, nŽe PietschmannÓ likewise ceased.6464. Trade register, Nationalzeitung [National Newspaper] (Berlin), 6 January 1871, morn.ing issue, p. 8, third column.
The name Louise does not exist in the baptismal record of Auguste Elisabeth Pietschmann, however the identity of the person called Paul Schulz and appearing in the three trade register records is certain by all his three Christian names in the entries of 1869 and 1890, and the same trade register number in the entries of 1869 und 1871. The Berlin directory lists 28 a Brunnenstra§e as the address of Paul Schulz for the first time in 1883. Some months after the foundation of the firm P. Schulz & Wife in 1890, Ferdinand Pietschmann joined the firm as partner, yet without procu.ration. The firm was renamed ÒSchulz, Pietschmann & Co.Ó6565. Berlin Stock Exchange Journal, 10 Octo.ber 1890, evening issue, p. 8.
Yet Ferdinand Pietschmann withdrew as partner already in 1892, while the name of the firm remained unchanged.6666. Berlin Stock Exchange Journal, 19 February 1892, evening issue, p. 9.
It was designated as ÒWarehouse of Musical InstrumentsÓ in the Berlin directory of 1891, according to the language of that time either a wholesale or retail business.6767. Directory of Berlin 1891, p. 1200.

Officially, Mrs. Christine Pietsch-mann had stopped being a member of the company management in 1876.6868. Berlin Stock Exchange Journal, 8 Decem.ber 1876, evening issue, p. 12.
She lived in one of the houses on the company premises and must have been the Ògood spiritÓ of the firm according to her obituary (Figure 10). On Mar. 14, 1889, she died of pneumonia and was buried in the old churchyard St. Elisabeth.6969. Archive of the Berlin Protestant Church, Berlin-City III, St Elisabeth, Interments 1888-1889, March 1889, No. 194.
According to the information of the churchyard administration, the grave does not exist anymore.
Herophon and Manopan
These two desktop organs with reeds are those instruments that have made known the name Pietschmann as manufacturer of mechanical musical instruments, while the later production of the disc musical box Celesta has remained in the shadow of the great competitors of Leipzig.
On May 5, 1882, Fabrik Leipziger Musikwerke (Factory of Leipzig Mechanical Music) formerly Paul Ehrlich & Co. applied for a patent of their mechanical reed organ named Ariston. This patent with the number 21715 and entitled ÒMechanical Musi.cal Instrument with Circular Music DiscsÓ founded the enormous rise of the Leipzig industry of mechanical music and has in a certain way also been a model for the later gramophone. A circular, perforated, and exchange.able music disc from cardboard was turned by a crank via a worm-gear. Spring levers palpated the perfora.tions and thus controlled the valves to the reeds which were supplied with wind from bellows simultaneously driven by the crank. An additional patent No. 24106, applied for on Feb. 2, 1883, suggested music discs from stronger material than those described in the main patent. These music discs were equipped with pins and bridges like the barrels known for a long time. They either protruded above the surface of the disc or were accommodated in grooves of the disc. A third variant was a circular disc similar to that of the main patent that was fixed on a stronger disc equipped with grooves.
On Mar. 25, 1883, approximately one year after the application for the main Ariston patent, Ch. F. Pietschmann & Sšhne filed the patent No. 24074 that described a similar instrument (Figure 11), featuring a stationary exchangeable disc (A) of square form and pins instead of perforations. The wind from the bellows (g) passes through a hollow shaft (a) to the wind.chest (B). The hollow shaft, which is turned by a worm-gear (b and d), carries the windchest with the reeds, the keys (i), and the trackers (n) to the valves. The windchest has rolls (r and v) at its exterior edge that run on a ring (t) at the bottom, and on the disc (A) at the top. According to the patent specification, the instrument had the advantage over the Ariston of a better mounting of the disc and the latterÕs position stability, as well as the complete closeness against dust and rain at outdoor use.
The specification of the supplemen.tal Herophon patent DRP 25745, filed by Pietschmann & Sšhne on Jul. 17, 1883, describes a modification of the pinned disc because of its easy buck.ling. A perforated disc was mounted below the lid of the instrument. The keys could protrude through the perforations of the disc into grooves milled along the concentric tracks. This solution corresponded to the supplemental Ariston patent DRP 24106 by Ehrlich. The Herophon has, however, usually been constructed with a stationary cardboard disc held between the rotating keybed and the likewise rotating detachable disc holder.
In April 1885, Zeitschrift fŸr Instrumentenbau (Journal for Musical Instrument Making) printed a press release on the imitators of the products made by Fabrik Leipziger Musikwerke formerly Paul Ehrlich & Co., who hoped to have the same incredible business success as EhrlichÕs firm. Fabrik Leipziger Musikwerke had paid a very plentiful dividend of 25 percent of the nominal value of the shares for the year 1883, and for the year 1884 breath-taking 75 percent.7070. Ein Mann aus eigener Kraft [A self-made Man], Zeitschrift fŸr Instrumentenbau (Leipzig, 1884-1885), p. 254.
The price of the shares had risen to the fourfold of the issue price after five business years.7171. Leipziger Musikwerke Ehrlich & Co. in Gohlis, Zeitschrift fŸr Instrumentenbau (Leipzig, 1884-1885), p. 151.

ÒThe manufacture of musical instruments played with perforated sheets has increased enormously in the last decade, and can be demon.strated best by the imposing business successes of Fabrik Leipziger Musik.werke in Gohlis [suburb of Leipzig]. This has led to many attempts in corresponding circles to compete by similar products with constructions not infringing the Imperial patent of the factory in Gohlis. Many shops offer an instrument made by
Pietschmann in Berlin, called Hero.phon and likewise patented, which appears to be quite similar to the instruments made in Gohlis at least from the looks. The disc is just square and stationary. The disc-like form of the sheets cannot be patented, nor can the colour of a product. Rather, the content of the invention of the Ariston is the sum of the advantages of the complete construction. Nevertheless, as several recent patents have shown, the manufacturers always copied the form of the music sheets, and saw this actually quite insignificant form as the source of success.Ó7272. Mixed News, Zeitschrift fŸr Instrumen.tenbau (Leipzig, 1884-1885), p. 260.

An objection against the Herophon patent filed by Ehrlich with the Imperial Patent Office was unsuc.cessful, as was a suit in the Berlin Superior Court. The patent office and the two experts in the Superior Court in October 1885 agreed in the difference of the two constructions.7373. Mixed News, Zeitschrift fŸr Instrumen.tenbau (Leipzig, 1885-1886), p. 94.
Thereupon, Pietschmann & Sšhne started a counter-attack, and solicited the invalidity of the Ariston patents on account of missing novelty at the Imperial Patent Office. They referred to pocket music boxes and the ÒTower of BabelÓ in the ÒGrŸnes GewšlbeÓ (Green Vault, the treasure chamber of the Saxonian kings) of Dresden, among other examples that also use music discs, though with pins instead of perforations. The Imperial Patent Office joined this argument regarding the difference between pins and perforations as unimportant. The patent office decision of Jun. 24, 1886, restricted the Ariston patents by inval.idating the protection of the circular disc. Ehrlich appealed to the Imperial Court that validated the claim of the circular disc again on Sept. 24, 1887, because the disc was easily exchange.able. In addition, the court declared that a combination of several known techniques in a new product could be patented, if, like in this case, nobody had got the idea of this combination in spite of many inventions in the same area. However, the court rejected the first claim of EhrlichÕs supplemental patent DRP 24106 for a music disc with protruding pins. Therefore, the law-costs had to be distributed among the two parties.7474. The Ariston in the Imperial Court, Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 44.

The suits in England ended more favourably for EhrlichÕs factory, as both instances declared the Herophon an imitation.7575. Leipzig, Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 351.
Pietschmann & Sšhne also lost the case in Austria.7676. Personal- und GeschŠfts-Notizen [People and Business News], Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-1889), p. 11.
The Fabrik Leipziger Musikwerke had to spend 27,000 Mark (today about a tenfold amount in dollars) for law-costs in 1887.7777. GeschŠftsbericht [Business report] der Fabrik Leipziger Musikwerke, vorm. Paul Ehrlich & Co. zu Gohlis, Zeitschrift fŸr Instru.mentenbau (Leipzig, 1887-1888), p. 251.

The decision of the German Imperial Court did not invalidate the Herophon patents, in contrast to the decision of the London court of appeal. The former decision of the Berlin Superior Court that the Ariston patent did not relate to the Herophon continued to be in force. Pietschmann & Sšhne pointed out to this fact in a large-format advertisement in the Berlin Daily News, accusing Fabrik Leipziger Musikwerke and its general agent Grob of disseminating mislead.ing news on the court decision in the public in order to prevent the sale of the Herophon. On the same page of the Berlin Daily News, there was a detailed counter-declaration of Fabrik Leipziger Musikwerke that did not mention the favourable decision of the Berlin Superior Court for the Herophon. The counter-declaration pretended to exempt merchants and purchaser of the Herophon from penal reports and claims of damages only because of their ignorance, although there was no legal foundation in view of the decision of the Berlin Superior Court.7878. Berlin Daily News, 6 November 1887, third supplement, first page.

A judgement of the German Imperial Court of May 4, 1889, may have been decisive for the further course of the patent litigation between Ehrlich and Pietschmann. This judgement in the suit Ehrlich versus Leipziger Musik-werke Phšnix concerned the legality of the Phšnix organette that was played with zink rings and had been launched on the market in the beginning of 1888.7979. Mixed News, Zeitschrift fŸr Instrumen.tenbau (Leipzig, 1887-1888), p. 84.
8080. The Instrument Phšnix, Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 148.
The court allowed the further manufacture and sale of the Phšnix instrument.8181. Personal- und GeschŠfts-Notizen, Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-1889), p. 303.
Approximately one year later, a joint declaration of Fabrik Leipziger Musikwerke and Berlin Musik-Instrumenten-Fabrik appeared:
ÒNotice! Leipzig-Gohlis and Berlin N. [North], March 1890. Fabrik Leipziger Musikwerke vorm. [formerly] Paul Ehrlich & Co. in Gohlis-Leipzig and Berlin Musik-In.strumenten-Fabrik Inc. vorm. [formerly] Ch. F. Pietschmann & Sšhne in Berlin declare herewith that they have finished their patent litiga.tion of many years by a settlement. Berlin Musik-Instrumenten-Fabrik may manufacture the Herophon and its discs as well as distribute them also in all those countries not acces.sible up to now in exchange for the acknowledgement of the dependency of the Herophon patents from the Ariston patent of the Leipzig factory. Thus the legal protection of the Aris.ton now also extends to the Herophon and its discs.Ó8282. Avis!, Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-1890), p. 242.

The dependency of the Herophon patent from the Ariston patent was not only acknowledged in words, but also entailed the payment of license fees, as can be verified from a remark by Ferdinand Pietschmann dating May 5, 1897, and stating that Berliner Musik-Instrumenten-Fabrik had not to pay licence fees any more, because a patent term had expired.8383. Berlin Stock Exchange Journal, 6 May 1897, evening issue, p. 2.
This was the Ariston patent DRP 21715 filed on May 5, 1882, whose term had ended after 15 years (¤ 7 of the Patent Law of 1877).
The Herophon had 24 notes with the same scale of notes and distance of keys as the Ariston had.8484. Reichsgericht-Entscheidung, wegen VervielfŠltigung musikalischer Composi.tionen durch Herstellung von Notenscheiben zu mechanischen Musikwerken (Herophon) [Decision of the Imperial Court on the Reproduction of Musical Compositions by Manufacture of Discs for Mechanical Musical Instruments (Herophon)], Gutachten [expert opinion], Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-1889), p. 312 and p. 314.
A manifold of models was available that differed by the number of reeds (24, 36, 48, contrabass notes), by the material of the reeds (brass, steel), and in the quality of the case (simple, elegant with side flaps for forte/piano effect). A smaller model ÒHerophonetteÓ with 18 notes (18 or 27 reeds) was also offered. In addition to the cardboard discs, there were also discs made from metal.8585. Ernst Holzweissig Nachf., Engros-Preis.liste Ÿber Musikwerke [Wholesale Price List for Mechanical Musical Instruments] (Leipzig, 1898), p.143.
An extensive article on musical instruments with reeds in Zeitschrift fŸr Instrumentenbau criticized:
ÒThe main difference between the Ariston and the Herophon is the turn.ing disc and the stationary reeds in the former, while it is the reverse in the latter. Therefore, the resonance of the Herophon is changing, because the vibrating air stream from the reeds does not always bounce against the same resonance board, but sometimes against a corner, and sometimes against a side of the case.Ó8686. G. Adler, Die neueren Zungen-In.strumente [The Recent Reed Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 121.

The uncertain final result of the patent litigation with Fabrik Leipziger Musikwerke was certainly the reason for the development of another orga.nette with exchangeable music by the firm Pietschmann. That organette was patented in 1886 (DRP 42203) and then sold under the name ÒManopanÓ (Figure 12).
The left drawing shows the instrument in a general view. The crank c at the side of the main chest B drives the wind supply present in that chest. Simultaneously, a rubber barrel D in the music chest A is slowly turned through a worm-gear and a following spur gear. The music strip, put on the rubber barrel, moves forward as soon as a second rubber barrel is pressed down on the music strip and fixed. The music strip running between the two rubber barrels can also be seen in the right drawing of Figure 12 (D and F). The music strip is of Leporello-form (folding cardboard) so that it can be stored conveniently in its folded state. When being played, the strip automat.ically unfolds at X and folds again at Y. While it runs on the surface R (right drawing) to the keys, two catchers w (at the letter N) and wÕ unfold two not yet unfolded members of the strip so that only single members move over the keys. The operation of the catchers is demonstrated by the lower catcher w. In the center of the right drawing, three adjacent resonance chambers, the reeds on their bottom side, and valves on their top side can be seen. The valves are connected to the keys by wires. Only one key is drawn here. The keys have their pivot bottom right, and their tip top left below the music strip. A bar h, whose height can be adjusted by screws, presses the music strip down onto the keys. The flap S (top left) can be opened or closed by a lever for different sound volumes. The parts T and R of the case are detach.able or flaps, so that the interior of the case is easily accessible.
Zeitschrift fŸr Instrumenten.bau reported in July 1887 that Mr. ÒPietzschmannÓ had demonstrated the ÒManuphonÓ to wholesalers in Leipzig some days earlier.8787. Zeitschrift fŸr Instrumentenbau (Leipzig, 1886-1887), p. 375.
A detailed article on the instrument a few months later said:
ÒThe sound is beautiful, the melodies most lovely, and what is the main point, the melodies can be played without any shortenings. The shortest piece is longer, much longer than the corresponding one on the Herophon and Ariston. Complete waltzes with all parts, ouvertures, etc. are played without interruption. [É] The advantages of the ÔManopanÕ in comparison to earlier instruments in the area of mechanical music are of quite great weight, as follows from the preceding indications.Ó8888. Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 57.

The Manopan was produced with 24 and 39 notes. There were variants similar to the case of the Herophon. The 24-note model could be purchased with or without Forte-flap, with addi.tional contrabass reeds, or 36 reeds for partially double notes. The 39-note model was available with 39, 78, or 117 reeds. All models except the most simple one could also be purchased with steel reeds. The model with 117 steel reeds was called Excelsior. For Manopans with 24 notes (39 notes) music strips were offered that had either two members with a length of 86 centimeters (130 centimeters), or six members with a length of 172 centimeters (260 centimeters), or consisted of members of 10.8 centime.ters (12.25 centimeters) length and a number of members as required by the music8989. Ernst Holzweissig Nachf., Engros-Preis.liste Ÿber Musikwerke (Leipzig, 1898), p. 144.
(Figure 13).
The Manopan with 39-notes was shown at the Leipzig Easter Fair 1888 for the first time. It was very successful because of its excellent tone and got the nickname ÒGiant-Manopan.Ó9090. Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 261.
The model Excelsior had the dimensions 84 centimeters by 40.5 centimeters by 47 centimeters, and weighed 21 kilograms.9191. Ernst Holzweissig Nachf., Engros-Preis.liste Ÿber Musikwerke (Leipzig, 1898), p. 144.
Zeitschrift fŸr Instru.mentenbau reported in autumn 1888 that supports from wire for the music strips were available lately. They were drawn out from the underside of the case and could hold those parts of the book of folding cardboard which still had to be played or had already been played. In addition, a new model with the name Verdi-Manopan had been launched on the market:
ÒA demand for a big instrument had resulted that did not have the form of an organette, but was a fine piece of drawing-room furniture. This task has been solved by Messrs. Ch. F. Pietschmann & Sšhne. The new Verdi-Manopan is a piece of luxury furniture in form of a cabi.net of nearly one meter height and width. It is tastefully made at all four sides, finely polished black, and decorated with golden engravings. Nothing makes people anticipate that this piece of furniture contains a mechanical musical instrument. When the instrument shall be played, a flap is opened at the left panel. The instrument is drawn out through the opening by c. 7 inches, and the music is put or hung over the protruding part with the keys and reeds in the common fashion. A drawer at the bottom serves for storing the music and the crank. The instrument is equipped with castors and handles similarly like a piano. The music is such powerful that it is suited not only for smaller drawing-rooms, but also for restaurants and balls.Ó9292. Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-1889), p. 64.
(Figure 14)
The Verdi-Manopan was the first step to instruments with still richer equipment that will be described later.
In their patent DRP 39560 from January 1886, Pietschmann & Sšhne described a ÒTrommelleierkastenÓ (barrel organette) that was quite similar to the instrument ÒKallistonÓ manufactured later by Armin Liebmann at Gera. In the Kalliston, a perforated metal strip runs horizontally around the barrel-like headpiece on the chest with the bellows, while the circular ÒendlessÓ music strip of the Pietschmann instrument is stationary, and a barrel-like part with the wind reservoir, the reeds, and the keys rotates inside the music strip. This is reminiscent of the relationship in construction between the Ariston and the Herophon. Remarkably, the patent claims do not comprise the whole design of the instrument, but two constructional details of the lid of the barrel, and the music holder above the keys. The patent became invalid after one year according to ¤ 9 of the Patent Law of 1877 (renunciation or no payment of the fees).9393. Erlšschung von Patenten [Termination of Patents], Zeitschrift fŸr Instrumentenbau (Leipzig, 1886-1887), p. 359.

Two patents regarding accordions must be mentioned. The patent DRP 37324 (1886) suggests a bridge-like handle so that the limitation to valves only on the upper side of the lid of the bellows is lifted, and things like three-voice notes easily become possible. Patent DRP 38812 (1886) suggests several series of reeds instead of a single series. Each series corresponds to a certain key so that different keys can be played by turning the corre.sponding series into the wind channel.
Of course, Pietschmann & Sšhne also participated in international expositions like the International Colonial Exposition 1883 in Amster.dam,9494. Zeitschrift fŸr Instrumentenbau (Leipzig, 1882-1883), p. 319.
the International Exposition in Antwerp 1885,9595. Zeitschrift fŸr Instrumentenbau (Leipzig, 1884-1885), p. 400.
and the International Exposition 1888 in Brussels.9696. Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 326.

The Waldmann Law Suits
Ludolf Waldmann (1840-1919) was a composer and songwriter of popular music who was immensely successful towards the end of the 19th century. As an example, Zeitschrift fŸr Instru.mentenbau printed an article on an ÒOrgan Grinder CongressÓ in Berlin in April 1889 saying:
ÒAs the Berlin local press reports, approximately sixty organ grinders gathered in a pub of the Berlin suburb Schšnhauser Vorstadt the other day in order to consult about their commercial affairs and especially to find a strategy against the rigour of the house owners with regard to the expulsion from houses and courts that increases every year. One of the speakers said that practically no ÔbusinessÕ could be made any longer in the city center because of the obstruction that doors with porters or bells present. Also factories, previ.ously a very profitable place of income for the owners of street organs, were steadily being made less accessible. As another speaker stated, a severe competition were the Ôcourt singersÕ who could visit far more houses per day than the organ grinders, because they could work without expenses and loads. The most interfering group according to the discussion were the boy singers from church charity who had become more abundant recently with money raining down on them by the sackful. One speaker said with the agreement of the assembly that the decay of the operetta had made the business with the barrel organ much less favourable, and that the current melodies were not thrilling any more. The only composer that still caused income to them was Ludolf Wald.mann, whose melodies could be kept on the barrel for two to three years, as the speaker proved statistically.Ó9797. Ein Drehorgelspieler-Congre§ [A Congress for Organ Grinders], Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-1889), p. 276.

Waldmann brought charges against the directors of Fabrik Leipziger Musikwerke in 1885 because of their infringement of the copyright law. He accused them of having punched his very popular hit ÒSuch as you?Ó, also called ÒSwaying Waltz,Ó on Ariston discs without his permit. An essential point was the question of whether the production of the discs had been a reprint in the sense of the copyright law. The defense rejected this, because the music on the discs could not be read easily, and because the discs could not be put on the same level as printed scores but represented a part of the instrument. In addition, no composer had ever complained up to now that his melodies could be listened to on mechanical musical instruments. A court judgement had declared compositions on musical boxes a reprint in France in 1863, but a new law in 1865 had denied that. The International Conference for the Protection of Literary and Artistic Works being in session in Berne, Swit.zerland, had accepted a resolution the year before that declared music on mechanical musical instruments not a copyright infringement. Switzerland had, in fact, arrived at that resolution in order to support its industry of musical boxes. The text of the Berne Convention was published in the German Imperial Law Gazette of 1887 only after the Waldmann law suit. The corresponding passage can be found in the Final Protocol of the Berne Convention, paragraph 3, and said:
ÒIt is understood that the manufac.ture and sale of instruments for the mechanical reproduction of musical airs in which copyright subsists shall not be considered as constituting an infringement of musical copyright.Ó9898. Deutsches Reichsgesetzblatt [German Imperial Law Gazette] (Berlin, 1877), p. 509.

The defendants in the Waldmann lawsuit were acquitted, because they had acted on the basis of an excusable error, though the court judged that the fact of an illegal reprint was fulfilled.9999. Leipzig. (Process wegen Nachdrucks. [Law Suit for Pirated Edition]) Zeitschrift fŸr Instrumentenbau (Leipzig, 1885-1886), p. 47.

The firm Pietschmann was involved in a long lawsuit versus Waldmann up to the eighth instance. Pietschmann sued Waldmann requiring that he should acknowledge he was not legally permitted to forbid the produc.tion of perforated discs with his music at the Pietschmann factory.100100. Eine wichtige Frage fŸr die Fabri.kanten mechanischer Musikwerke [An Important Issue for the Manufacturers of Mechanical Musical Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-1890), p. 72.
During the first instance, an expertÕs report called music on perforated cardboard reprints in the sense of the copyright law. The expert even visited the disc production department of the firm. According to his description printed in the ruling of the Imperial Court appealed to in third instance, the music was first written in the form of individually made holes in a metal disc whose hole pattern was afterwards transferred to the cardboard discs by a machine. Only one disc was produced each time, but the machine could punch three or more discs simulta.neously, depending on the machineÕs size.101101. Reichsgerichts-Entscheidung, wegen VervielfŠltigung musikalischer Compositionen durch Herstellung von Notenscheiben zu mech.anischen Musikwerken (Herophon) [Decision of the Imperial Court on the Reproduction of Musical Compositions by Manufacture of Musical Discs for Mechanical Musical Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-1889), p. 312, 326 and 338.
The expert considered that the law protected a work not only against reproduction in the form of prints, but against every reproduction, even though the technical designa.tion ÒprintÓ was used in the law. The
Pietschmann firm lost the case.
In the second instance, a professor of the Royal Technical College of Berlin was appointed as expert. He noticed by investigation of the Herophon and Ariston that both instruments had 24 keys with identical spacing and equal tonal scale. According to his opinion, the discs of the Herophon could also be used for the Ariston with relatively small changes, and the discs could be transcribed to common sheet music for the piano. The discs, therefore, did not represent an integral part of the instrument in contrast to unex.changeable barrels. Yet, the Berne Convention granted an exception from the copyright only to a musical instrument, not to a separate storage medium. If the musical information could be read from this medium simi.larly as from sheet music, this was a reprint.102102. Ibidem.

The Pietschmann firm lost the suit not only in the first two instances, but also at the Imperial Court that rejected the appeal on Dec. 19, 1888. The court enlarged in detail upon the history of the Berne Convention from which it derived the restriction of the copyright only in the case of barrel instruments.103103. Ibidem.

In September 1889, Waldmann sued the directors of Fabrik Leipziger Musikwerke again, because they had punched his great hit ÒLittle Fisher.maidÓ and further songs on Ariston discs in spite of his express refusal. The Leipzig Court Journal printed some smug remarks on this lawsuit:
ÒÔLittle FishermaidÕ in a big trial. The great hall of the District Court in Leipzig showed quite a musical character on the 19th of last month [19 September 1889]. In front of the JudgeÕs bench, a piano had been placed. Several of the most modern mechanical musical instruments from Leipzig stood on a table, from the Aristonet [correctly Aristonette, a small Ariston with 19 instead of 24 notes] to the Herophon. A musical celebrity sat on the chair of the expert, and in the witness box even one of the most popular folk song composers was present, provided that sobstuff like ÔThink about, my LoveÕ and ÔOnce upon a time a FishermaidÕ can be assigned the proud name Ôfolk songs.Õ [É] During the lawsuit, even the musical expert, who considered the illegal reprint to be accomplished, said that the song composer did not suffer any damage by the copies of his compositions, but on the contrary even gained advantages. The expert explained this with an example. ÔToday somebody hears a melody that he likes being played on an Ariston, and tomorrow or the day after tomor.row he goes to the bookseller, and buys the sheet music in order to be able to play the melody on his piano.ÕÓ
The defendants referred to the Berne Convention according to which they had been entitled to the reprint, as their lawyer and a well-known Leipzig expert had told them. The expert of the court however argued that the respective regulation of the Berne Convention was only valid for barrel instruments. The defendants were acquitted because of an excus.able legal error. The discs with the songs had to be retracted.104104. ÒDie kleine FischerinÓ in einem gro§en Processe [ÒThe Little FishermaidÓ in a Big Law Suit], Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-1890), p. 21.
After his successes versus Ehrlich and Pietsch-mann that confirmed the reprints as illegal and culminated in the judge.ment of the Imperial Court against Pietschmann, Waldmann wrote a brochure on his processes versus the manufacturers of mechanical musical instruments, for which he advertised in Zeitschrift fŸr Instrumentenbau (Figure 15).
After the criminal proceeding had ended without serious consequences for Ehrlich, Waldmann claimed damages, provisionally 2,000 Mark, in the Leipzig District Court, though he maintained that the enrichment of the defendant by the sale of discs with his melodies amounted to 95,000 Mark. Ehrlich specified his profit as just 400 Mark, 3 to 4 Pfennig per disc (100 Pfennig = 1 Mark). During the process, it became known that Waldmann had given Ehrlich the permit for the use of his waltz ÒSuch as youÓ for a one-time fee of 500 Mark in 1885. Yet Ehrlich had sold further compositions of Waldmann on discs. According to the business records, 11,530 specimens of ÒLittle Fishermaid,Ó 5,321 specimens of ÒSuch as you,Ó and overall 1,166 specimens of three further titles of Waldmann had been punched. An expert calculated a damage of 4,443.60 Mark suffered by Waldmann under the assumption that each disc had been responsible for the omitted purchase of one specimen of the corresponding sheet music, because the buyer had read the music from the disc. However, as this assumption was unrealistic in view of similar prices of discs and sheet music, and in view of the difficult decoding of the discs, the damage had practically been zero. Waldmann based his calculation on the profit of the defendant. The court pointed out to the fact that the plaintiff was not entitled to a share in the profit of EhrlichÕs factory, but only to a compensation of the damage suffered. Because the expert had negated any damage, the claim was rejected.105105. Proze§ Ludolf Waldmann wider die Fabrik Leipziger Musikwerke [Law Suit Ludolf Waldmann versus Fabrik Leipziger Musikwerke], Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-1890), p. 409, 422, 434.
An appeal by Waldmann in the Higher Regional Court in Dresden was unsuccessful.106106. Einigkeit macht stark [Unity Renders Strength]. Zeitschrift fŸr Instrumentenbau (Leipzig, 1890-1891), p. 279.
The opinion delivered by musical experts in this revision process analyzed the annual sales figures of the sheet music of WaldmannÕs compositions in detail, and concluded that the dissemination of his music by mechanical musical instruments had not done any damage to the sale of the sheet music.107107. Ein Obergutachten des musika.lischen SachverstŠndigen-Vereins fŸr das Kšnigreich Sachsen betr. die Wiedergabe von Kompositionen auf mechanischen Musikw.erken [A Superior ExpertÕs Opinion of the Society of Musical Experts in the Kingdom of Saxony with Regard to Compositions on Mechanical Musical Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1892-1893), p. 795.

The composer was unsuccessful in his claim versus the firm Wilhelm Spaethe of Gera both in the District Court of Gera and the Higher Regional Court of Jena. The latter court raised concerns about the legal position of the Imperial Court and determined that the cylindrical metal sheets with punched elevations of SpaetheÕs reed organette ÒClariophonÓ could by no means replace a written work and compete with the sheet music by Waldmann. Yet the Imperial Court, in its judgement of Jan. 31, 1891, held to its legal position already adopted in the suit Waldmann versus Pietsch-mann that the Berne Convention was not applicable to mechanical musical instruments with removable music medium, and that intellectual property had to be protected.108108. Proze§ Waldmann contra Spaethe in Gera [Law Suit Waldmann versus Spaethe in Gera], Zeitschrift fŸr Instrumentenbau (Leipzig, 1890-1891), p. 283.
Otto Spaethe, therefore, drafted a petition to German Parliament, with the support of
Pietschmann and the four most important Leipzig manufacturers of mechanical musical instruments, and sent the draft to all German firms in the field of mechanical music for signing.109109. An die Fabrikanten mechanischer Musikwerke DeutschlandÕs! [To the Manufac.turers of Mechanical Musical Instruments in Germany!] Zeitschrift fŸr Instrumentenbau (Leipzig, 1890-1891), p. 263.

Up to now Waldmann had finally always won his cases, yet he had been unsuccessful in getting finan.cial compensation, because the maintained damage had been diffi.cult to prove. On Dec. 31, 1891, the composer failed with his claim against the Fabrik LochmannÕscher Musikw.erke, manufacturer of the disc musical box Symphonion, in the District Court of Leipzig. The judges described the history of the Berne Convention in depth, which, according to their opin.ion, had not been understood correctly by the Imperial Court. They rejected a judicial interpretation of the text on mechanical musical instruments from the Berne Convention in the sense of a restriction to instruments with unex.changeable barrels, because neither the text nor the history allowed that. Only the lawmakers could decide differently.110110. Eine fŸr Fabrikanten mechanischer Musikwerke wichtige Entscheidung des Kgl. Landgerichts zu Leipzig [A Decision of the Royal Superior Court of Leipzig, Important for the Manufacturers of Mechanical Musical Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1891-1892), p. 309, 326, 344.

Waldmann also sued the Leipziger Musikwerkefabrik ÒPhšnixÓ, Schmidt & Co.111111 Proze§ Ludolf Waldmann wider die Fabrik Leipziger Musikwerke [Law Suit Ludolf Waldmann versus Fabrik Leipziger Musikwerke], Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-1890), p. 409.
Yet his claim was rejected. In a counterclaim, the sued firm could even obtain the judicial assessment that the composer did not have the right to forbid the sale of the zink rings with his compositions.112112 Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-1890), p. 434, right column, bottom.

Waldmann intended to claim royal.ties amounting to 120,000 Mark from the firm Pietschmann, even though he maintained to be in fact entitled to claim 700,000 Mark. Pietschmann published in the press that the firm had no longer sold any discs with compositions by Waldmann after the judgement of the Imperial Court, and that the profit from the sale of such discs from 1884 to 1888 amounted to 2,000 Mark according to the business records. He added that the business with discs was not influenced by the judgement of the Imperial Court in general, because

Òthe composers and publishers verifiably not only like to concede their compositions to our free usage, but even on their own initiative ask us to provide their compositions the desired dissemination on the world.wide exported musical instruments of our factory.Ó113113. Eine wichtige Frage fŸr die Fabri.kanten mechanischer Musikwerke [An Important Issue for the Manufacturers of Mechanical Musical Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-1890), p. 72.

Waldmann provisionally claimed 10,000 Mark from the Pietschmann firm in the District Court of Berlin. The judgement of Nov. 25, 1890, awarded Waldmann damages of 5,400 Mark, although the experts had estimated a damage of 1,400 Mark.114114. Waldmann contra Pietschmann [Waldmann versus Pietschmann], Zeitschrift fŸr Instrumentenbau (Leipzig, 1891-1892), p. 609.
Both parties appealed to the Higher Regional Court that on May 28, 1891, set the damage for 11 disc titles sold by
Pietschmann equal to the profit gained with the discs. Waldmann appealed to the Imperial Court. On Dec. 10, 1891, the limitation of the damage to the profit that Pietschmann had made with the discs was canceled, and the matter was remitted to the Higher Regional Court for a renewed assessment of the damage.115115. Proce§ Waldmann contra Pietschmann [Law Suit Waldmann versus Pietschmann], Zeitschrift fŸr Instrumentenbau (Leipzig, 1891-1892), p. 529.
That court awarded damages of 5,400 Mark to Waldmann, as already in its earlier assessment before the appeal to the Imperial Court.116116. Waldmann contra Berliner Musikin.strumenten-Fabrik [Waldmann versus Berliner Musikinstrumenten-Fabrik], Zeitschrift fŸr Instrumentenbau (Leipzig, 1894-1895), p. 112.
The legal costs that Pietschmann had to pay amounted to 8,000 Mark, mainly because of the numerous experts. The opinion of one of them had only been ready after 18 months. After this seventh instance, Pietschmann again appealed to the Imperial Court, yet it rejected the appeal.117117. Proze§ Waldmann contra Pietzschmann [Law Suit Waldmann versus Pietzschmann], Zeitschrift fŸr Instrumenten.bau (Leipzig, 1894-1895), p. 517.

Figure 16 shows an advertisement of Berliner Musik-Instrumenten-Fabrik dated February 1893, in which discs for the Manopan and Herophon with a parody of the Waldmann title ÒLittle FishermaidÓ are offered, including a sheet with the text of the parody. This product of his firm may have much enjoyed Ferdinand Pietschmann, while Ludolf Waldmann will have seen the parodies on his earworm circulat.ing among the people with irritation, because he as composer and song.writer had to endure the replacement of his lyrics by concoctions. The two parodies known to the author are, however, harmless. Incidentally, it is amusing to know in connection with unlawful reprints that Waldmann let himself be inspired by the poem ÒDas flotte HerzÓ (The Floating Heart) by Wilhelm MŸller (1794-1824), the song.writer of Franz SchubertÕs ÒDie schšne MŸllerinÓ and ÒWinterreise.Ó The first two lines of the refrain in the text of WaldmannÕs ÒLittle FishermaidÓ can be found nearly verbatim in the text by MŸller.
The jurisdiction of the German Impe.rial Court infuriated the manufacturers of mechanical music all the more so, because the courts in France judged quite differently. A lawsuit of French publishers versus the manufacturer Thibouville of Paris in the hope of similar results as in Germany ended on Aug. 7, 1893, with the rejection of the claim.118118. Eine fŸr die Fabrikanten mechanischer Musikwerke wichtige Entscheidung eines franzšsischen Gerichtshofes [A Decision of a French Court with Importance for the Manu.facturers of Mechanical Musical Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1892-1893), p. 762.
On Jan. 9, 1895, a French court rejected the action of a syndicate of French music publishers versus the firm Jacques Ullmann Successeur in the second instance. The opinion of the court was based among other things on the problems of reading the punched music and its higher price as compared to sheet music so that the discs and strips could not effectively compete.119119. Eine fŸr Musikwerkefabrikanten wichtige Entscheidung eines franzšsischen Gerichtshofes [A Decision of a French Court with Importance for the Manufacturers of Mechanical Musical Instruments], Zeitschrift fŸr Instrumentenbau (Leipzig, 1894-1895), p. 296.

The lobbying work of the Society of German Manufacturers of Mechan.ical Music founded by Otto Spaethe specifically for this purpose120120. Albert Lštz, Musikwerke mit Hei§luft.motor, Kapitel II: Das Piano Melodico [Mechanical Musical Instruments with Stir.ling Motor, Chapter II: The Piano Melodico], Das Mechanische Musikinstrument No. 124 (Baden-Baden, 2015), p. 11.
led to a change of the Copyright Law in 1901.121121. Deutsches Reichsgesetzblatt Nr. 27 [German Imperial Law Gazette] (Berlin, 1901), p. 227.
Paragraph 22 said:
ÒThe copy is permitted, if a published composition is transferred to discs, plates, barrels, strips and similar parts of instruments that serve for the mechanical reproduction of musical pieces. This regulation also applies to exchangeable parts, if they are not used for instruments by which the piece can be played like an individual performance with regard to loudness and duration of the tone and with regard to the tempo.Ó
This meant that the use of compo.sitions on mechanical musical instruments, also discs, strips etc., was free, however with the restriction that instruments on which a personal interpretation of the music was possi.ble were excluded. This exception was known as the ÒPianola Clause.Ó There was no such clause in the Austrian and Swiss law.122122. A. Ecker, Die mechanische Wiedergabe von Tonwerken in Deutschland, …sterreich und der Schweiz [The Mechanical Reproduction of Musical Compositions in Germany, Austria, and Switzerland], Zeitschrift fŸr Instrumenten.bau (Leipzig, 1909-1910), p. 529.

In 1908, a revised Berne Convention was formulated among the partic.ipating states on an international conference in Berlin. The previous privilege of mechanical music ended. According to ¤ 12 of the German Imperial Copyright Law adapted accordingly and promulgated in 1908, the transfer of a composition to mechanical musical instruments was at the authorÕs discretion, except that he could not grant an exclusive permit to anyone in order to avoid monopo.lies (¤ 22).123123. Reichsgesetz zur AusfŸhrung der revidierten Berner †bereinkunft zum Schutze von Werken der Literatur und Kun st vom 13. Novbr. 1908 [Imperial Law for the Execution of the Revised Berne Convention for the Protection of Works of Literature and Art of 13 November 1908], Zeitschrift fŸr Instrumenten.bau (Leipzig, 1909-1910), p. 963.

Figure 1: Share prices of Berliner Musik-Instrumenten-Fabrik, formerly Ch. F. Pietschmann & Sšhne (listed in the Berlin Stock Exchange Journal as ÒPietschmann MusikÓ). Only the prices on the first and 15th of each month, or, alternatively, prices paid on neighboring days were taken into account. Sometimes after 1892, there were no sales of these shares for weeks, and later, after the introduction of prefer.ence shares, for months. In these cases, the prices immediately before and after the periods of no sales were connected by straight lines. (Drawing by the author.)

Figure 2: The old Berlin districts Cšlln (top left on the island surrounded by the river Spree and a ship canal) and Luisenstadt on a modern map (©OpenStreetMap, openstreetmap.org/copyright). The additions of the Author in red are no longer exis.tent street names and churches of the 19th century. They can be found on a map of the guide-book Baedeker of 1877. The red street numbers mark houses connected to the history of the Pietschmann firm. Their position was obtained from the Berlin directories listing the houses and their inhabitants for each street, and the asso.ciated cross-roads. Kirche=church, Platz=place, Schule=school, Stra§e=street, U=underground station, Ufer=embankment.

Figure 3: The members of the Pietschmann family with their biographical data (yellow, main Christian name underlined), and their network of companies (green). Bold lines connect the main firms and their owners. (Drawing: Author) Ab=from, bis=until, Familie=family, Inh.=Inhaber=principal, vorm.=vormals=formerly, geb.=geborene=nŽe.

Figure 5: An advertisement by the firm C. Pietschmann, principal A. Mehlmann, from the year 1885 in Berlin Daily Newspaper.11. Berlin Daily Newspaper [Berliner Tage-blatt], 1 December 1885, morning issue, no page number, second supplement.
(Staatsbibliothek zu Berlin Preu§ischer Kulturbesitz [State Library of Berlin Prussian Cultural Possessions], available on the internet pages of the library). The advertisement reads:
ÒOrganette. Improved Melodionette, (Imperial German Patent), On account of a big transaction with the factory, I can offer the Melodionette for 27.50 Mark including 6 pieces of music. Shipment with cash on delivery, however exchange willingly. Size 42 centimeters. The music is set on small barrels that can be inserted through an opening. A few hundred pieces of music available that can be played on the Melodionette. Free list. A. Mehlmann, music export, Berlin, Ro§str. 30a.Ó

Figure 4: Advertisements by C. Pietschmann,11. Kladderadatsch, 2 February 1868, supplement.
Ch. F. Pietschmann,22. Kladderadatsch, 13 December 1868, second supplement.
and Ch. F. Pietschmann & Sšhne33. Kladderadatsch, 19 December 1869, third supplement.
in the weekly magazine of political sat.ire ÔKladderadatschÕ (University Library Heidelberg, Kladderadatsch (1844-1944) digital, http://kladderadatsch.uni-hd.de)
Top: The steam-powered harmonica factory C. Pietschmann in Berlin, Alte Jacobsstr. 69 and Ro§str. 30 a, recom.mends the best and biggest harmonicas of all sorts with honest and quick deliv.ery. Center: The harmonica factory Ch. F. Pietschmann, Annenstra§e 25, rec.ommends its richly assorted products of harmonicas of all sorts, also entirely novel ones with tremolo sound, as well as barrel organs for children. Bottom: The harmonica factory Ch. F. Pietschmann & Sšhne in Berlin, Brunnenstrasse 28, rec.ommends its products of all sorts, with buttons as well as with keys, also with carillon.

Figure 6: The premises 28 Brunnenstra§e and 45 Fehrbelliner Stra§e today. (© Berlin Partner fŸr Wirtschaft und Technologie GmbH [Berlin Partner for Business and Technology Ltd], , with kind permission).

Figure 7: Advertisement by Ch. F. Pietschmann & Sšhne in the Berlin Directory of 1874. Digitised by Zentral- und Landesbibliothek Berlin [Central and City Library of Berlin], 2002. URL: nbn-resolving.de/urn:nbn:de:kobv:109-1-395301.

Figure 8: The Seraphon (1877) of the firm Pietschmann. (Bavarian State Library, //digipress.digitale sammlungen.de, //creativecommons.org/publicdomain/mark/1.0/)11. Allgemeine Zeitung [General Newspaper] (Augsburg), 13 August 1877, p. 3391.
The advertisement reads:
ÒCh. F. Pietschmann & Sšhne, steam-powered harmonica factory, Berlin, Brunnenstra§e No. 28. New! New! Seraphon, newly invented musical instrument for the drawing-room, with organ-like, harmonic sound, patented in all states. It takes just one hour to learn its playing, only one single playing knob. Price 30-200 Mark. Ð We also recommend our specialties of harmonicas, organettes, mouth-organs, and other musical instruments.Ó

Figure 9: The melodion with exchangeable barrel from patent DRP 24073 (1883) by Pietschmann. Deutsches Patent- und Markenamt (German Patent Office) Munich, online at https://depatisnet.dpma.de/DepatisNet/.

Figure 10: Obituary for Christine Friederike Pietschmann.11. Berlin Daily Newspaper, 21 March 1889, morning issue, fourth page (no page number.ing), first column.
A similar obit.uary by the office personnel appeared in the same newspaper.22. Berlin Daily Newspaper, 22 March 1889, morning issue, fourth page (no page number.ing), first column.
(Staatsbibliothek zu Berlin Preu§ischer Kulturbesitz [State Library of Berlin Prussian Cultural Possessions], available on the internet pages of the library). It says:
ÒWith loyal devotion and gratitude the undersigned dedicate this obitu.ary to the foundress of the firm Ch. F. Pietschmann & Sons, Mrs. Christine Friederike Pietschmann. She was called by God to a better life on the 14th of this month after a long and severe dis.ease. May the earth be light to her, who, revered by all, has always been a care.ful and affectionate employer for her workers. We will always keep a vener.ating and thankful memory in our hearts for her who is now asleep. The foremen of the firm Ch. F. Pietschmann & Sons, Berlin, March 1889.Ó

Figure 11: The mechanism of the Herophon (patent drawing DRP 24074, 1883). Deutsches Patent- und Markenamt [German Patent Office] Munich, online at https://depatisnet.dpma.de/DepatisNet/.

Figure 12: The ÒManopan,Ó patent DRP 42203 of the firm Ch. F. Pietschmann & Sšhne. German Patent Office, https://depatisnet.dpma.de/DepatisNet/.

Figure 13: The Herophon and the Manopan in an advertisement of the firm G. Martienssen. An ÔendlessÕ music has been inserted in the Manopan.11. Zeitschrift fŸr Instrumentenbau (Leipzig, 1887-1888), p. 89.
(Staatliches Institut fŸr Musikforschung (Berlin) Preu§ischer Kulturbesitz [State Institute for Music Research (Berlin) Prussian Cultural Possessions], on the internet pages of the institute under the licence CC-BY-NC-SA 3.0 DE, www.simpk.de/bibliothek/digital.isierte-bestaende/zeitschrift-fuer-instrumentenbau.html). The advertisement reads:
ÒManopan! Newest Musical Instrument. Drawing-room Herophon. New, with sound flap. The Pietschmann Manopan offers cheapness, elegance, and beautiful sound, but in addition the advantage of playing musical pieces of any length without interruption. Complete waltzes, medleys or overtures can be played. The music is punched on endless and also folding cardboard strips. The longer the music, the more folds.
The drawing-room Herophon is a new instrument with especially strong sound and two sound flaps, by which the sound can be changed to very low or very high vol.ume. The case is quite fine and decorated with golden engravings.
A Manopan or common Herophon with packing-case and music list but without music costs 29.50 Mark. A drawing-room Herophon with the same accessories 34.50 Mark. A Herophonette (Herophon for children) with packing-case but with.out music 23 Mark. Music for the Manopan or Herophon, each one 1 Mark. Long pieces correspondingly more. Music for the Herophonette, each one 0.80 Mark. G. Martienssen & Co., Berlin, Friedrichstrasse 194, at the corner Leipzigerstrasse.Ó

Figure 14: Advertisement for the Verdi-Manopan. On the left side, not the Verdi-Manopan but a standard Manopan is depicted, on the right side a Herophon can be seen.11. Zeitschrift fŸr Instrumentenbau (Leipzig, 1888-1889), p. 68.
(Staatliches Institut fŸr Musikforschung (Berlin) Preu§ischer Kulturbesitz/more information in the caption of Figure 13). The advertisement above reads:
ÒManopan! Herophon! Herophonettes! The Manopan is the only cheap organette that can play unlimitedly long pieces of music. The Manopan plays short pieces up to the longest overtures. The music is punched on endless or folded cardboard strips.
New: Verdi-Manopan, being a luxurious piece of furniture from which the musical instrument is partially drawn out. New: Music support, can be mounted on each Manopan, intended to carry the folding cardboard music. In addition, we recommend Herophons with Victoria reeds, Herophons with sound flaps for drawing-rooms, Herophonettes for children. Can be purchased at all major merchants of musical instruments. Each kind of instrument is delivered with a list of more than 3,000 dif.ferent music pieces. Chr. F. Pietschmann & Sšhne, Berlin, Brunnenstrasse 28a.Ó

Figure 15: Advertisement by Waldmann in Zeitschrift fŸr Instrumentenbau.11. Zeitschrift fŸr Instrumentenbau (Leipzig, 1889-90), p. 40.
(source: Staatliches Institut fŸr Musikforschung (Berlin), more infor.mation in caption of Figure 13). The advertisement above reads:
ÒOf highest importance for the whole music and instrument trade. Ludolf WaldmannÕs lawsuit versus the facto.ries of mechanical musical instruments. Final judgement of the Imperial Court. Highly interesting brochure, also for laymen, will appear at the end of this month, and will only be available in a limited number of specimens. Please order in time for the determination of the circulation. L. Waldmann, Law Suit versus the Factories of Mechanical Musical Instruments. Price 1 Mark cash. L. WaldmannÕs Publisher, Berlin W., Taubenstr. 37Ó.

Figure 16: Advertisement by Berliner Musik-Instrumenten-Fabrik for discs and strips, among them (sixth title of the list) a parody on WaldmannÕs ÒLittle Fishermaid.Ó11. Zeitschrift fŸr Instrumentenbau (Leipzig, 1892-1893), p. 366.
(Staatliches Institut fŸr Musikforschung (Berlin), more information in caption of Figure 13). The advertisment above reads:
ÒCompletely new! Just appeared: music for Manopan and Herophon. Under the Double Eagle, march by Wagner. Why? (That is Love), song by Lorenz. Stork-March by Lincke. For Emperor and Fatherland, march by M. v. Weinzierl. Starhemberg-March by Schulz. The Little Fishermaid (parody), waltz-song with supplementary text. My Little Dove, mazurka by Hugo Venus. Happiness of Love, gavotte by Thormann. Love-Dream after the Ball, Intermezzo by Czibulka. Selina-March by Brandt. Do not Cry, waltz by Lincke. Available in all shops for musical instruments.Ó

Reprinted with permission
This article originally appeared in Das Mechanische Musikinstrument, the journal of the Society for Self-Playing Musical Instruments, Germany. It was printed in Volume 43, No. 130, December 2017. Translated by and reprinted with the kind permission of the original author, Dr. Albert Loetz.

MBSI Mid-Year TrusteesÕ Meeting Minutes

Board of Trustees members from top row left to right: Mary Ellen Myers, Dave Calendine, Vice President Matt Jaro, President David Corkrum. Second row left to right: Ed Cooley, Bob Caletti, Immediate Past President Tom Kuehn, Richard Dutton. Bottom row: Rich Poppe.

Mar. 17, 2023
These minutes will become official when approved and voted upon during the annual meeting of the MBSI Board of Trustees in St. Paul, MN.
The Mar. 17, 2023, MBSI Mid-Year TrusteesÕ Meeting held via Zoom and telephone was called to order by Pres.ident Corkrum at 9:12 a.m. PDT. The following trustees and officers were present:
¥
President David Corkrum

¥
Vice President Matt Jaro

¥
Treasurer Edward Kozak

¥
Recording Secretary Linda Birkitt

Trustees
¥
Dave Calendine

¥
Bob Caletti

¥
Edward Cooley

¥
Richard Dutton

¥
Thomas Kuehn

¥
Mary Ellen Myers

¥
Rich Poppe

Additionally, Rick Swaney, Russell Kasselman, Judy Caletti and Sally Craig were in attendance. President Corkrum welcomed the group.
Nine of nine present satisfied the quorum requirement. Recording Secretary Birkitt asked if there were any additions, corrections, or dele.tions to the minutes of the August 2022 meeting. These minutes had been published in Mechanical Music Vol. 68, No. 6. Trustee Dutton moved, and Trustee Calendine seconded that the minutes of the August 2022 meeting as published in Mechanical Music be accepted as printed. Motion carried.
Board Actions were discussed. The Marketing Committee will contribute $400 to the Wonders of Mechanical Music as soon as the exact name of the payee is obtained.
Vice PresidentÕs Report
The vice president is responsible for coordinating the annual awards. Vice President Jaro reported that this was completed. Vice President Jaro also noted that updating various committee reports, the policies and procedures Manual and the society bylaws was completed. A Guidestar report for the IRS was completed and ongoing advice was given to all committees. The report to the Board of Regents of the University of New York is in the process of being completed. The report was received.
TreasurerÕs Endowment
Fund Report
Treasurer Kozak reported that the Endowment Fund balance was $162,460. The Endowment Interest Earned Fund showed a balance of $43,741. Two-thirds of that ($29,161) is available currently for projects or programs.
Treasurer Kozak noted that adding check boxes to the 2024 annual meeting registration forms indicat.ing whether the attendee is a MBSI member, an AMICA member, or a member of both organizations would be helpful for statistical analysis in the future. This issue will be discussed with AMICA meeting planners Frank Nix and Paul Hempel. The report was received.
TreasurerÕs Finance Report
Treasurer Kozak reported that the MBSI fund balance has decreased by $16,277. The main differences between actual and budgeted items include:
1) Interest income was less than budgeted by more than $3,600;
2) Donations were over budget by about $7,500 mostly due to the Piedmont Chapter dissolving;
3) Advertising revenue was under budget by $2,000;
4) Expenses were under budget by about $15,600 as both the trans.portation budget ($4,000) and the restoration budget ($5,000) were not utilized.
The main items of revenue and expenses were:
1) Declining dues revenue to $63,909;
2) Loss for convention $319;
3) Publishing revenue of $17,902 and publishing expense of $80,378;
4) Accounting, tax preparation and administrative expense totaling $36,699.
Non-endowment certificates of deposit and a money market deposit totaled $525,000 and $11,172 respec.tively on Dec. 31, 2022. Maturities of the laddered certificates are as follows:
2023 Ñ $205,000;
2024 Ñ $230,000; and
2025 Ñ $90,000.
Dues revenue declines may hinder operations, Treasurer Kozak noted. In March 2023, a request was made to the trustees to review the approved budget of 2023 for any changes. The budget projects a deficit of $24,416. A listing of amounts greater than $1,000 paid to vendors in 2022 is available. The name of the payee will be corrected for the Wonders of Mechanical Music contribution of $400.
Membership has continued to decline in the last six years by 4.3 percent on average. The dues rate has been increased by $10 for 2023.
President Corkrum moved that the 2023 MBSI budget be approved. The motion was seconded by Vice Pres.ident Jaro. The motion passed. the report was received.
AdministratorÕs Report
The report was presented by Presi.dent Corkrum. As of Jan. 2, 2023, there were 937 U.S. members, 16 Canadian members and 87 Other International members. The average membership from January to October 2022 was 1,042. There has been a 4.4 percent (48 member) decrease in membership for 2022. The report was received.
Audit Committee Report
Trustee Cooley, chair of this committee, reported the MBSI Audit Committee was first established at the 2014 MBSI Annual Meeting to comply with New York state statutes and regulations that govern the society. Cinda Rodgers, CPA, has become MBSIÕs new accountant. She recommended Jerry Mitchell as her possible replacement to perform the MBSI annual independent accountant review. Trustee Cooley and Treasurer Kozak conducted a conference call to meet Mr. Mitchell. A speciality of his practice is nonprofit groups. An agreement was reached for him to do the 2022 review. An engagement letter has been sent.
The MBSI net membership revenue for an average of 1,042 members during the period of January 2022 to September 2022, was $63,849. Using the 2022 membership data (90.07 percent U.S., 1.6 percent Canada and 8.33 percent Other International) the total estimated revenue given these assumptions would be $63,420. This difference amounted to +0.68 percent. This reported variance is extremely close to the actual membership reve.nue. The report was received.
Museum Committee Report
Committee chair Sally Craig reported there were no new dona.tions, loans or loan requests in the last six months. All museums with which MBSI has alliances are hosting tours and attendance is increasing. The societyÕs displayed instruments are being used for educational purposes at the MIM (Musical Instruments Museum), ATT (American Treasure Tour), as well as our other museums. ATT donates space to store MBSI instruments, thanks to Ginny and Jerry Fry, and the MIM takes instruments to local schools to introduce children to the wonders of mechanical music.
The Museum Committee asked to address the extension of a loan of discs donated by Barry Johnson for digital scanning to MBSI member Jonathan Hoyt. A letter from then President Kuehn to Bob Caletti dated Mar. 26, 2020, described a project to perform disc digitization by Mr. Hoyt. The loaned items were scheduled to be sent back to ATT by Mar. 26, 2023, but have not yet been returned.
Trustees were asked either to consider requesting that the loaned items be returned or consider extend.ing the loan, or to formulate another solution. Any revised loan documents would need to be signed.
President Corkrum recommended MBSI use new loan documents with a two-year limit. Mr. Hoyt has requested an additional three-year loan to complete the digitization. Trustee Caletti noted that the discs could be digitized but are not playable. Trustee Caletti said the masters are rusty and not useful to anyone. Trustee Myers asked that Mr. Johnson be notified verbally and in writing that not all of his discs were sent to ATT and some are currently being digitized.
Trustee Calendine moved and Vice President Jaro seconded that MBSI give the discs to Mr. Hoyt and let him decide what to do with the discs after he has digitized them.
Much discussion ensued. The motion carried. Chair Craig will write a letter to Mr. Johnson to report on the results of the trusteesÕ vote. The report was received.
Marketing Committee Report
Chair Judy Caletti reported that society membership grew last quarter from 939 to 1002.
The committee has developed a program for mechanical music dealers and restorers to encourage them to promote MBSI to their customers. The editor will be emailing the program out to a targeted list of recipients.
As part of the marketing campaign to promote the half-price new membership program, the committee has placed a full-page announcement in recent issues of Mechanical Music.
Three testimonial videos were created for the website. One is already on the site and the other two will be added during the website update. The report was received.
Meetings Committee Report
Vice President Jaro, chair of this committee, reported that the 2023 MBSI Annual Meeting will be held in St. Paul, MN, and led by Trustee Kuehn and Snowbelt Chapter Chair Tracy Tolzmann. Approximately 75 people are expected to attend.
In 2025 the Lake Michigan Chapter is slated to host the annual meeting. Vice President Jaro reported he is confirming this with Lake Michigan Chapter Chair Marty Persky.
In 2026 Glenn Thomas will be in charge of a joint MBSI/AMICA conven.tion with AMICA taking the lead. The meeting will be held in Princeton, NJ.
In 2027 the Mid-America Chapter will host the annual meeting. The 2028 meeting will be hosted by the National Capital Chapter.
Vice President Jaro noted that as the future president of MBSI he will not be able to chair the Meetings Committee. Rich Poppe will take over as chair of this committee for the next two years. The report was received.
President Corkrum noted that committee chairs should ensure all positions are filled prior to the annual meeting. Committee chairs will need to be voted on at the annual trustee meeting.
Nominating Committee Report
Chair Judy Caletti submitted the following slate of officers and trustees for board approval:
¥
Trustees Caletti, Corkrum and Jaro are nominated for a second four-year term

¥
Trustee Poppe is nominated for his first four-year term as trustee

¥
Trustee-Elect Richard (Rick) Swaney is nominated for his first four-year term as trustee

¥
Trustee Jaro is nominated as president

¥
Trustee Bob Caletti is nominated for his first one-year term as vice president

¥
Treasurer Kozak and Recording Secretary Birkitt are each nomi.nated for an additional one-year term

Trustee Calendine moved, and Trustee Cooley seconded that the slate of trustees and officers submit.ted by the Nominating Committee be approved. The motion carried.
A submission for the Darlene Miri.janian Award was reviewed by this committee and forwarded to the vice president for approval. The report was received.
Special Exhibits Committee Report
Trustee Myers, chair of this commit.tee, reported that efforts to recruit new members to the Special Exhibits Committee have been futile.
Trustee Myers said the Southeast Chapter did host an event called Camp Village where grandparents and grand.children made music boxes together at The Villages, FL. The Southeast Chapter also held an organ rally in Dahlonega, GA, led by Craig Darlak. An annual Christmas Holiday Show in The Villages, FL, was successful as well. The report was received.
Publications Committee Report
Trustee Bob Caletti, chair of this committee, said both editor Russell Kasselman and Website Subcommit.tee Chair Rick Swaney are working on a major update to the MBSI website.
The editor reports that the volunteer proof-reading team is invaluable in the production of Mechanical Music which continues to receive accolades for its high-quality content.
President Corkrum noted that the cost of producing the societyÕs publi.cation is as problematic as keeping and gaining membership.
The committee continues to adver.tise the half-price membership offer in the journal and on the website. The committee has selected a candidate for the Q. David Bowers literary award.
The committee has begun exchang.ing membership advertising with a new publication called Automata Magazine (https://automatamagazine.com/) which publishes four issues a year. The report was received.
EDITOR/PUBLISHER REPORT
Editor Kasselman reported the average number of advertising pages declined to 16 percent of the total pages printed between May/June 2022 and March/April 2023.
The percentage of advertising pages in each issue for the past 12 months is as follows:
¥
17.83 percent (May/Jun. 2022)

¥
23.35 percent (Jul./Aug. 2022)

¥
13.05 percent (Sept./Oct. 2022)

¥
11.21 percent (Nov./Dec. 2022)

¥
13.42 percent (Jan./Feb. 2023)

¥
17.46 percent (Mar./Apr. 2023)

The editor reports he is continually looking for new advertisers from various venues. The goal is to sell 25 percent of the publicationÕs pages to advertisers to help cut the cost of printing and mailing.
New article submissions to Mechan.ical Music have been steady, meaning there has not been a need to reprint articles from previous issues or arti.cles found in other mechanical music society journals. The search for addi.tional writers to contribute articles continues.
This is the fourth year in a row MBSI has sought a volunteer to serve as the societyÕs asset database manager. The manager can use the MBSI website to update the status of all the societyÕs instruments on a regular basis, post photos of instruments and record moving of any instruments from place to place.
The editor continues to support the Marketing Committee in its efforts to attract new members. Any new ideas are always welcomed to enhance this publication. The report was received.
Website Subcommittee Report
Chair Swaney reported that a website redesign is in progress. The new look and new features will be rolled out as they are completed.
Nine workshop videos from the last convention are now online. Discounted membership is mentioned on the website and on the homepage.
The Facebook Forum grew from 450 to 900 members last year. In the last six months, it has grown to 1,626 members. Neither the website nor the Facebook Forum has been hacked, because a security system prevents that from happening. The website averages about 3,000 views per month. The all-time view count is now up to 273,000. The report was received.
Old Business
Due to time constraints, Old Busi.ness was combined with the Museum Committee Report by Chair Craig.
New Business
President Corkrum noted that currently, the society has no need for a safe deposit box as the past president pins are being retained by the trea.surer, and the musical key fob, which was in the safe deposit box, is now at the MIM.
There was extended discussion about the 2024 joint MBSI/AMICA convention set to take place in Los Angeles, CA. President Corkrum noted that he only has a copy of the old contract and needs to obtain the new one. The hotel will not guarantee food and beverage prices. Trustee Caletti asked that the society specify in writing that the contract must indicate room charges, especially if more rooms are needed. Also, it was mentioned that in Los Angeles everyone was being asked to pay for the tours, not like what was done in San Francisco where people paid ˆ la carte for tours. Trustee Cooley asked that the convention planners double check the collections to see if they are currently available. Vice President Jaro said the latest information he received about parking fees was that parking will be complimentary.
President Corkrum asked that a letter from MBSI be sent to the AMICA board expressing concerns regarding the program for the 2024 convention. MBSI would like to see more home tours. He said input for the letter from all trustees will be appreciated. The letter will be composed by Mar. 27, 2023.
The trustees went into closed session to discuss awards for the 2023 MBSI Annual Meeting. The slate of awardees was approved by the Board of Trustees.
President Corkrum asked for a motion to adjourn. Trustee Myers moved to adjourn the meeting with a second by Trustee Calendine. The motion carried. The meeting adjourned at 2:34 p.m. PDT.
Respectively submitted,
Linda Birkitt
Recording Secretary MBSI

Submit your Proxy Votes for the 2023 MBSI Annual Meeting
Please grant your proxy votes to assure a quorum at the 2023 annual meeting to be held on Saturday, Sept. 2 in St. Paul, MN.
Whether or not you are planning to attend the annual meeting in person, MBSI would appreciate your submit.ting the following proxy authorizing the president (or vice president in the case of the unavailability or inca.pacity of the president) to vote on your behalf so that there will be a quorum at the meeting, either in person or by proxy. If you do attend the meeting in person, the proxy will be of no effect, and you will be entitled to vote there in the usual way.
Issues on the slate include election of officers and approval of the minutes.
Membership in MBSI is by household. There can be one or two members in the household.
Granting a proxy is very simple. Type out the text at right and send it via email to president@mbsi.org.
PROXY STATEMENT
The undersigned hereby appoints the president (or vice president in the case of unavailability or incapacity of the president) to vote on behalf of the undersigned at the annual meeting of the MBSI, (September 2, 2023) with all powers that the undersigned would possess if personally present. This proxy will remain in effect should any postponements or adjournments of the busi.ness meeting be required. If the undersigned attends the meeting personally, this proxy will be cancelled, and the undersigned will be able to vote at the meeting.
If there is one household member simply write:
PROXY GRANTED (your name)
If there are two members, write:
PROXIES GRANTED (your name) (other memberÕs name)
Example: Proxies granted John and Mary Doe
Please submit your reply before August 1, 2023.

Golden Gate Chapter

Chair: Judy Caletti
Reporter: David Corkrum
Photographer: Rob Thomas
Feb. 26, 2023 Ñ Oakland, CA
A fun and interesting Sunday afternoon was had by all at Dave CorkrumÕs home in Oakland, CA. It was an overcast day with a threat of rain that eventually came true. At least the temperature was pleasant and there was no snow!
Dave has an interesting collection of music boxes consisting of a nice selection of disc and cylinder music boxes, including Polyphon boxes ranging from a 14-inch bell box up to a 24.-inch upright, a Paillard change.able, and a Style 39 Reginaphone. Dave also owns a Raffin 31/84 and a Prinsen street organ.
A delicious Sunday lunch of beef stew made with port wine, Guiness Stout and pickled walnuts was served by Dave. Chapter members provided many other dishes to go with the main menu. It was a feast for all.
Dave demonstrated some of his music boxes and had stories for many of them.
Judy Caletti conducted the business meeting and welcomed new members Matt Bjork and Lisa Voth. Also in attendance was Jackie Day who had not been to a chapter meeting in many years. It was great to see her and to catch up. Dave invited a gentleman from Alameda who wanted to sell his familyÕs Regina music box. Our newest members, Matt and Lisa, went to look at the machine and purchased it for a very reasonable price. So, another music box finds a new home. The chapter now has 44 family member.ships. There was a recap of our recent annual meeting held across the bay in San Mateo, CA, and Dave was able to report that the meeting broke even. Actually, it made a profit of 61 cents. Additional table favors from the meet.ing are still available for purchase. See the advertisement in this issue.
There was some minor discussion about the upcoming annual meeting in St. Paul, MN, as well as the 2024 meeting set to take place in the Los Angeles area. Chapter Treasurer Dave Corkrum reported that the chapter is healthy monetarily. With the business meeting concluded, the members returned to socializing and playing with the many machines.
The next Golden Gate chapter meeting will be held as a joint meeting with the AMICA Founding Chapter at the home of Bob and Judy Caletti in Menlo Park on May 7, 2023.

Matt Bjork and Lisa Voth with the 20.-inch Reginaphone.

Meeting host Dave Corkrum attempting to recreate the famous ÒHis MasterÕs VoiceÓ image with the Reginaphone.

Sandy Swirsky, Judy Caletti, Judy Stevens and Jackie Day enjoy lunch and conversation at DaveÕs home.

Southern California Chapter

Chapter chair: Robin Biggins
Reporter: Robin Biggins
Photographer: Lowell Boehland
Mar. 4, 2023 Ñ Sylmar, CA
We were delighted to have another combined meeting with Southern California AMICA Chapter at the marvelous Nethercutt Collection, including the Nethercutt Museum, which has more than 130 beautifully restored Antique, vintage, black iron and classic automobiles.
They also have a 1937 Canadian Pacific Royal Hudson Locomotive with a 1912 Pullman Private Car. Admission to the museum is free, but the guided tour of the musical collection is $10 per person.
We had more than 60 members who took the tour, and we were thrilled to hear the instruments in the three stories of such a beautiful building.
The grand finale was a concert with the Mighty Wurlitzer Theater Pipe Organ. The collection has been closed for almost three years because of the pandemic, so we were very pleased to visit it again.
Anyone visiting the Los Angeles area should include this tour in their itinerary. The tour is handicapped accessible. Check it out at www.neth.ercuttcollection.org.

Robin Biggins & Don Henry with a rare Victor phonograph

The Welte ÒWotanÓ between two Wurlitzer-Phillips orchestrions.

Several views of the antique cars housed in the Nethercutt Museum. The cars are maintained on site and driven regularly. The collection was assembled by JB Nethercutt and his wife, Dorothy, who owned the Merle Norman Cosmetics company in association with JBÕs aunt, Merle Nethercutt Norman.

From left to right on display are a Welte ÒCottageÓ orchestrion, a Monopol ÒGloria,Ó a Wurlitzer BX, a Hupfeld Phonoliszt-Violina, and Banjo Encore.

A nice Bremond cylinder music box, made circa 1895 in Geneva, Switzerland, is on the ground floor of the museum.

A few of the thousands of Wurlitzer pipes and traps visible behind glass in the music room of the museum.

Far left, the Popper ÒSwanee Jazz BandÓ and Mortier Orchestrion domi.nate a corner of the music room.
Left, the Popper ÒGladiatorÓ Orchestrion shines brightly as it pumps out a tune for visitors.

Chapter members listening to the Wurlitzer pipe organ in the music room.

On the left is the Hupfeld Excelsior Pan, built circa 1926, while on the right is the huge Ehrbar piano given to Emperor Franz Joseph. The case is intricately carved with many figures. Behind the piano is the glass-enclosed room filled with Wurlitzer pipes and traps.

Dufner Orchestrion installed at Morris Museum

By Jere Ryder
The Morris Museum in Morristown, NJ, is the second largest museum in the state, founded in 1913, a destina.tion spot for lovers of art, sound and motion, and the stateÕs only Smithso.nian Affiliate.
A few important mechanical musi.cal instruments from the 19th and early 20th century were added to the museumÕs collection in recent years: a Stella Orchestral Grand, 26-inch disc music box (circa 1901), gift of Mrs. Ethel Schaal (NJ); a Technola Player Piano (circa 1913) by Aeolian Co., gift of Ruth Reigninghaus-Smith (NY); and a unique Salon Barrel Orchestrion (circa 1876), made by Bernard Dufner, Buffalo, NY, recently and graciously donated by Bill and Ann Edgerton (FL). All three instruments can be seen and periodically heard at special times within the permanent Murtogh D. Guinness exhibition gallery.
Musical selections on the Dufner pinned barrel are from:
¥
Martha, Friedrich von Flotow

¥
Sonambula, Vincenzo Bellini

¥
Travatore, Giuseppe Verdi

More online

Smartphone users can scan the QR code above to be taken directly to https://youtu.be/Tx5CtnmjisQ to see a video of the Dufner organ in action.

Salon Barrel Orchestrion by Bernard Dufner on display at the Morris Museum.

Seewen Museum invites you to ÒOn the roadÓ exhibit

A Fairground organ by Wilhelm Bruder Sšhne, circa 1923, that is part of this special exhibit.

On city streets and in public squares, the tunes from barrel and fairground organs have enticed passers-by for many years. The Seewen Museum of Music Automatons has assembled a special exhibition called ÒOn the roadÓ that follows the unique sounds of portable mechanical music and gives us an insight into life and society at fairgrounds and in courtyards.
There is some uncertainty surrounding the origin of the barrel organ. The first written and visual evidence dates back to the early 18th century. At this time the mobile barrel organ was a popular instrument of travelling performers, such as wandering minstrels, who would tell spine-chilling stories and tales of adventure to entertain crowds in the countryside and in villages. Meanwhile, a familiar sight in towns and cities were organ grinders Ð who were nearly always men Ñ wandering through the narrow streets with their instruments and playing them in courtyards to eke out a meagre living. The barrel organ made its stage debut in 1928 in the first performance of Bertolt BrechtÕs ÒThreepenny Opera.Ó
The self-playing fairground organs also served to entice and entertain audiences with popular music and well-known hits. Until the 1930s, the fairground organ was the main source of music at funfairs besides the barrel organ and therefore a valuable piece of equipment for fairground entertainers. With its powerful sound and robust design, the fairground organ is specially designed for use in the open air. Together with attractions such as the merry-go-round and the swing boat, it travelled from place to place with the fairground entertainers.
Every barrel and fairground organ also has its own unique story to tell as before becoming exhibits in the collection of the Museum of Music Automatons and other museums and collections, these instruments had a life on the road. This special exhibition tells their stories and provides an insight into what they can tell us about these periods in history.
Make plans to visit the Seewen Museum of Music Autom.atons. The address is:
Sammlung Dr. h.c. H. Weiss-Stauffacher
BollhŸbel 1, CH-4206 Seewen SO
Phone: +41 58 466 78 80
Email: musikautomaten@bak.admin.ch
Website: www.musikautomaten.ch

A hand-cranked organ featuring figurines also made by Bruder.

SEEWEN MUSEUM | See Page 53

Remembering Herb Brabandt

By Hope Rider
I recently learned that on Jan. 26, 2023, MBSI member Herbert Brabandt, from Louisville, KY, passed away. I called his wife, JoAnn, and learned that during his long illness he truly missed attending the MBSI meetings as well as the band organ rallies he was so fond of.
My late husband, Frank Rider, and ÒHerbÓ were friendly rivals in collect.ing automatic musical instruments. Both men seemed to like their instru.ments large and loud. Herb outdid everyone with his 89-key Carl Frei orchestrion.
This large organ surfaced at the first MidAmerica Chapter Band Organ Rally in July 1975. The rally site was suggested by Dan Slack, of Fremont, OH. It was held at Stagecoach Stop, a small western-themed park in Irish Hills, MI. This park was established by the Fred Baylough family. It is now abandoned and seems more like a ghost town with decaying buildings and tall grass. In 1975, however, it was shiny and new.
About 40 members and guests attended the rally, which took place on a hot day in July. The boxed lunch was catered by the Longhorn Saloon. Herb brought his wife and two teenage daughters, Vicki and Lisa, to the event.
The group was surprised when Dan Slack wheeled a huge trailer into the parking lot. Opening its front, the 89-key Carl Frei orchestrion was revealed for the first time.
Dan switched on this large instru.ment as Herb stood by with pipe in hand and a large smile on his face. Dan played a few tunes for the admiring crowd, then closed up the trailer and made it ready for the long delivery trip to HerbÕs home.
Chapter members enjoyed their boxed lunches, some in the shade of the porch and some in the air-conditioned ÒsaloonÓ of the old-west town, all talking about the beautiful tunes just heard on the orchestrion.
Fast forward to the 40th annual MidAmerica Band Organ Rally held Jul. 17-18, 2015. HerbÕs 89-key Carl Frei orchestrion was not present physically, but it was featured on post.ers, pins and t-shirts all over the venue. Herb was there to take part in the mart and had a great time.
Herb is survived by his wife, JoAnn, and his daughters Vicki and Lisa Brabandt.

Herb Brabandt (left) with organ builder Carl Frei in Germany at FreiÕs studio. Herb was visting to see the progress on his orchestrion.

The 89-key Carl Frei orchestrion as seen and heard in July 1975 in Irish Hills, MI, at the first MidAmerica Chapter Band Rally.

BRABANDT | See Page 53

BRABANDT | From Page 52

A Mortier dance-hall organ on display as part of the special exhibit.

SEEWEN MUSEUM | From Page 51

The Hunt

WhatÕs your story of finding your way into collecting and enjoying mechanical music? WeÕd love to know!
Email your story to editor@mbsi.org or mail a copy to:
MBSI Editorial Offices
130 Coral Court
Pismo Beach, CA 93449

Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors by advertising in The Mart, an effective advertising tool at an inexpensive price.
Fill out the form in the Mart section on Page 60, or contact Russell Kasselman at (253) 228-1634 to get started. You may also email advertisements to editor@mbsi.org

Have something to sell?
Looking to buy?

Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors in The Mart, an effective advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. All ads are published in Mechanical Music and on the MBSI website at www.mbsi.org
Name Phone
Email
Text of ad

FOR SALE
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
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
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
REGINA 27 IN CASKET MODEL. Totally restored by Porter in Oct 2020. With ten new discs from England. Needs nothing, as new. Amazing sound and volume. Sitka Spruce sound board. Asking $17500. Contact JOHN LEUENBERGER, at jeleuen@gmail.com or 850 218 4800
LONGMAN AND BRODERIP ENGLISH CHAMBER BARREL ORGAN with (3) 16 1/2Ó Barrels Ð 30 tunes. Circa 1790. Very rare and historically significant. Excellent cosmetic and mechanical condition. Pictures avail.able. Video at youtube.com/@wrightaudio/videos. Contact STEPHEN FRITZ at inform@wrightaudioarts.com or 971-983-8012.
PAILLARD INTERCHANGEABLE CYLINDER BOX with 6 cylinders, 6 tuned bells, fitted on original table. This instrument is in excellent mechanical condition and sounds beautiful. Price: $22,500. Contact JOSEPH SIGMON, at jkentsigmon@gmail.com or 828.381.9048

THE MARTTHE MART

CLASSIFIED ADS
¥ 47¢ per word
¥ ALL CAPS, italicized and bold words: 60¢ each.
¥ Minimum Charge: $11 per ad.
¥ Limit: One ad in each category
¥ Format: See ads for style
¥ Restrictions: Ads are strictly limited to mechanical musical instruments and related items and services
¥ MBSI memberÕs name must appear in ad
¥ Non-members may advertise at the rates listed plus a 10% surcharge
PLEASE NOTE:
The first two words (or more at your choice) and the memberÕs name will be printed in all caps/bold and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
MBSI Advertising Statement
It is to be hereby understood that the placing of advertisements by members of the Society in this publication does not constitute nor shall be deemed to constitute any endorsement or approval of the busi.ness practices of advertisers. The Musical Box Society International accepts no liability in connection with any business dealings between members and such advertisers.
It is to be further understood that members are to rely on their own investigation and opinion regarding the reputation and integrity of advertisers in conducting such busi.ness dealings with said advertisers.

Photos are only $30 extra per issue. Email editor@mbsi.org or
call (253) 228-1634 for more details.

SERVICES
REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING. 40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE – The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone: (310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
NEW WEBSITE DEDICATED TO VIOLANO VIRTUOSO PRESERVATION Ð www.Viola.noPreservation.com features historic photos and original advertising and promotional materials from Mills Novelty, as well as the transcript and audio of Don BarrÕs interview with Bert Mills. Site also features restored Violanos for sale along with rolls and acces.sories. Contact JOHN ZUK, at coinopgeek@gmail.com or 626-840-4241

Display Advertisers

2……….Renaissance Antiques
54……..Snowbelt Chapter
55……..Music Box Restorations
55……..4-4 Time
55……..Automata Magazine
56……..American Treasure Tour
57……..Stanton Auctions
58 …….Miller Organ & Clockworks
58……..MBSGB
59……..Nancy Fratti Music Boxes
61……..Golden Gate Chapter
67……..Marty Persky Music Boxes
68……..Porter Music Box Company

ORDER EXTRA COPIES
The 2022-2023 Directory of Members, Museums and Dealers is only $10 for members. (International shipping is extra)
Call MBSI Administrator Jacque Beeman at (417) 886-8839 or send a check to:
Musical Box Society International
P.O. Box 10196
Springfield, MO 65808-0196

ALL ADS MUST BE PREPAID
We accept VISA/MC and PayPal.
ADVERTISING SPECS:
Display ads may be submitted camera-ready, as PDF files, or with text and instructions. File submission guidelines available on request.
Errors attributable to Mechanical Music, and of a significant nature, will be corrected in the following issue without charge, upon notification.

Display Advertising Dimensions and Costs

Dimensions
1 issue
3 issues*
6 issues*

Back Cover
8.75Ó x 11.25Ó
$600
$540
$510

Inside Covers
8.75Ó x 11.25Ó
$450
$405
$382.50

Full Page
7.25Ó x 9.75Ó
$290
$261
$246.50

Half Page
7.25Ó x 4.5Ó
$160
$144
$136

Quarter Page
3.5Ó x 4.5Ó
$90
$81
$76.50

Eighth Page
3.5Ó x 2.125Ó
$50
$45
$42.50

Add a 10% surcharge to the prices shown above if you are not a member of MBSI.

*Display Discounts shown above are calculated as follows:

3 consecutive ads
10% Discount

6 consecutive ads
15% Discount

$10 for members. (International extra) Call (417) 886-8839

OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL¨

OFFICERS
President
David Corkrum
5826 Roberts Avenue
Oakland, CA 94605
musikwerke@att.net
Vice President
Matthew Jaro
24219 Clematis Dr
Gaithersburg, MD 20882
mjaro@verizon.net
Recording Secretary
Linda Birkitt
PO Box 145,
Kuna, ID 83634
scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
ekozak1970@gmail.com
TRUSTEES
Dave Calendine
Bob Caletti
Edward Cooley
David Corkrum
Richard Dutton
Rich Poppe
Matt Jaro
Tom Kuehn
Mary Ellen Myers
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Dave Calendine, Trustee
Matt Jaro, Vice President
Endowment Committee
Edward Kozak, Treasurer, Chair
Edward Cooley, Trustee
Dave Calendine, Trustee
B Bronson
Executive Committee
David Corkrum, Chair, President
Matthew Jaro, Vice President
Tom Kuehn, Immediate Past Pres.
Dave Calendine, Trustee
Bob Caletti, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Edward Cooley, Trustee
Peter Both
Marketing Committee
Bob Smith, Chair
Judy Caletti
Don Caine
Meetings Committee
Matt Jaro, Chair, Vice President
Judy Caletti
Tom Chase
Cotton Morlock
Rich Poppe
Membership Committee
Chair, TBD
David Corkrum, President
Richard Dutton, Trustee
Mary Ellen Myers, Trustee, Southeast
Robin Biggins, Southern California
Judy Caletti, Golden Gate
Gary Goldsmith, Snowbelt
Julie Morlock, Southeast
Rob Pollock, Mid-America
Florie Hirsch, National Capital
Dan Wilson, Piedmont
Gerald Yorioka, Northwest IntÕl
TBD, East Coast
TBD, Lake Michigan
TBD, Sunbelt
Museum Committee
Sally Craig, Chair
Matt Jaro, Vice President
Glenn Crater, National Capital
Ken Envall, Southern California
Julian Grace, Sunbelt
Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations
Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair
Tom Kuehn, Immediate Past Pres.
Bob Caletti, Golden Gate, Trustee
Mary Ellen Myers, Trustee,
Southeast
Jonathan Hoyt, Golden Gate
Robin Biggins, Southern California
Aaron Muller, Lake Michigan
Publications Committee
Bob Caletti, Chair, Trustee
Richard Dutton, Trustee
Steve Boehck
Christian Eric
Kathleen Eric
Publications Sub-Committee
Website Committee
Rick Swaney, Chair
B Bronson
Knowles Little, Web Secretary
Special Exhibits Committee
Chair Mary Ellen Myers, Trustee,
Southeast
David Corkrum, President,
Golden Gate
Donald Caine, Southern California
Jack Hostetler, Southeast
Knowles Little, National Capital
Judy Miller, Piedmont
Aaron Muller, Lake Michigan
Wayne Myers, Southeast
Rick Swaney, Northwest IntÕl
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org

SPECIAL ACTIVITIES
Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates

MBSI FUNDS
Members can donate to these funds at any time.
Send donations to:
MBSI Administrator,
PO Box 10196,
Springfield, MO 65808-0196.

General Fund (unrestricted)
Endowment Fund (promotes the purposes of MBSI, restricted)
Ralph Heintz Publications Fund (special literary projects)
Museum Fund (supports museum operations)

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.

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

May 27, 2023
SoirŽe at the Sanfilippo Estate
Barrington Hills, IL
Lake Michigan Chapter

Aug 29-Sept 3, 2023
MBSI Annual Meeting
St. Paul, MN
Snowbelt Chapter

Send in your information by June 1, 2023, for the July/August 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) 576-4280
jbeeman.mbsi@att.net
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
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
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
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

CHAPTERS

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

Volume 69, No. 2 March/April 2023

Devoted to All Automatic Musical Instruments

Journal of the Musical Box Society International

Volume 69, No. 2 March/April 2023

5 PresidentÕs Message
7 EditorÕs Notes
50 In Memoriam

MBSI NEWS

On the Cover
Jamie Brewer shares his story of finding, fixing and enjoying an Empress disc musical box. Page 8.

Mechanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and musician all at the same time. Play an automatic musical instrument in a room full of people and all else will stop as the machine enraptures the audience with the sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.matically-played machine that produces melodic sound including discs and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instru.ments at once using vacuum and air pressure; player and reproducing pianos that use variable vacuum to strike piano wires; phonographs; and self-playing stringed, wind, and percussion instruments of any kind.
The Musical Box Society International, chartered by the New York State Board of Regents, is a nonprofit society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it now has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More information online at www.MBSI.org, or
Call: (417) 576-4280, or
Email: jbeeman.mbsi@att.net

By David Corkrum
MBSI President
By the time you read this the trust.ees will have concluded their mid-year meeting. Since the onset of the COVID pandemic, these meetings have been conducted utilizing the Zoom video chat program. Although it makes each meeting safer for everyone, I do miss holding these meetings in conjunction with a chapter meeting. It was always very entertaining for those of us who were not from the area to have a local chapter host their meeting at the hotel where the trustees were staying and then take us to member collections which we would probably never see during an annual meeting.
Our members have widely diver.gent collections. When I was the MBSI recording secretary, I found these visits really widened my scope of interest. I soon started to collect instruments I never thought I would. One instrument type that comes to mind is roller organs. At first, I looked at them as a cheap form of mechanical music but later found them to be quite interesting. A few months ago, I was scanning through previous journals while on the MBSI website and found an article on the Autophone reed organ. I own one of these but had never really looked at it that much. The article gave me so much more information than I could discern for myself. I now plan to use the article to help me examine the instrument I have more closely.
Looking back at this message, I find it has taken me down a whole differ.ent subject path than I had planned, which was to talk about the website and its associated archives. So now let me get back on track. There is so much information to be gleaned from our website. Articles from past years provide a reader with a wealth of information that would have taken them so much longer to obtain from multiple sources. For myself, I plan to spend time reading more of these archived articles. It is quite possible you may see an older article reprinted in one of our next issues. It will likely require a bit of updating and some color pictures, but you might find yourself learning something new. One part of the archives that I regret not seeing are the MBSI News Bulletins. They, too, had a lot of information contained within their pages. Perhaps someday they will be included.
Enjoy our website! It is there for our entertainment, enjoyment and education. Utilize it and gain more knowledge about the instruments that you collect.
I could not find a picture of myself with an instrument, so I chose this one. It is from May 1989 on a visit to Mariposa Grove in Yosemite. ThatÕs a giant sequoia I am leaning against.

41 Golden Gate
44 Southern California
47 National Capital

Tours of Europe often focus on the many street and dance organs found there, but Ron Bopp found quite a few other interesting things to see on his latest hop across the pond. Page 24.

MECHANICAL MUSIC

Journal of the Musical Box Society International

Devoted to All Automatic Musical Instruments

Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums, and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offices.
Copyright 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.
MEMBERS: SEND ADDRESS CORRECTIONS TO:
MBSI, PO Box 10196,
Springfield, MO 65808-0196
Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196,
Springfield, MO 65808-0196

Features

8 A ÒBombeÓ bulge restored
16 Measuring track shifts on musical box discs
24 Musical boxes of Europe seen on the Bumbling Bruder tour
37 The history of the Amer.ican Musical Instrument Company

Chapter Reports

MBSI has replanted 216 trees so far as part of the Print ReLeaf program.

MEMBERSHIP APPLICATION

Copy this page, and give it to a potential new member. Spread the word about MBSI.

Last name First Name Initial
Last Name First Name Initial
Address
City State / Zip Postal Code / Country
Phone Fax E-mail
Sponsor (optional)

Check or Money Order Payable to: MBSI Treasurer (US Funds Only)
Mail to: New Member Registration – MBSI
PO Box 10196
Springfield, MO 65808-0196
Visa/MasterCard
Exp. Date CCV
Signature

Membership Dues
US members (per household)………………………………………..$70
Student Membership $30
(online journal access only)
Canada………………………………………………………………………….$80
Other International……………………………………………………….$85
(Add $20 for International air mail.)
Join online: www.mbsi.org/join-mbsi

EditorÕs Notes

MAILING ADDRESS
MBSI Editorial / Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634

By Russell Kasselman
MBSI Editor/Publisher
Included with this issue is a regis.tration form for the 2023 MBSI Annual Meeting to be held in St. Paul, MN, from Aug. 29ÐSept. 3 and hosted by the Snowbelt Chapter. Please take the time to read through the materials and make your plans to join fellow mechanical music enthusiasts on several fantastic tours as well as a number of enticing home visits where you will have chances to see member instruments up close and personal.
Members who regularly attend our annual society gatherings already know what a joy it can be to spend time socializing with others who enjoy the same hobby. You might connect with someone over the proper way to clean a musical box, or find yourself comparing notes on how to best repair some small damage to the case of your newly-acquired Regina disc music box. You might also just find yourself discovering a new place you want to vacation and spend a longer stretch of time exploring. The great part is, once you make friends with a few local chapter members youÕll have instant guides who can give you the low-down on the best place to get cheese curds. You might even get them to share the name of their favorite lake (there are only 10,000 or so in the state) for a bit of fishing.
The annual convention is also the place where MBSI conducts its official business meeting each year, so itÕs quite important for members to attend and vote on the budget and any proposed changes to the way the soci.ety operates. Hope to see you there!
Now, as to the rest of the content in this issue, big thanks go to all the authors who contributed. We have three chapter reports, a history of the American Musical Instrument Company, a report from the latest Bumbling Bruder Tour, a ÒBombeÓ restoration story and an innovative mathematical explanation of how music box disc projections can be photographed and mapped out to assist in the creation of a computerized MIDI file of the tune. I wonÕt pretend I understand how that all works, but I am thrilled to know that one of our members is working to advance the science of our hobby in a way that might help preserve music for later play on instruments you might own.
We are always looking for new authors, so get in touch if you have an idea for a story. IÕd love to hear from you.

Upcoming Deadlines

ADVERTISING
Advertisements for the May/June 2023 issue of Mechani.cal Music need to be submitted by Apr. 1, 2023.
Advertisements for the July/August 2023 issue of Mechanical Music need to be submitted by Jun. 1, 2023.

EDITORIAL
Articles and photos for the May/June 2023 issue of Mechanical Music should be submitted by Mar. 25, 2023.
Articles and photos for the July/August 2023 issue of Mechanical Music should be submitted by May 25, 2023.

Welcome new members!

December
Absher, James & Sarah
Germantown, MD
Allan, David & Joyce
Orange, CA
Davis, Teresa
Tucson, AZ
Fritz, Stephen
Florence, OR
Ingebrigtson, Jeff
Columbia Heights, MN
Lee, Lindsey & Heide
Houston, TX
Mueller, Mark
Casselberry, FL
Arthur Mueller gift/sp
Tendrup, Donald
Troutman, NC
Tetreault, Kenneth
New London, CT
January
Brown, Jennifer
Portsmouth, NH
Cohen, Nisan
Ein Hod, Israel
Gimperling, Barbara
Crofton, MD
Gunter, Tim
Ocoee, FL
Wayne Edmonston gift/sp
Knetsch, Tana & Dionisopoulos, James
Sycamore, IL
Lebo, Cindy & Christopher
Portsmouth, RI
London, Bernice
S. Hackensack, NJ
Loyack, Aaron
Greenfield Twp., PA
Muscato, Stephen & Joy
Elko, MN
Proffitt, Michael
Midlothian, VA

A Bombe Bulge Beauty

An art-case Empress finds new life during COVID shutdown

By Jamie Brewer

The 2020 ÒCOVID ShutdownÓ found me fine-tuning and refinishing my home model 34 Regina changer. This instrument had been refinished in the past. A running joke was that it had been dipped into a vat of polyurethane. The finish was crackling and turning a vile mud brown.
I found myself taking several breaks while tackling this refinishing challenge and during those periods of downtime I followed the action in several music-centric auctions. Randy Donley had a fine art-cased 18.-inch Empress listed in the 2020 fall auction that caught my eye.
I had never seen such a case style where the ÒBombe bulgeÓ was on the top. A few have surfaced with the widest Bombe section being in the middle of the case. I was hoping with the influx of new disc music box reference books there could be some light shed on these elusive case styles.
The best information I could find while doing research was in the ÒEncy.clopedia of Disc Music BoxesÓ by Q. David Bowers, which made mention of such an instrument but included no illustrations of the models titled ÒMira Grand 300Ó in a Chippendale style mahogany case and ÒMira Grand 302Ó in a Louis XIV case.
Circumstances worked in my favor, and I won the auction for the Empress. COVID travel restrictions in the Chicago, IL, area made a road trip to pick up the instrument from its location there impossible, so I had the music box shipped and delivered in late Novem.ber 2020.
I am always wary of buying some.thing just from catalogue descriptions. Wheeled into the house and unpacked, this instrument looked pretty much as I expected. After a check to ascertain the discs and crank were present, the movers headed out for their next delivery.
I slipped a disc on, gave the handle a few cranks and prepared to enjoy a beautiful song. ARRG!! Instead, the motor ran erratically, and the disc bucked and jammed through a revolution.
Pulling off the front motor board to inspect the motor I was horrified to see the governor bracket just about to fall off. The first thing to run through my mind was the passage from Flor.ence KingÕs book, ÒSouthern Ladies and Gentlemen,Ó where she delves in detail on the ÒUpton wombÉ.there it wasÉit was hanging on by a thread!Ó
There was that damn governor, Òhanging on by a thread!Ó Did it vibrate loose from all the moving around or did some handyman prepping this for auction never tighten it up? If that gover.nor had let loose with a disc in place, the combs could have been destroyed.
It took some tinkering to get the box to play halfway decently. The case was stunning and would clean up nicely, but the music box performance really disappointed me. I ended up moving the machine against the wall. Over time, the machine began to gather dust and evolved into a ÒRound-tuitÓ project.
Fast forward to May 2022. Company was over and I was demonstrating the Regina changer. It had been operating pretty much flawlessly for the past year since I completed the case refin.ishing and tuned up the mechanics. Winding up the mainspring for the disc lifting motor, I felt a snap and then had a free moving crank. The mainspring had given up the ghost.
The changer was torn apart for nearly two months before a new mainspring could be installed. This downtime with tools scattered all around inspired me to finally get seri.ous on the Empress restoration.
When doing an overhaul, the first place to look for problems is the jewel and pivot on the worm gear. The worm gear pivot was gummed up and cruddy. There was still a nice dome on the pivot end. It all just needed a good polishing up.
The jewel had a deep pit. When the oil gets dirty, that dirt can transform into an abrasive and act as a cutting agent. Using a piece of thick plate glass to ensure a flat surface, that jewel was polished down on Òwet and dryÓ paper, finishing up with a 2000 grit. The final polishing was done with diamantine powder and denatured alcohol on a hardwood block.
Even after a cleaning and lubrica.tion the discs were still jamming. First off, I discovered the center post was oversized, causing the disc to bind. Working the post down to the proper size with fine emery paper smoothed out the performance a bit.
A close inspection revealed three of the four disc rollers were not in the proper alignment to the disc. The roller supports have been in this location since the box was fabricated. Instead of the rollers supporting the disc on the very edge, they were riding in the drive holes. As the rollers wore down, this allowed the projections to catch on the roller supports. Moving these supports was not an option.
I checked with longtime friend Nancy Fratti to see if the new roll.ers she was selling might work as replacements. Nancy explained how the rollers she handled were more of Òdonut shapeÓ as Regina used. Nancy told me how some people have used tapered faucet washers as Mira roller replacements.
The beauty of the internet is you have access to so much information. I was unable to turn up a suitable roller/washer replacement in the .-inch size needed. With my brain fixated on plumbing washers, I checked my stash of spare plumbing parts. As luck would have it, I had a blister pack of flat .-inch washers on hand.
Using fine emery paper on my piece of plate glass, the sides of the three misaligned rollers were sanded flat. Then the side of the .-inch washers with the raised .-inch numbering was sanded smooth. These washers were centered and then super-glued to the rollers.
The result was like I waved a magic wand over this box. Those added flat washers extended the edge of the roller wheels. Finally, after 100-plus years, the roller wheels were in sync with the disc edge! What a difference in performance.
The next job was to straighten out the outermost projections on the discs that had bent up from catching on the roller supports. Mira projections are a whole different breed from the Regina Òcurls.Ó It took some time but I discovered the best way to restore a flattened projection was to carefully insert a scratch awl through the underside of the disk of the flattened projection. The awl will return the bow to the metal projection base, making adjusting the tab an easy task.
Mira/Empress and Stella disc mechanisms were manufactured by the Swiss firm Mermod Frres. To save on the high tariffs, the works alone were imported to the U.S. and then combined with a case. These movements are cherished for their crisp, bright, almost bell-like sound characteristics.
The sound quality of my Empress box was, however, very disappointing. There were few mid-range and bass frequencies coming through.
My 15.-inch Mira is housed in a Colonial Style case originally made for the larger 18.-inch movement. (This unusual instrument deserves a write-up in the future. It is another oddity not in any reference books.) I pulled this smaller movement and tested the 18.-inch movement in this case. What rich tones emanated from this cabinet that were not present in the fancy Bombe case.
Comparing and contrasting the cases revealed the later Colonial case had wire rods for supporting discs in the bottom of the console cabinet. This allows the sound from the sound.board to have unobstructed access to the bottom of the cabinet, which then acts as an amplifier similar to the horn of an acoustic phonograph.
The wooden dividers were missing from this machine. Bill Endlein sent me a paper template from one of his Mira consoles to use as a guide for the cut-outs.
Recall that the years 2020-2021 were a frenzied time for home improvement as it seemed everyone was working on ÒCOVID home projectsÓ and therefore lumber was in short supply. I lucked out in that a LoweÕs store near me still had thin bamboo plywood in stock. New restrictions only allowed one free plywood cut. The associate help.ing me took pity and did two cuts on my board as he did not have to adjust the blade again.
The plywood pieces were cut to size to fit in the cabinet slots at home. I had dividers now. It was time to begin the search to have the edges cut in. I soon realized it is nearly impossible to find anyone to do this kind of service anymore since it is considered too small of a job.
My friend John, who does carpentry, said he could not do the job but he would show me how. First, I had to make a template of the desired cut. Then, using the Sabre saw the rough cutout was done on four dividers at a time. Then the template was attached to the rough cutout and finished off with a router.
All in all, for a first-time attempt working with a router I felt like this job did not turn out so badly. It was not as perfect as I might have liked, but once the wood got stained and discs stored, it all blended together nicely.
The fancy Bombe cabinet has a fretwork in front for the sound to emanate through. There is about a 1.-inch open space under the sound.board where the sound waves then hit two .-inch-thick oak boards, identical to those on the bottom of the cabinet. These boards, meant to hold the top edge of the wooden disc dividers, effectively blocked and trapped most of the sound waves from the soundboard.
People can be such sticklers for originality. At a Union, IL, Phonograph Show too many years ago, I was mind.ing Bill EndleinÕs booth. A phonograph collector asked if there might be a back mount for a Victor Orthophonic in the parts box. I explained how these back mounts were cast from pot metal and did not have a good survival rate. These are commonly found snapped off where the top pin holds the tone arm. I said he was in luck as the Smiths, the dealers across the aisle were selling new, recast back mounts that were a better quality than the originals. This guy was horrified at the suggestion of employing a recast, modern replacement. His machine had to be 100 percent original parts. He wanted an original back mount. I wished him luck on his foolÕs errand.
That incident was playing in my mind as I did some mind and soul searching. I then broke the cardinal rule of Ònever altering an antique.Ó
The back oak divider board on my Empress was cut out with the knowledge that this section of wood could be easily replaced in the future if needed.
Removing just that one board resulted in a marked improvement in the volume and tone quality of my music box. Finally, I was hearing the formerly trapped sound waves from the sounding board. They were now being released and amplified in the lower disc storage space.
The outside finish on the case was, in my opinion, tired looking. Fortu.nately, the old shellac was not badly alligatored. It can be so impossible to refinish mahogany to an even color that matches the original finish. Even harder than ÒimpossibleÓ is to have the finish around the applied carvings look clean. The old sludge of the old striped varnish around the appliques is so hard to remove and at the same time keep a constant color to the wood.
I avoid at all costs removing an orig.inal finish but sometimes you have no other options. Wood color and finish can be a highly contentious issue. Plus, after dealing with stripping and finishing up those bloody Òdragon carvingsÓ on my Regina changer, I was in no mood for a repeat performance!
For this case I tried a technique I read about on a phonograph resto.ration board. Mahogany stain was brushed over the original finish one side at a time and then quickly wiped off. This colored in the scuffs and blended the color and grain together. After the entire cabinet was stained in this fashion, I let it dry for a couple weeks.
The finish was then topped off with a coat of microcrystalline wax rubbed down with a microfiber cloth. It seems like a minor point but using that microfiber cloth for the final polishing makes all the difference in the world.
This music box is no longer just gathering dust. It is enjoyed daily!

Jamie BrewerÕs home model 34 Regina changer now fully-restored.

The Empress ÒBombeÓ bulge disc box as purchased.

The top photo shows one of the disc rollers that was out of alignment while the bottom photo shows the modified rollers keep.ing the disc in the proper position to play correctly.

The back upper board supporting the disc dividers was cut out resulting in enhanced volume and tone.

The unfinished disc dividers positioned in the cabinet in order to be sure all was well before the final stain was applied.

Mahogany stain was brushed onto the cabinet and then quickly wiped off to fill in cracks and even out the finish.

The final product with lid closed after having been rubbed down with a microfiber cloth and a coat of microcrystalline wax.

The end result is a beautiful piece of mechanical music that is enjoyed daily.

Track Shifts on Musical Box Discs
Explaining the reasons track shifts are necessary to create beautiful music

Dr. Albert Lštz
Simultaneously sounding notes on musical box discs do not necessarily lie on a common straight line begin.ning at the disc center (radial line), like the green line in Figure 1. Depending on the model of the musical box, they can also be on the red line. Among the six instruments investigated so far by the author in this respect, the green pattern of Figure 1 can be found in the 15.-inch Polyphon and the 21.-inch Symphonion with 10 bells, while the 24.-inch, 22-inch (16 bells), 19.-inch, and 8.-inch Polyphon musical boxes follow the pattern of the red line. These latter boxes thus show a track shift in the direction of the disc rotation that increases linearly from track to track from the outermost to the innermost track. The linearity relates to the horizontal distances of the simultaneously played notes on the red line to the vertical green line, not to the correspondent angular distances of these notes on their circu.lar track. The angular shifts are a more complicated function of the track number on account of the geometry of the problem. That function is specified below as the main result of this article.
In order to understand why these track shifts are necessary, the process of plucking a comb tooth by a star wheel must be considered (Figure 2). In the left half of the figure, a note on the disc is just above the axis of the star wheels. In that moment, the situ.ation looks alike for all notes on the same radial line of the disc, provided the central dome on the bedplate around which the disc rotates lies on the line of the star wheel axis. Shortly thereafter, a tooth of the star wheel starts lifting a comb tooth that finally falls off from the star wheel after further rotation of the disc. This latter situation is drawn in the right half of Figure 2 and marks the start of the noteÕs sounding. The essential point here is that the disc must rotate somewhat between the position of the note above the star wheel axis and the begin of the sound.
The consequences can be seen in Figure 3. This figure shows three representative tracks (labeled i, j, N) on the disc. All notes on a radial line of the disc sweep at the same moment over the vertical line that forms the left margin of the figure and is identical with the axis of the star wheels (compare with the left situation in Figure 2). On the dashed vertical line at the right margin of the figure, the comb teeth fall off from the star wheels, and the notes sound. When this is just the case for the outermost track (track N), the other notes on the same radial line (rN) have not yet reached the dashed line because they advance more slowly on their paths. Notes on the same radial line therefore do not sound simul.taneously, but in succession. This can be compensated by shifting the tracks on the disc forward relative to the outermost track, for the track i by the angle .i, and for the track j by the angle .j.
Yet, given that, how can there be discs with simultaneously sounding notes on the same radial line? In these models, the central dome about which the disc rotates does not lie on the line of the star wheel axis (the vertical line forming the left margin of Figure 3), but on the dashed vertical line at the right margin, where the teeth begin to sound. For these models, Figure 2 remains unchanged, yet the radial line of the disc with the simultaneous notes always forms an angle with the star wheel axis, and instead coincides with the dashed line shortly after having passed the star wheel axis. These models can therefore easily be recognized by the central dome not being in line with the star wheel axis but shifted approximately 5 millimeters in the direction of the disc rotation.
From Figure 3 the origin of Figure 1 can easily be understood. Figure 1 is obtained by rotating rN and the dashed line by 90¡- .N counterclockwise about the disc center.
The size of the track shifts
The facts just described became clear to me while digitizing discs.11. Albert Lštz, The Digitization of Music Box Discs from Photographs, Mechanical Music vol. 67 no. 6 (The Musical Box Society International, 2021), p. 30-33.
Fortunately for me, the digitizations began with 15.-inch Polyphon and 21.-inch Symphonion discs that do not have track shifts, whereas models with track shifts deliver chaotic music if the shift is not taken into account for digitization. In the case of 24.-inch Polyphon discs, an audio file of fair quality could be obtained by subtract.ing angles that linearly increased with smaller diameter of the tracks. The treble part remained unchanged. The transition point between the two parts and the constant increase in shift from track to track were fixed by trial-and-error listening to the audio files. It was clear that this procedure was not optimal, yet the problem appeared too complicated to be solved completely within foreseeable time. In fact, the treatment of the problem at that time and quite a number of further digiti.zations of other models have shown that a simple solution as in the case of the 24.-inch Polyphon discs delivers fair results in most cases. However, it depends on the music on the indi.vidual disc how much small deficits of synchronism of the voices can be discerned. After the recent finding of the correct mathematical formula for the shifts, that formula was integrated into the computer program for the digitization, and the evaluation can now be performed without additional expense.
The geometry of the comb plucking process was analyzed mathematically (see Mathematical Appendix), and a formula derived for the angular shift .i that is valid for all disc sizes:
.i = a*(N Ð i)/(1 Ð b*(N Ð i))
In this formula (*=multiplication), N is the number of tracks on the disc, including empty tracks for disc supporting wheels instead of star wheels, i is the number of the track, starting with 1 for the track of smallest diameter, and a and b are two param.eters (numerical constants) that must be optimized by trial and error for each disc size listening to the audio file. For a 24.-inch Polyphon disc (N=161) one finds: a=0.0045 and b=0.0050. In order to fix these values, it is best to use a disc whose audio file after applica.tion of the linear shift compensation still contains musical features that one would like to be executed more perfectly. When the optimal param.eters with one or two selected discs have been found, a clearly improved faultless execution of the music typi.cally results also with other discs of the same size. In the case of 24.-inch Polyphon discs, disc No. 4171 ÒGrande Tarantelle,Ó with the music by U.S. composer Louis Moreau Gottschalk (1829-1869), was used as test speci.men. The music on this disc is quite brilliant and virtuous, and its demands for the execution are especially high. In addition, the ÒIntermezzoÓ from the opera ÒCavalleria RusticanaÓ by Pietro Mascagni (No. 4013) was used whose preliminary digitization result has already been presented in the article of Footnote 1 (page 17).
Figure 4 shows the beginning of the ÒGrande TarantelleÓ in three differ.ent notations. For the left part, the notation on the disc was taken over unchanged. The center part shows the result after application of the linear compensation of the track shifts described in the article of Footnote 1. The right part results from the formula given in the present article. It can clearly be seen in the left part, how the track shift increases with lower pitch (smaller track radius). By comparing this part with the center part, different orders in time for corresponding notes of different pitch within the five voices can be seen, because each track, thus each pitch, is shifted differently. In order to find the track shifts applied by Polyphon, a common reference time for all pitches must be found. This time results from musical considerations. The piece starts in the key G minor and later changes to the key B flat major. In the beginning of the piece, one can find a more or less pronounced D, the dominant of G, apart from preceding graces. These notes D are marked in red in the center part of Figure 4. It has been assumed that the beginning of this note can be used as a common reference time. This assumption is certainly too strong, but all voices could be expected to play the D in common at least for a certain time. The assumption of common beginning of the D was a shot in the dark but proved to be a bullseye with small reservations. First, something must still be said regarding the bass voice missing in Figure 4. This voice starts approximately 11 quarter notes later. Similar to the case of the five other voices, it was assumed that the first note of the bass voice, a G, thus the fundamental tone of the piece, was played together with a G in the other voice with a bass clef. This was suggested by the course of the latter voice that plays other notes before and later, less well-fitting to the G in the lowest bass voice. In this way, the shift of the beginning note in the lowest bass voice could also be determined.
Comparison with theory and the linear approximation
Figure 5 (page 19) shows the track shifts represented by the shifts of the Ds on the first five staves and of the G on the lowest staff relative to the D (track 139) on the uppermost staff on the horizontal axis, and the corresponding track numbers on the vertical axis. The red curve is an optimal computer fit of the above function (with N=139) to the shifts of the six notes. In this fit, the parameters a and b are varied, until the sum of squares of the deviations of the points from the curve reaches a minimum. The function obviously represents the positions of the points correctly so that the underlying mathematical anal.ysis is correct and sufficient. The scat.ter of the points around the curve had to be expected on account of the strong assumption of common start of all notes. In addition, the linear approximation for the track shifts used in the article of Footnote 1 has been drawn in this diagram in grey. The slope of the corresponding straight line is well known from the trial-and-error fit by listening to the audio files, but the position of any point with defined track number lying on the line can only be deter.mined by imperfect methods. It appeared most reasonable to assume that the upper start of the linear shift approximation at track number 93 divides the difference of the shifts of the two neighbored red points in the same ratio as the number 93 divides the difference of the track numbers of these two neighbors. The thus obtained start of the straight line also lies close to the shift for track 93 on the red curve. Nevertheless, the linear approximation obviously is a relatively rough approximation, even if it transforms musical chaos into music of fair quality. In order to assess the musical imprecision, it should be mentioned that one degree track shift corresponds to 0.6 quavers for the ÒGrande Tarantelle.Ó
The red curve of Figure 5 only served for the confirmation of the shift function derived in this article. The final values for the two parameters of the shift curve relative to track no. 161 (greatest radius) were fixed by trial and error and listening to the audio file. For this purpose, at least two discs were included in detail, because certain musical criteria for the deter.mination of the parameters were present on one of the two discs, but not on the other disc, and vice versa. Above all, the synchronism of the notes at the beginning of a bar must be present. In the article referenced in Footnote 1, it was found that the note repetitions for a mandolin effect of the 24.-inch Polyphon in the Intermezzo from ÒCavalleria RusticanaÓ were played at half the speed in compari.son to the 21.-inch Symphonion. The Polyphon disc, however, executes a similar note repetition in the neigh.bored voice that is shifted by just half the period of the repetition so that the combined repetitions appear twice as rapid. This is a valuable criterion for the determination of the two parame.ters and can be set quite exactly with reduced playing speed of the audio file. Acciaccaturas (short graces) of two notes before the main note in the ÒGrande TarantelleÓ must not follow too rapidly so that they nearly appear as a chord, but must sound separately yet swiftly, as a human player would execute them. Quite valuable are rapid runs and broken chords with many notes, because these notes must yield an even succession. All determi.nations of the two parameters were additionally checked with further discs, and changed again, if necessary. The final result may deviate a little from the execution on the musical box, because it has been worked out by a person with individual listening, yet if musically correct, this deviation must obviously be small. The result for the ÒGrande TarantelleÓ can be found in an attached audio file. For the conversion of the MIDI file to audio, the program Winamp was used that works with the Microsoft GS Wavetable, a part of the Windows Media Player. The audio file does not yet have the tonal quality of a good music box listened to directly, but this is due to the missing case resonance of a big instrument in the Microsoft GS Wavetable. The case resonance of a music box is mainly responsible for the enrichment of the tone, as is well known. In spite of that, the Microsoft GS Wavetable is quite useful for this type of investigations.
The track shifts on
further disc sizes
The track shifts have also been determined for 22-inch (16 bells), 19.-inch, and 8.-inch Polyphon discs, in a similar way as in the case of 24.-inch Polyphon discs (see Table 1 on page 22).
The comb scale for 19.-inch discs used here corresponds to the scale given by Webb22. Graham Webb, ÒThe Disc Musical Box HandbookÓ (London, 1971), p. 206.
and begins on the lower comb with a contra B flat (bes,,). The absolute pitch of aÕ is just 440 Hz.33. Webb listed for the two notes 54 and 55 on the lower comb a B, a typical error at quoting from German text. It should read B in English.
The scale given by McElhone44. Kevin McElhone, ÒThe Disc Musical BoxÓ (The Musical Box Society of Great Britain, 2012), p. 243.
is shifted down by five semitones, or up by seven semitones with respect to that of Webb. It thus begins with an F instead of B flat.55. On the upper comb, it must read G instead of F# for the sixth note. In the text above the scales of the two combs it must read Òwith the lowest note on the lower combÓ instead of Òhigher combÓ.

Unfortunately for me, I had six discs for the 22-inch Polyphon but no instru.ment to play them on. Nevertheless, from the audio files obtained during the digitization, McElhoneÕs statement can be confirmed that the scale for the comb teeth is identical with the scale of the 19.-inch Polyphon. As seen in a photograph of an instrument inspected with a magnifying-glass, the highest note on the combs (EÕÕÕÕ, on the upper comb), is followed by an empty track for a disc support wheel, before the notes of the bells begin.66. Arthur W.J.G. Ord-Hume, ÒMusical Box. A History and CollectorÕs GuideÓ (London, 1980), PLATE 137, p. 282.
The two bell scales of McElhone and a third bell scale in an article of 201877. Gotthard Arnold, Sina Hildebrand, Edi Niederberger, ÒThe 56 cm Polyphon Musical Box. A technological marvel.Ó The Music Box vol. 28 no. 6 (The Musical Box Society of Great Britain, 2018), p. 235.
leave the reader at a loss on account of their inconsistencies. For the compass of the scales (number of semitones between the lowest and highest note) one finds 12, 22, and 13, and for the number of different notes (notes of equal pitch counting as one note, notes differing by an octave counting as two notes) the counting yields 8, 10, and 9. The scale with the largest compass has been chosen tentatively. It is given by McElhone separately for the upper and lower comb and has been transposed by five semitones upwards in correspondence to the comb notes. Thus, the following scale resulted for the bells that begins on the upper comb and must be read alternating between the upper and lower comb:
cÕÕ, aÕÕ, dÕÕÕ, bÕÕ, eÕÕ, bÕÕ, fÕÕ, cÕÕÕ, fÕÕ, cÕÕÕ, gÕÕ, dÕÕÕ, gÕÕ, eÕÕÕ, aÕÕ, fÕÕ
This scale is in perfect harmony with the comb notes in the audio files yet needs a verification on an instrument.
For the 8.-inch Polyphon the second scale given by McElhone was used that begins with an F (f,).
The star wheels are identical for all disc sizes so that the size of d in Figure 3 (distance between star wheel axis and line of sound begin) should be the same in all cases. The parameter a is proportional to the reciprocal of the squared greatest track radius rN of the disc (see Mathematical Appendix). Because the discs differ mostly in their diameter, the param.eter a should therefore increase with decreasing disc diameter. This is also observed (see Table 1). The parameter a describes the constant part of the shift increase from track to track with smaller track radii, while parameter b is responsible for a magnification of the shift increase in the same direc.tion. Also in this case, an increase in parameter b is expected with smaller disc diameter, because the increase must spread over a smaller number of tracks. The track shifts are more sensi.tive with respect to variations of b. This results from the fact that the shift becomes infinite when the expression 1 Ð b*(N Ð1) in the denominator of the shift formula tends to zero. For the 24.-inch Polyphon, the value of the denominator is 0.2 for i=1 instead of 1.0 for i=161, so that the shift from track to track increases to the fivefold value for i=1 compared to i=161.
For a demonstration of the results, audio files for the 22-inch Polyphon (No. 90357, ÒJust one Girl,Ó by composer Lyn Udall, published 1898) and for the 19.-inch Polyphon (No. 5044, ÒValse brillante,Ó by composer Julius Schulhoff, 1825-1898) can be heard by visiting the URLs below or using a smart phone to scan the QR codes that will take you directly to the webpage with the song.

Figure 1: The position of simultaneously sounding notes on the two disc types, marked by the green and red straight line. The deviation of the red from the green line is exaggerated by a factor of c. 10.

Figure 2: A note on the disc at the time of its position above the star wheel axis (left), and above the line of sound begin (right).

Figure 3: The axis of the star wheels is the vertical axis at the left margin of the figure. The notes start to sound, when the dashed line at the right margin of the figure is reached. Imagine a note on each of the three representative tracks (i, j, N) of the disc. For the three notes to sound simultaneously, they must not lie on the straight line rN, but track i must additionally be shifted forward by .i and the track j by .j.

Figure 4: The beginning of the ÒGrande TarantelleÓ on a 24.-inch Polyphon disc, left as punched on the disc, center with the linear shift compensation of the article in Footnote 1 (page 17), right with the formula derived in this article. In the center part, the note D in different octaves is marked in red. These notes serve as common time reference for Figure 5.

Figure 5: The shifts of five Ds (i.e. track shifts) in five different octaves on the disc that are played at the beginning of the music and assumed to start sounding simultaneously. The shifts are given rel.ative to the D on track 139. Also the shift of a G in the lowest bass voice (track 6), assumed to sound simultaneously with a G in the other bass voice. The red curve is a computer fit of the formula derived in this article. The grey line represents the linear shift approximation between tracks 1 and 93 used in the article of Footnote 1.

Table 1
The parameters a and b in the formula a*(N Ð i)/(1 Ð b*(N Ð i)) for the track shifts on Polyphon discs.
.
a
b
N
r1 (mm)
rN (mm)
.r (mm)

24.-inch
0.0045
0.0050
161
40
295
1.594

22-inch
0.0095
0.0050
137
40
256
1.588

19.-inch
0.0100
0.0063
120
40
230
1.597

8.-inch
0.0140
0.0071
41
15
100
2.125

N=number of tracks including empty tracks for disc support wheels
r1=radius of the smallest track rN=radius of the greatest track
.r=track distance, calculated according to (rN-r1)/(N-1)

Just One Girl

Grande Tarantelle

Valse Brillante

http://bit.ly/40JbR96

http://bit.ly/3RS95uj

http://bit.ly/40Ht0Qv

Mathematical Appendix

This appendix attempts to explain the content of the shift formula derivation for readers who do not possess the necessary mathematical knowledge to understand the equations outright.
In Figure 3 a right-angled triangle can be seen whose three sides are the horizontal line of length d, the radius rN, and a part of the dashed line. The right angle (90¡) is at the bottom right of the drawing, included by the line d and the dashed line. The side of the right-angled triangle opposite to the right angle is designated the hypotenuse, in this case it is rN. The two other sides are called catheti (singular: cathetus). In a right-angled triangle, a definite value for the ratio of the length of a cathetus to the length of the hypotenuse follows from the value of the angle included by the two sides. In our case the ratio d/rN has a definite value, if the value of the angle .N is given. This is independent of the size of the triangle. The ratio is called the cosine of .N, abbreviated cos(.N). Thus, you can write cos(.N) = d/rN. This equation can also be inverted, i.e. the included angle is determined when the ratio of the lengths of the two sides is given. The corresponding function is called the arccosine, so that arccos(d/rN) = .N.
As already discussed in the main text, .i is the shift of trace i. It can be read from Figure 3 that .i = .N Ð .i. Similarly, like rN forms the hypotenuse of a right-angled triangle, so does ri that forms a triangle with the same 90¡ angle included by d and the dashed line. Thus, .i = arccos(d/ri) and
.i = .N Ð .i = arccos(d/rN) Ð arccos(d/ri)
Principally we are already finished. Mainly for conver.sion of the arccos function to a simpler form that can be compared better with the former linear shift correction, the following well-known method in mathematics and physics is applied. Mathematical tables list the formula
arccos(x) = ¹/2 Ð S(x)
S(x) = x + x3/(2*3) + 3*x5/(2*4*5) + 3*5*x7/(2*4*6*7) + É
with e.g. x3 = x*x*x
At first sight, it will be astonishing to see an angle (arccos(x)) given as ¹/2 (after the sign of equality, ¹ is the well-known constant 3.141… for the calculation of the circumference and area of a circle from its radius). This follows from the custom to give the value of the arccos in the unit radian which can simply be converted to degrees by multiplication with (180¡/¹). Thus ¹/2 corresponds to an angle of 90¡. The function S(x) is a sum with an infinite number of terms, in which x (any number) appears in every following term with an exponent increased by two units. It looks as if this expression takes an infinite value, but this is not the case, if x is smaller than 1. Then every term of the sum is smaller than the preceding term, and, although the sum has an infinite number of terms, its value is a finite number with an infinite number of digits after the decimal point. The higher the exponent of a term, the farther away right of the decimal point will the digits of the sum change when the term is added. By application of the formula to our case we get
.i = arccos(d/rN) Ð arccos(d/ri)
= Ð (d/rN + d3/(6*rN3) + É ) + (d/ri + d3/(6*ri3) + É )
The length d is not easy to measure, but we just need an order of magnitude, say 5 millimeters. For a 24.-inch Polyphon disc (N=161) rN amounts to 295 millimeters, ri varies from 40 to 295 millimeters. Thus, we have d2/(6*rN2) = 0.000048, and d2/(6*ri2) = 0.0026 (i=1) to 0.000048 (i=N). It is these factors by which the second terms of the two sums are smaller than the first terms. The second term thus amounts to at most 0.26%. The following terms are still smaller so that all terms can be neglected except the first term:
.i = d/ri Ð d/rN = (d/rN)*(rN Ð ri)/ri
The correctness of the conversion after the second sign of equality can simply be checked by performing the multi.plication in the second expression. If the constant distance between the tracks is called .r we have
ri = rN Ð (N Ð i) * .r
in which i can take the values 1 (track of smallest radius), 2, 3 É , N. In order to understand this expression, simply calculate ri for i=N and i=1 according to this formula. By inserting this expression into the previous equation we get
.i = (d/rN)*(NÐi)*.r / (rN Ð (NÐi)*.r)
= (d/rN)*(NÐi)*(.r/rN) / (1 Ð (NÐi)*(.r/rN))
We finally introduce the parameters a and b that combine several symbols in this equation, and, in the case of the parameter a, also contain the conversion factor (180¡/¹)
.i = a*(NÐi) / (1 Ð (NÐi)*b)

The Bumbling Bruder Tour
34 European collections and one fantastic organ festival

By Ron Bopp
This past summer, a group of 26 mechanical music enthusiasts gath.ered to tour England and selected countries in Europe on what is known as the Bumbling Bruder Tour. The group traveled for three weeks, from Jun. 18ÐJul. 6, 2022, punctuating their visit with a three-day extravaganza of organs at the Waldkirch Organ festival. Other reports of this trip in other mechanical music journals have focused on the organs and atmosphere experienced, but this account aims to highlight some of the machines that kept each day interesting and enjoyable.
Several MBSI members from the United States, as well as six Austra.lians and one Canadian set out on this 35-venue trip, and at all of the destina.tions they found instruments playing and sounding quite well. Some places contained only a collection of organs while others were more rounded and had a variety of offerings.
An early stop in England found the group at David OÕConnorÕs home where he had a large building filled full of automobiles, some organs, and other mechanical items. David lives in a small English village called Spilsby. Numerous flowering plants surrounded his property. In a detached room of the music collection sat a beautiful, yellow 1929 Rolls Royce cabriolet. The vehicle originally came from California and has an original 106,000 miles. Nestled next to this beauty was a PopperÕs Konzertist Piano. With twin lit lamps, the piano was quite attractive.
Three days in England gave the group ample time to hear and see many outdoor organs and their indoor counterparts, dance organs.
We crossed the English Channel at Dover and had a short trip to Calais, France. After seeing a collection and workshop in Belgium, we entered France where we were treated to La Ferme Des Orgues (musŽe de la musique mŽcanique), a small but loaded museum in the countryside town of Steenwerck, France. The collection was assembled and demon.strated by Patrick Desnoulez. He had many hand-cranked organs and street pianos including a beautiful Piano Melodico.
There were many European-made street pianos and orchestrions and interestingly enough, in his back room sat a fully restored Double Mills Virtuoso. Another unusual presenta.tion was a large orchestrion built by Romano Bilotti of Brussels, Belgium.
Several days, several collections, and many organs passed until the group came to the weekend of Klang und Orgelfestival, held in Waldkirch, Germany, from Jun. 24-26. There the Bumbling Bruders enjoyed more than 15 large organs and nearly 90 smaller hand-cranked organs.
One of the constants of Waldkirch, whether there is a festival going in the streets or not, is the Elztalmuseum. Concentrating on fair organs, most of which were originally made in Wald.kirch, the museum does have a room dedicated to the Weber firm. Unique to that room is a Weber Unika salon piano that is actually a Weber Maesto in disguise as well as a book-operated Weber Kapelle orchestrion that has five animated figures that articulate with the music. This exact instrument is pictured in the ÒEncyclopedia of Mechanical MusicÓ by Q. David Bowers. In the book Bowers notes the early 20th century date of produc.tion for this machine. According to the docent who demonstrates this orchestrion, it is the only surviving book-operated Weber.
Once the Klang und Orgelfestival was over, the Bumbling Bruder group visited two more museums the following Monday: the Museum fur Musikautomaten in Seewen and the Klang-Maschinen Museum in Dunton. Both towns are in Switzerland. The guide for the Museum fur Musikauto.maten was Raphael ÒRaffiÓ LŸthi, the curator of the organs in the museum. Tour guests were treated to a concert by many of the smaller organs as well as the museumÕs 101-key Mortier Dance Organ. Additionally, there was a large collection of upright musical boxes. Represented were an upright 26-inch Stella and 27-inch Regina changer and a 20.-inch Kalliope upright music box and 24.-inch Poly.phon Mikado.
Walking room to room we found more mechanical instruments. One hall had nothing but large pneumatic pianos. Included in this array of instruments were a Seybold Piano-Ac.cordion Jazz; an unusual 1917-made Gebr. Weber Unika with an original moving scene on top; a Poppers Happy Jazz-Band Orchestrion; a Hupfeld Phonoliszt; and a 92-key Decap Dance Organ.
In a separate room, a well-preserved Welte Mignon Piano was on display.
The Klang-Maschinen Museum in Dunton was again an eye-opening experience for the group. Several rooms of associated mechanical music greeted us, the first being one that held several large instruments and musical boxes.
Along one wall was a quartet of instruments that included a Hupfeld Phonoliszt, a 35-key Limonaire Fair Organ, a large roll-operated European Orchestrion, and a Symphonion three-disc Eroica clock. Another room contained a Weber Brabo Orches.trion and a Welte Style 2 Cottage Orchestrion. Many musical boxes were present and one of the more impressive was this related Loch.mann Original Concert Piano. Using a 25.-inch disc, it certainly makes a statement.
Last, and certainly interesting, was a small theater room set off to the side that had a full complement of seats to allow visitors to be entertained by a Wurlitzer Style U Photoplayer. The photoplayer could be operated manually using the two keyboards, or automatically with the Wurlitzer Concert PianOrchestra rolls. It was a little bit of a shock to see this Amer.ican-made photoplayer in a Swiss museum.
Leaving Switzerland, the tour group visited Jens Wendel and his fatherÕs (Siegfried) Museum fur Mechanische Musikinstrumente in Rudesheim, Germany. Sitting on the edge of the Rhine River this has always been an attraction for the Bumbling Bruder Tours. This museum was originally a 15th-century knightÕs castle but now the rooms are filled with mechanical musical instruments. Approaching the museum, the group could hear a Bacigalupo ÒSoleilÓ roll-operated orchestrion playing in the courtyard.
The bottom floor of the museum houses three large organs in what used to be the wine cellar. Entering this room, the first thing visible on the left was an exceptionally large PopperÕs Ohio orchestrion. Nearly 10 feet tall, this orchestrion included a piano, imitation banjo, several ranks of pipes, drums and traps. A second Poppers instrument in this collection is the Poppers Salon Superba, a piano with xylophone and unique zither. Hidden away in an alcove off the main room originally intended as a wine cellar was a collection of a dozen or so hand organs. These were not mentioned as part of the main tour, but it was possible to stay behind and photograph some of the collection.
On Jun. 29, the tour group visited the Hinzen collection of organs in Swal.men, Netherlands, and then traveled back to Westerlo, Belgium, where we enjoyed the collection of Luc Peters. His display room featured not only a couple of dance organs, but a railway cylinder musical box and a large Symphonion musical box as well. There were many dance organs but the 80-key Ideal Bursens dance organ in a back room was most imposing. Large Bursens organs are not easy to find so this was a treat to view.
The following day included a trip to the Gebroeders Decap Antwerpen Factory in the morning plus a visit to ArburoÕs Place (a small collection of Belgian Dance Organs) and finally to the Jef Ghysels Collection. Purchased from Jef by the Belgian government several years ago, this collection went on display for the public until it was eventually retired. Recently, the collection has been relegated to a warehouse on the outskirts of Antwerp. Most impressive was an imposing Style 41 Mortier Orchestrion. With the beautifully aged oak case, stained glass, and lighting effects, this orchestrion must have been very popular in its day. It plays with folding cardboard books.
There were, of course, many organs but an interesting one, and from a company rarely seen, was a 60-key Ven der Beken. Julius Van der Beken was a student of Louis Hooghuys before venturing out on his own. He did not build many organs, so this surviving organ eventually needed to have a replacement faade. The image on the lower right of the previous page details the rear of the organ and the book-playing apparatus.
Our last visits of the three-week tour were to Ruud Vader as well as Ruud Brienen early in the day and finishing with a stop at the Hans van der Velde Collection in Tuitjenhorn, Netherlands. HansÕ collection includes several Dutch street organs and a pair of interesting piano orchestrions. The first was, yes, another PopperÕs Deluxe Superba in a walnut case. Hans related that this Poppers had been altered to play several types of rolls and contained violin and lotusflute pipes.
Finally, the last large instrument found on the tour was an orchestrion made by the now-deceased Hans van Oost. He constructed the instrument using 96 keys and the same scale as the No. 39 Ruth Concert Organ (of which there are only two existing examples: Speelklok Museum in Utrecht and the previous collection tour of Ruud Vader in Barsingerhorn, Netherlands). He began the build in 1975 and finished it in 1979. It was quite impressive.
This ends the report of some of the non-organs found on the ninth Bumbling Bruder Tour. This tour was fun and there were many things to see, but it was also quite an exhausting run through many places, and most tour members were pleased to get home and relax so they could look at the all the photos they took.

A 1929 Rolls Royce cabriolet housed in the David OÕConnor collection (Spilsby, England).

David OÕConnorÕs German Poppers Konzertist piano.

Patrick Desnoulez cranking a piano melodico. DavidÕs collection is known as La Ferme Des Orgues. Photo credit: Peter Datson.

An early Weber orchestrion housed in the Elztalmuseum in Waldkirch, Germany.

A Belgian orchestrion made by Romano Bilotti in the collec.tion of La Ferme Des Orgues.

A closeup of the keyframe and book-playing apparatus of the Weber orchestrion.

A collection of large musical boxes in the Museum fur Musikautomaten, Seewen, Switzerland. Pictured at the end are a 26.-inch Stella and a 27-inch Regina changer.

More musical boxes included a 20.-inch Kalliope upright and a 24.-inch Polyphon.

A large instrument hall in the museum contained (left to right) a Seybold Piano-Accordion Jazz piano; a Gebr. Weber Unika salon piano with a moving scene on top; a Poppers Happy Jazz-Band orchestrion; a Hupfeld Phonoliszt; and at the end, a 92-key Decap dance organ. Individual photos of each piano along the left wall are on the facing page.

An assembly of four instruments on one wall of the Klang-Maschinen Museum (Durnten, Switzerland) included (left to right) a Hupfeld Phonoliszt; a 35-key Limonaire fair organ; a 1900 Lšsche Orchestrion; and a Symphonion 38B three-disk Eroica clock (being inspected by Marty Persky).

The Seybold Piano-Accordion Jazz.

The Gebr. Weber Unika (with moving scene).

The Hupfeld Phonoliszt.

The Poppers Happy Jazz-Band.

A 25.-inch Lochman Concert Piano also in the Klang-Maschinen Museum.

A Welte Mignon reproducing piano in the Seewen museum.

A Wurlitzer Style U Photoplayer set up for action in the Klang-Maschinen Museum.

A large Weber piano orchestrion, the Brabo model.

The Klang-Maschinen MuseumÕs Style 2 Welte Cottage Orchestrion.

The theater seats ready for a movie accompanied by the Wurlitzer Photoplayer.

A wall of vintage phonographs in the Klang-Maschinen Museum.

The Bacigalupo Soleil orchestrion greeting those entering the Museum fur Mechanische Musikinstrumente in Rudesheim, Germany.

The museumÕs PopperÕs Ohio orchestrion.

A Poppers Salon Superba piano orchestrion also in the Museum fur Mechanische Musikinstrumente.

An 80-key Ideal Bursens in the Luc Peters collection.

The music room of Luc PetersÕ collection in Westerlo, Belgium. At the back are a Station Box and a large, upright Symphonion.

Four of many hand organs found on the first floor of the museum.

The rear of the Van der Beken organ detailing the book operation.

The 60-key Van der Beken Belgian fair organ in the ex-Jef Ghysels collection in Antwerp, Belgium.

A Style 41 Mortier Orchestrion also in the ex-Jef Ghysels collection.

About the Author
Ron Bopp has organized nine Bumbling Bruder Tours, taking hundreds of mechanical music enthusiasts to see collections that are often not available to the public. His tours offer many Americans a first glimpse of European collections and a taste of cultures quite different from their hometowns.
This is an image of Ron (left) with Maarten van der Vlugt (Belgian arranger and historian).
Ron is also the editor of Carousel Organ, the journal of the Carousel Organ Association of America. He is a past president of MBSI. Ron and his wife, Mary Jo, won the Trustee Award in 1996, and Ron won the Q. David Bowers Literary Award in 2014.

A self-built orchestrion (by Hans van Oost). Photo credit: Fred Dahlinger

Another PopperÕs Deluxe Superba piano orchestrion in the Hans van de Velde collection in Tuitjenhorn, Netherlands. Photo credit: Dick Hack

Imagine if you will the Automatic Musical Instrument Company

By Dr. Robert Penna
Borrowing the introductory phrase from Rod Serling and the old televi.sion show Twilight Zone, ÒImagine if you willÓ a company that has been manufacturing automatic musical instruments since 1901 and is still going strong. Today, they are still in business making machines to enter.tain us with the latest music.
One day, while looking at the logo on an old jukebox, I stopped and wondered what the AMI of the AMI-Rowe logo represented. To my surprise, I found it to represent ÒAuto.matic Musical Instrument.Ó This led to my research on the history of this meaningful name.
Tracing the history of the Automatic Musical Instrument Company was an arduous undertaking. Much of its history is confounded by takeovers, buyouts, and mergers. In addition, several companies had similar names: the Automatic Musical Company, the Automatic Musical Instrument Company, the National Automatic Musical Company, and the American Musical Instrument Company.
According to my research, the Auto.matic Musical Instrument Company started life as the Automatic Musical Company in March 1901 when broth.ers Benjamin and Louis H. Harris, with partner Frederick Goolman, produced an instrument that played metal bell bars and was incorrectly termed a xylophone. Marketed in 1902 and 1903, this instrument was a commercial failure. Switching to a coin-operated piano, the company produced a model called the ÒReliableÓ which proved to be successful. Earning patent No. 917288 in 1904, this keyboard style coin-operated piano became the company mainstay.
At that time, the firm was named the Automatic Musical Company of Binghamton, NY, and became the forerunner of the Link Piano Company. During the early 1900s, the company bought its pianos from the Schaff Brothers Piano Company of Huntington, IN, and Haddorff Piano Company of Rockford, IL. It is possi.ble that other pianos were purchased from Brewer-Pryor Piano Company originally from Saginaw, MI.1
The company simply modified the instruments from their suppliers by adding the mechanical mechanisms and glass. Pianos from this era were not built in substantial numbers and are exceedingly rare today.2
The Schaff Brothers Piano Company was established by Gotthard and John Schaff in 1868. By the time the Automatic Musical Company was purchasing pianos, Schaff Brothers already had a reputation for building high-quality instruments. Schaff Brothers also produced its own player pianos under the Solotone brand name. By the late 1920s Schaff Broth.ers Piano Company was absorbed into the Rudolph Wurlitzer Piano Company.3
In 1906 the Automatic Musical Company was doing well financially and by April 1906 an article appeared in Music Trade Review entitled, ÒMaking Shipments Abroad.Ó The item claimed that the companyÕs coin-op.erated pianos were being sent to Mexico and Canada and pianos from England were being refitted with its slot machine attachments. Likely this is a gross exaggeration, as no surviv.ing pianos have been found and trade papers were known to embellish the truth.4
It was also in 1906 that the company marketed the Mandolin Piano. Later that year, the Automatic Musical Company was incorporated by Louis H. Harris, Frederick R. Goolman, Frederick P. Ackerman and Samuel H. Harris with a capitalization of $250,000. In 1907, the company employed a Dutch immigrant named Joseph Wauters who developed an automatically-played violin. Because of a national financial downturn, the Royal Violista was poorly marketed, and few were made.
Around 1910, the Automatic Musical Company was in dire financial straits and facing possible bankruptcy caused by an unsettled patent infringement lawsuit as well as the effects of the 1907 economic recession. Because the company had been buying pianos from the Schaff Brothers Piano Company and was deeply in debt to its vendor, the President of Schaff was tasked with trying to save the Automatic Musical Company from complete ruin. Edwin A. Link, then president of Schaff, was appointed to oversee a recovery. When the company failed in 1913, Link bought the building, materials, machinery and supplies. Recognizing the potential of his purchase, he established the Link Piano and Organ Company using all the assets of the Automatic Musical Company.
The Link Piano Company became well known for quality instruments. In 1916, they introduced the Orches.tral Organ for theatres. In the early 1920s Link marketed a line of unified, electro-pneumatic organs targeted to both theatres and mortuaries. By the 1930s, the Link Piano Company had expanded its coin piano line and was turning out some 300 coin-operated pianos and a dozen theatre pipe organs per year. By 1927, however, business started to decline and, by 1932, the Link Piano Company ceased operations.5
In 1925, the National Automatic Music Company consolidated with the Automatic Musical Company and accepted its name for the new part.nership. That is the point at which the company and products came under the name of Automatic Musical Instru.ment (AMI) Company. As of Dec. 31, 1925, their patents were valued at almost $1.4 million. Yet, financial and legal difficulties continued to plague the company. In 1929, a lawsuit resulted in additional problems for the company.6
The National Automatic Music Company was well established before the consolidation. The company had two separate divisions. One handled manufacturing of nickelodeons, while the other ensured appropriate place.ments. After the consolidation, the new Automatic Musical Instrument Company, often simply called AMI, handled both aspects of the industry.
Among AMIÕs first products were electric pianos. Most notable was the National Nickelodeon, a coin-oper.ated player piano without a keyboard. At the start, cabinets for these player pianos were built by Bush & Lane, while the other components were made by AMI in Grand Rapids, MI.
The emergence of the 78 rpm record in 1925 brought a change in the landscape of automatic musical instruments. By 1927, AMI abandoned player pianos and introduced the National Automatic Selective Phono.graph, the first jukebox which started their association with these players of recordings.7
The nickelodeons of the 1920s had stencils or metal plates which read ÒProperty of Automatic Musical Instrument Company, Grand Rapids, Michigan.Ó The stylized monogram ÒAMIÓ first appeared in 1938 and lasted in several shapes until the company was purchased by Rowe in 1962. After this, the name Rowe was added to the company name. Today, Rowe AMI is well known for the manufacture of jukeboxes, yet it traces its roots back to the establishment of the Automatic Musical Company in March 1901.8
With all its name changes and ownerships, the Automatic Musical Instrument Company certainly has a fascinating history. Yet, it remains a music making company that has brought joy to many for well over a century.

An Automatic Musical Instrument Company Reliable instrument.

Patent drawing for the Reliable, patent No. 917288 in 1904. Full patent plans can be found at: https://www.mechanicalmusic.press.com/registry/pdf_data/docs/Reliable_Self-Playing_Piano.pdf )

A copy of a 1928 stock certificate for the Automatic Musical Instrument Company. Photo courtesy Scripophily.net

The Link Piano Company logo.

A Link Piano Company Style 2E. Instrumentation consists of a piano, mandolin attachment and xylophone.

Sources
1.
Reblitz, Arthur and Bowers, David. Automatic Musical and Link Piano and Organ Company, Mechanical Music Registry Project, April 9, 2022.
https://www.mechanicalmusicpress.com/registry/link/link.htm

2.
Antique Piano Shop, Friendsville, Tennessee, 2017 https://antiquepianoshop.com/online-museum/automatic-musical-in.strument-company/#:~:text=The%20Automatic%20Musical%20Instrument%20Company%20was%20a%20very,a%20variety%20of%20basic%20coin%20operated%20player%20pianos

3.
Antique Piano Shop, Friendsville, Tennessee, 2017

Schaff Brothers

4.
Reblitz, Arthur and Bowers, David. op. cit.

5.
Reblitz, Arthur and Bowers, David. op. cit.

6.
Court of Appeals of the District of Columbia, April Term 1929, Number 5002, National Piano Manufacturing Company vs. Commissioner of Internal Revenue, p. 24 https://archive.org/details/dc_circ_1929_5002_natl_piano_mfg_co_v_lucas/page/n29/mode/2up?q=%22automatic+musical+instrument%22

7.
Automatic Musical Instrument Co. (AMI) 1909-1962, Furniture City History, Grand Rapids Historical Commission.

8.
AMI. About AMI. AMI Entertainment Network, 2022. https://amientertainment.com/our-story/

Golden Gate Chapter

Chair: Jonathan Hoyt
Reporter: Dave Corkrum
Photographer: Rob Thomas
Dec. 11, 2022 Ñ San Jose, CA
The Golden Gate Chapter held its last meeting on Dec. 11, 2022, at the home of Lyle Merithew and Sandy Swirsky in the heart of Silicon Valley. Sandy and Lyle have a spectacular home filled with amazing music machines as well as many different types of collections, ranging from perfume bottles to Chinese and Japanese serving pieces and articles from samurai clothing and wonderful pieces of stained/leaded glass. If you are a collector, you know that it is rare to collect only one type of item.
In the manner of mechanical music, their collection includes cylinder and disc music boxes, orchestrions, a reproducing piano, a reproduction Hupfeld Phonoliszt Violina, roller organs and a jukebox. Many of these pieces are on display in a music room adjacent to the living room.
Chapter Chair Jonathan Hoyt held a business meeting and presided over the election of a new chair. Judy Caletti was elected to be the new chair for the chapter.
MBSI President Dave Corkrum informed chapter members that the financial report for the 2022 joint AMICA/MBSI Annual Meeting hosted by the Golden Gate Chapter and the founding AMICA chapter was formally submitted to the MBSI meetings committee. The two societies ended up collecting a combined total of 61 cents in profit. In other words, the chapters broke even on the event.
As is the custom of our chapter, a fantastic luncheon was provided by our hosts with side dishes and desserts provided by chapter members. It was a lovely day in San Jose, and we want to thank Sandy and Lyle for providing us with great music and great food.

Lyle Merithew finishes changing a roll on the reproduction Hupfeld Phonoliszt Violina while Kurt Swanson records it for posterity.

Lyle Merithew and Sandy Swirsky, meeting hosts, listen to a tune in the music room.

John Ulrich displays SandyÕs needlepoint piano bench cover.

Jennifer and Jonathan Hoyt, David Corkrum and Bob Caletti enjoy visiting with each other at the meeting.

Darius Kucinskas and Jared DiBartolomeo enjoying some yard art.

Bob Gonzales, Blanche Korfmacher and Julie Cole sitting in the music room.

Darius Kucinskas entertains on the Marshall & Wendell AMPICO.

Jared DiBartolomeo played music live that he recorded for an AMPICO roll.

Darius Kucinskas presents his report on ethnic piano rolls.

Southern California Chapter

Chapter chair: Robin Biggins
Reporter: Robin Biggins
Photographer: Lowell Boehland
Woodland Hills, CA Ñ Jan. 21, 2023
Our chapterÕs usual Christmas meeting was changed so we could try a combined meeting with the local Automatic Musical Instrument Collec.torsÕ Association chapter instead of having a two-day event. It turned out we had an attendance of 77 members and guests.
Frank Nix, with help from his son, Steve, set up his wonderful collection of mechanical music. We enjoyed a buffet-style lunch and conducted a dual chapter meeting before we listened to all the marvelous collec.tion of music.
FrankÕs Musik Haus is full of all types of machines, including the huge Ruth style 38 and a half dozen orchestrions, plus single and double Violanos, large musical boxes and monkey organs. There is a separate room for disc and cylinder musical boxes plus a rare Cordephon disc-op.erated mechanical Zither. Most of the large machines operate by a MIDI system so a wide range of music is available. The meeting lasted from 11 a.m. until after 5 p.m. so everyone had time to enjoy the music and learn a lot about mechanical music. Thank you to Frank and Steve for hosting our chapters for this meeting!

Frank demonstrates the Komet musical box.

Guests enjoy the Banjo Orchestrion with a mechanical clown on top.

Mark Morgan, Rosanna Harris, Chris and Kathleen Eric in front of the Musik Haus.

Peggy and Ed Cooley (MBSI Trustee) are nearly lost among the mechanical music machines.

A partial group in front of the Ruth organ.

A view inside the disc and cylinder music box room of the Musik Haus.

A guest at the keyboard of the Wurlitzer.

Everyone got a chance to wander the Musik Haus enjoying the instruments.

Frank operates the Fratti organ next to the small Molinari.

Frank in front of the Seeburg with an automaton band.

National Capital Chapter

James Absher, Dick Maio and Sarah Absher listen as meeting host Dick Hack dis.cusses the Mortier organ.

Chapter Chair: Ken Gordon
Reporters: Donna and Gene Borrelli
Photographers: Gene Borrelli
and Paul Senger
Dec. 4, 2022 Ñ Annapolis, MD
The National Capital Chapter held its Holiday Party and business meet.ing on Sunday, Dec. 4, at the home of Cheryl and Dick Hack which is on the Western shore of the Chesapeake Bay in Annapolis, MD. There were 56 people in attendance including 19 guests. Bruce Newman and Paul Hempel traveled the furthest, from Oregon, to attend the meeting.
At the business meeting chapter president Ken Gordon thanked our hosts Dick and Cheryl Hack for again hosting our Holiday party. He announced that there will be a meeting in March or April. Watch for an email from Paul Senger. Ken then thanked Paul Senger and Florrie Hirsch for all their hard work. Cheryl thanked Beni Jaro and Donna Borrelli for helping her serve the meal. Paul noted that there were some missing members due to health issues.
Following the business meeting Dick and Cheryl demonstrated their collection. The Hacks have an extensive mechanical music collection. It includes a variety of nickelodeons, organs, orchestrions, pianos, music boxes, phonographs, and a few juke.boxes and movie jukeboxes spanning from 1836 to 2005. Some of the pieces played were a Weber Unika, Hupfeld Phonoliszt Violina, Seeburg G Orches.trion, Welte Orchestrion, Wurlitzer CX Orchestrion with added bells, Wurlitzer 153 Band Organ, Davrain.ville Clockwork Barrel Organ, Regina Hexaphone Phonograph, Decap 92-key Dance Organ, Mortier Organ, Bursens CafŽ Organ, Ramey Banjo Orchestra, Mills Violano with Drum box, Mills Panoram movie jukebox, Polyphon 151/2-inch musical tall clock, Wurlitzer Model B Harp (Reproduction built by Dick), Link 2E nickelodeon, Ruth 36 Organ, and a variety of other mechan.ical music machines. The most recent addition to the collection is an Edison cylinder phonograph which Dick recently restored.

Above: Alden Gruden, a young guest, listens to the Wurlitzer CX.
Left: DickÕs new Edison Cylinder Player.

Attendees listen to the Bursens CafŽ organ. The Hupfeld Phonoliszt Violina on left.

Laura Bates and Al Zamba listen to the Symphonion Eroica triple disc music box.

Dick explains the rolls for the Bursens CafŽ organ.

Alden Gruden records the Hupfeld Phonoliszt Violina.

Carol Durand eyes the goodies from attendees on the dessert table.

Dick Maio, Art Mueller, Russell Mueller and Robert Barnett enjoy the orchestrions.

Wayne W. Wolf Ñ 1943Ð2023

By Marty Persky and Ed Kozak
Wayne Wolf of Western Springs, IL, passed away in January at age 81.
A 50-year member of MBSI and a long-time AMICA member also, he was listed, too, as a founding member of the Chicago Talking Machine Club in the 1960s.Wayne was proceeded in death by his beloved wife Connie in 2018.
Wayne was a certified profes.sional accountant, retiring as the Accounting Division Director for the University of Illinois Medical Center, Chicago. He was very involved in his Bohemian/Czech heritage and was active with the Palacky Odd Fellows, Czechoslovak Society of America, Czechoslovak American Congress, Bohemian National Cemetery, T.G. Masaryk Czech School and Svobodna Obec-Free Thought Council.
Wayne was a frequent attendee at MBSI and AMICA national conventions and local meetings including those of WIMAPS. He and Connie were always willing to open their house for a meeting and Wayne loved nothing more than showing off his favorite items, especially the rare cross-over Bohemian-Phonograph. With every item shown there was an enthusiastic story to be told. He often attended both StantonÕs and DonleyÕs auctions. Sometimes he would buy nothing, but he was still happy to just have been there.
He was an avid collector of many different types of mechanical musi.cal instruments and he shared his knowledge and expertise with all. He loved to learn about the history of the instruments and converse with other collectors and dealers. As recently as last August, Wayne entertained a group of MBSI European members showing them his wonderful collection of music boxes before they traveled to the MBSI annual convention in California. He was looking forward to attending the 2023 convention in Minnesota. He had missed attending several annual conventions since he lost the love of his life, Connie, a few years ago.
Over a period of five decades Wayne befriended many mechanical music dealers, restorers and fellow collec.tors throughout the U.S. and England. To his friends he was the sweetest, kindest of men.
MBSI was very lucky to have him as a long-time member of both the Finance and Endowment committees where he gladly contributed his expertise and wisdom. The committee members will surely miss his voice.

Wayne inspecting his Pink Lambert Concert Cylinder.

Wayne at a border crossing for the Czech Republic.

Wayne and Connie on vacation

Wayne with Dave Ramey Jr. and Dave Ramey Sr.

Wayne brings out one of his cylinder boxes for inspection during a meeting.

Lydia Levy Ñ 1938Ð2022

By Robin Biggins
We are saddened to hear that Lydia Levy, wife of longtime member Chuck Levy, passed away Dec. 23, 2022.Ê Chuck and Lydia graciously hosted several Southern California Chapter meetings over the years in their lovely home on the beach in Santa Monica, CA, as well as accommodating several busloads of members for the 2015 MBSI Annual Meeting.
Their wonderful collection of automata, mechanical music and art, along with their generous hospitality was always a special event for our members.
Lydia was born in South Dakota and graduated with a degree in Art History from Northwestern University in Evanston, IL.
At Northwestern, Lydia joined the Delta Delta Delta sorority and began dating Charles ÒChuckÓ Levy who graduated from Central High School in Aberdeen, SD, one year before her. When Chuck first saw Lydia at Central High, he remarked to a friend that Lydia was Òthe most beautiful girl [he] had ever seen in [his] life.Ó
In 1961, after ChuckÕs graduation from Northwestern University School of Law in Chicago, IL, they were married under a Chuppah in Aberdeen. For their honeymoon, the newlyweds piled all their worldly belongings into a 1961 Chevy Impala convertible and after an afternoon wedding reception began driving to Los Angeles, CA, pausing to have their first evening meal as a married couple at a rural South Dakota gas station service counter. Chuck had a one-year job waiting for him as a teaching associate at UCLA Law School teaching legal research and writing. It was LydiaÕs first visit to the Golden State where she would reside the rest of her life.
Lydia was a devoted homemaker raising the coupleÕs two sons, Grant and Brian. She was a major patron of the arts, regularly attending concerts by the L.A. Philharmonic and most Saturday evenings during the summer, she could be found at the Hollywood Bowl where she delighted in prepar.ing picnics for Chuck and whomever their guests were that evening. She also worked as a museum docent for many years, first at the Museum of Contemporary Art and then at the Los Angeles County Museum of Art, where she rose to become president of the Docent Council. For several years, Lydia could be seen most Sundays at 2 p.m. at LACMA delivering a docent lecture covering David HockneyÕs famous painting ÒPearblossom High.wayÓ to an interested art audience. Lydia was a great asset for Chuck in the development of his law practice by graciously entertaining the members of his law firm and his clients.
When not attending to her docent duties, Lydia was an active world traveler. She and Chuck made trips to exotic destinations from Asia to Africa to Antarctica. Her favorite trips, however, were those that included her sons and her grandchildren. These included numerous cruises and several trips to Hawaii.
Lydia and Chuck celebrated their 61st wedding anniversary this past June. She was blessed with five grand.children who were her pride and joy.
Chuck remembers that after partaking of an evening gourmet meal prepared by Lydia, they would sit in the living room of their well-located, art filled, custom built home they had designed and, looking about them, Lydia would sometimes raise her wine glass and toast, ÒNot bad for two kids from South Dakota.Ó
Lydia will be sadly missed by all of us in the Southern California Chapter.
ÐAdditional information for this article came from LydiaÕs official obituary

Lydia and Chuck Levy with one of their automatons that was featured on the cover of Mechanical Music.

The Hunt

WhatÕs your story of finding your way into collecting and enjoying mechanical music? WeÕd love to know!
Email your story to editor@mbsi.org or mail a copy to:
MBSI Editorial Offices
130 Coral Court
Pismo Beach, CA 93449

Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors by advertising in The Mart, an effective advertising tool at an inexpensive price.
Fill out the form in the Mart section on Page 60, or contact Russell Kasselman at (253) 228-1634 to get started. You may also email advertisements to editor@mbsi.org

Have something to sell?
Looking to buy?

Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors in The Mart, an effective advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. All ads are published in Mechanical Music and on the MBSI website at www.mbsi.org
Name Phone
Email
Text of ad

FOR SALE
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
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
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
MILLS VIOLANO. This is serial number 2552. Just gone through by the world expert Terry Haughawout (see photo of recent receipt) ItÕs right out of the shop in perfect working order. Comes with 5 rolls. Local pick up or I will work with your shipper. Video and more pictures available on request. Location is Grafton, Ohio. Asking $18,900. Contact JASON MARQUIS, at npl_jmarquis@hotmail.com or 440-396-3079
REGINA 27 IN CASKET MODEL. Totally restored by Porter in Oct 2020. With ten new discs from England. Needs nothing, as new. Amazing sound and volume. Sitka Spruce sound board. Asking $17500. Contact JOHN LEUENBERGER, at jeleuen@gmail.com or 850 218 4800
SEEBURG G, COINOLA CUPID AND WURLITZER IXB for sale. From the collection of Wayne Edmonston and the late Joe Bailey. Contact TIM GUNTER, at 407-383-9449
REGINA HEXAPHONE STYLE 104. A really nice original unrestored Hexaphone. Works correctly. Oak case. Complete. Pictures available. $14,000 + shipping. Contact ARNOLD LEVIN, at mech999@flash.net or 847-564-2893

THE MARTTHE MART

CLASSIFIED ADS
¥ 47¢ per word
¥ ALL CAPS, italicized and bold words: 60¢ each.
¥ Minimum Charge: $11 per ad.
¥ Limit: One ad in each category
¥ Format: See ads for style
¥ Restrictions: Ads are strictly limited to mechanical musical instruments and related items and services
¥ MBSI memberÕs name must appear in ad
¥ Non-members may advertise at the rates listed plus a 10% surcharge
PLEASE NOTE:
The first two words (or more at your choice) and the memberÕs name will be printed in all caps/bold and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
MBSI Advertising Statement
It is to be hereby understood that the placing of advertisements by members of the Society in this publication does not constitute nor shall be deemed to constitute any endorsement or approval of the busi.ness practices of advertisers. The Musical Box Society International accepts no liability in connection with any business dealings between members and such advertisers.
It is to be further understood that members are to rely on their own investigation and opinion regarding the reputation and integrity of advertisers in conducting such busi.ness dealings with said advertisers.

Photos are only $30 extra per issue. Email editor@mbsi.org or
call (253) 228-1634 for more details.

Display Advertisers

2……….Renaissance Antiques
53……..Porter Music Box Company
54……..Snowbelt Chapter
55……..Music Box Restorations
55……..4-4 Time
55……..Automata Magazine
56……..American Treasure Tour
57……..Golden Gate Chapter
58……..MBSGB
58 …….Miller Organ & Clockworks
59……..Nancy Fratti Music Boxes
61……..Stanton Auctions
67……..Marty Persky Music Boxes
68……..Breker Auction Team

ORDER EXTRA COPIES
The 2022-2023 Directory of Members, Museums and Dealers is only $10 for members. (International shipping is extra)
Call MBSI Administrator Jacque Beeman at (417) 886-8839 or send a check to:
Musical Box Society International
P.O. Box 10196
Springfield, MO 65808-0196

SERVICES
REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING. 40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE – The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone: (310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
SERVICES
NEW WEBSITE DEDICATED TO VIOLANO VIRTUOSO PRESERVATION Ð www.Viola.noPreservation.com features historic photos and original advertising and promotional materials from Mills Novelty, as well as the transcript and audio of Don BarrÕs interview with Bert Mills. Site also features restored Violanos for sale along with rolls and acces.sories. Contact JOHN ZUK, at coinopgeek@gmail.com or 626-840-4241

1910 ROULLET & DECAMPS CLOWN ON STILTS AUTOMATON in excellent working condition. Features intricate action including moving his head, hands, legs and mouth Ð topped off with a fabulous balancing act on a single stilt! More photos and video available. Contact JOHN ZUK, at coinopgeek@gmail.com or 626-840-4241

$10 for members. (International extra) Call (417) 886-8839

OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL¨

OFFICERS
President
David Corkrum
5826 Roberts Avenue
Oakland, CA 94605
musikwerke@att.net
Vice President
Matthew Jaro
24219 Clematis Dr
Gaithersburg, MD 20882
mjaro@verizon.net
Recording Secretary
Linda Birkitt
PO Box 145,
Kuna, ID 83634
scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
ekozak1970@gmail.com
TRUSTEES
Dave Calendine
Bob Caletti
Edward Cooley
David Corkrum
Richard Dutton
G. Wayne Finger
Matt Jaro
Tom Kuehn
Mary Ellen Myers
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Dave Calendine, Trustee
Matt Jaro, Vice President
Endowment Committee
Edward Kozak, Treasurer, Chair
Edward Cooley, Trustee
Dave Calendine, Trustee
B Bronson
Wayne Wolf
Executive Committee
David Corkrum, Chair, President
Matthew Jaro, Vice President
Tom Kuehn, Immediate Past Pres.
Dave Calendine, Trustee
Bob Caletti, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Wayne Wolf, Vice Chair
Edward Cooley, Trustee
Peter Both
Marketing Committee
Bob Smith, Chair
Judy Caletti
Don Caine
Meetings Committee
Matt Jaro, Chair, Vice President
Judy Caletti
Tom Chase
Cotton Morlock
Rich Poppe
Membership Committee
Chair, TBD
David Corkrum, President
Richard Dutton, Trustee
Mary Ellen Myers, Trustee, Southeast
Robin Biggins, Southern California
Judy Caletti, Golden Gate
Gary Goldsmith, Snowbelt
Julie Morlock, Southeast
Rob Pollock, Mid-America
Florie Hirsch, National Capital
Dan Wilson, Piedmont
Gerald Yorioka, Northwest IntÕl
TBD, East Coast
TBD, Lake Michigan
TBD, Sunbelt
Museum Committee
Sally Craig, Chair
Matt Jaro, Vice President
Glenn Crater, National Capital
Ken Envall, Southern California
Julian Grace, Sunbelt
Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations
Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair
Tom Kuehn, Immediate Past Pres.
Bob Caletti, Golden Gate, Trustee
Mary Ellen Myers, Trustee,
Southeast
Jonathan Hoyt, Golden Gate
Robin Biggins, Southern California
Aaron Muller, Lake Michigan
Publications Committee
Bob Caletti, Chair, Trustee
Richard Dutton, Trustee
Steve Boehck
Christian Eric
Kathleen Eric
Publications Sub-Committee
Website Committee
Rick Swaney, Chair
B Bronson
Knowles Little, Web Secretary
Special Exhibits Committee
Chair Mary Ellen Myers, Trustee,
Southeast
David Corkrum, President,
Golden Gate
Donald Caine, Southern California
Jack Hostetler, Southeast
Knowles Little, National Capital
Judy Miller, Piedmont
Aaron Muller, Lake Michigan
Wayne Myers, Southeast
Rick Swaney, Northwest IntÕl
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org

SPECIAL ACTIVITIES
Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates

MBSI FUNDS
Members can donate to these funds at any time.
Send donations to:
MBSI Administrator,
PO Box 10196,
Springfield, MO 65808-0196.

General Fund (unrestricted)
Endowment Fund (promotes the purposes of MBSI, restricted)
Ralph Heintz Publications Fund (special literary projects)
Museum Fund (supports museum operations)

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.

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 April 1, 2023, for the May/June 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
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
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
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

CHAPTERS

Copyright 2022 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X

MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 69, No. 1 January/February 2023
Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
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.
MEMBERS: SEND ADDRESS CORRECTIONS TO: MBSI, PO Box 10196, Springfield, MO 65808-0196 Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196, Springfield, MO 65808-0196

Chapter Reports
45 Mid-America 50 National Capital 53 Southern California

MBSI has replanted 209 trees so far as part of the Print ReLeaf program.

M
echanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and musician all at the same time. Play an automatic musical instrument in a room full of people and all else will stop as the machine enraptures the audience with the sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.matically-played machine that produces melodic sound including discs and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instru.ments at once using vacuum and air pressure; player and reproducing pianos that use variable vacuum to strike piano wires; phonographs; and self-playing stringed, wind, and percussion instruments of any kind.
The Musical Box Society International, chartered by the New York State Board of Regents, is a nonprofit society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it now has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More information online at www.MBSI.org, or
Call: (417) 576-4280, or
Email: jbeeman.mbsi@att.net
Copy this page, and give it to a potential new member. Spread the word about MBSI.
Last name First Name Initial
Last Name First Name Initial
Address

City State / Zip Postal Code / Country
Phone Fax E-mail
Sponsor (optional)

Membership Dues
US members (per household)……………………………………….$70 Student Membership $30
(online journal access only)
Canada…………………………………………………………………………$80 Other International ………………………………………………………$85
(Add $20 for International air mail.)
Join online: www.mbsi.org/join-mbsi
Check or Money Order Payable to: MBSI Treasurer (US Funds Only) Mail to: New Member Registration – MBSI PO Box 10196 Springfield, MO 65808-0196
Visa/MasterCard

Exp. Date CCV
Signature

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
MAILING ADDRESS
MBSI Editorial / Advertising 130 Coral Court Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634
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.

ADVERTISING
EDITORIAL

Advertisements for the March/April 2023 issue of
Articles and photos for the March/April 2023 issue of
Mechanical Music need to be submitted by Feb. 1, 2023.
Mechanical Music should be submitted by Jan. 25, 2023.
Advertisements for the May/June 2023 issue of Mechani-
Articles and photos for the May/June 2023 issue of
cal Music need to be submitted by Apr. 1, 2023.
Mechanical Music should be submitted by Mar. 25, 2023.
Welcome new members!
October 2022 November 2022 Carola & Uwe Beitzel Mark & Taylor Burkey Siegen, NRW, Germany Lincoln, NE Karl & Sally Rider Dylan Hallman Wabash, IN, Platteville, WI Sponsor Hope Rider Colby Maxey David Stanwood Decatur, IL Vineyard Haven, MA, Robby Peeters Robert Vogel Westerlo, Antwerpen, Belgium Deerfield Beach, FL, Each One Reach One New Member

Tell your friends!Tell your neighbors!Tell your mailman!This New Year brings a new membership deal

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:
¥
ÒNo. 12, Geschichten aus dem Wiener WaldÓ (Tales from the Vienna Woods) by Johann Strauss Jr.,

¥
ÒNo. 30, Elisabeth-PolkaÓ by Cl. Richter, and

¥
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.

¥
ÒOld Folks at HomeÓ (Price: $1.04)

¥
ÒNellie GrayÓ

¥
ÒMy Old Cabin HomeÓ

¥
ÒThe Little Spring Beside My Cabin HomeÓ (Price: $1.08)

¥
ÒShe Wore a Wreath of RosesÓ

¥
ÒWhen the Bloom is on the RyeÓ

¥
ÒIn the GloamingÓ

¥
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
¥
Will it fit any sewing machine?

¥
Can anyone who can operate the treadle of a sewing machine play?

¥
Will it produce really good and expressive music?

¥
Is it desirable and will it remain in good repair?

NO
¥
Can one sew and play at the same time?

¥
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 Franois Nicole and his colleague and friend Franois Louis Lecoultre.
Development
Franois Nicole was the founder of Nicole Frres. His friend Franois Louise Lecoultre, the founder of Lecoultre Frres, 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 faade 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 faade 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 Franois Nicole, along with Frers 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 Franois 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

THE MART

CLASSIFIED ADS
¥
47¢ per word

¥
ALL CAPS, italicized and bold words: 60¢ each.

¥
Minimum Charge: $11 per ad.

¥
Limit: One ad in each category

¥
Format: See ads for style

¥
Restrictions: Ads are strictly limited to mechanical musical instruments and related items and services

¥
MBSI memberÕs name must appear in ad

¥
Non-members may advertise at the rates listed plus a 10% surcharge

PLEASE NOTE:
The first two words (or more at your choice) and the memberÕs name will be printed in all caps/bold and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
MBSI Advertising Statement
It is to be hereby understood that the placing of advertisements by members of the Society in this publication does not constitute nor shall be deemed to constitute any endorsement or approval of the busi.ness practices of advertisers. The Musical Box Society International accepts no liability in connection with any business dealings between members and such advertisers.
It is to be further understood that members are to rely on their own investigation and opinion regarding the reputation and integrity of advertisers in conducting such busi.ness dealings with said advertisers.

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
SUBMIT ADS TO:
MBSI Ads
130 Coral Court
Pismo Beach, CA 93449
(253) 228-1634
Email: editor@mbsi.org

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
Photos are only $30 extra per issue.
Email editor@mbsi.org or
call (253) 228-1634 for more details.

REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110, www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING.
40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE -The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
ALL ADS MUST BE PREPAID
We accept VISA/MC and Paypal.
ADVERTISING SPECS:
Display ads may be submitted camera-ready, as PDF files, or with text and instructions. File submission guidelines available on request.
Errors attributable to Mechanical Music, and of a significant nature, will be corrected in the following issue without charge, upon notification.
Display Advertisers
3………. Renaissance Antiques 59…….. MBSGB 59 ……. Miller Organ & Clockworks 60…….. Stanton Auctions 61…….. Porter Music Box Company 63…….. Music Box Restorations 66…….. Snowbelt Chapter 67…….. Marty Persky Music Boxes 68…….. Nancy Fratti Music Boxes

Advertise in The Mart
Have spare parts or extra rolls tak.ing up space where you should be installing your next music box? Get the word out by advertising in The Mart, an effective advertising tool at an inexpensive price. Email edi.tor@mbsi.org or call (253) 228-1634

Bob Caletti

Specializing in Antique Music Box Restorations ¥ Buy ¥ Sell
605 Wallea Dr. Menlo Park, CA 94025 (650) 325-3898
www.musicboxrestorations.com info@musicboxrestorations.com

ORDER EXTRA COPIES
The 2022-2023 Directory of Members, Museums and Dealers is only $10 for members. (International shipping is extra)
Call MBSI Administrator Jacque Beeman at
(417) 886-8839 or send a check to: Musical Box Society International P.O. Box 10196 Springfield, MO 65808-0196

Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $382.50
Full Page 7.25Ó x 9.75Ó $290 $261 $246.50
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $76.50
Eighth Page 3.5Ó x 2.125Ó $50 $45 $42.50
Add a 10% surcharge to the prices shown above if you are not a member of MBSI.
*Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount

Add a photo to your ad!

A photo makes your ad stand out on the page and quickly draws a readerÕs interest in the item. Email your advertisement with photo to editor@mbsi.org or call (253) 228-1634 for more details. Place your ad online at www.mbsi.org

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
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation

Welte Style 4 Monster Paganini Orchestrion Cremona Welte Brisgovia C Concert Orchestrion 45Õer Niemuth Bacigalupo & Marty Orchestral J Luxus Orchestrion

Weber Maesto with Weber Otero with Violina Orchestra Hupfeld Helios II/25 Automaton Diorama Moving Scene

Instruments from the Carol Veome / Larry Dupon Collection

Mills Novelty Co. Bowfront Violano Seeburg G Orchestrion 26Ó Rococo Steinway OR 6Õ6Ó Art Case Oak 3-Disc Mel Septon Restoration Stella Console Leedy/Septon Restoration
Eroica

Jaeger Brommer 20Õer Automaton Anniversary Organ

Bremond Orchestra Box Regina Drum Table Massive Paillard Nicole Fr. Desk, 226 Teeth 42 Airs on 7 Cylinders 20 .Ó Short Bedplate 36 Airs on 6 Cylinders 20 Overtures & Variations 8 Airs
Call Marty Persky 1-847-675-6144 or email Marty@Mechmusic.com for further information on these and other fine instruments.

MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 68, No. 6 November/December 2022

Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums, and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offices.
Copyright 2022. The Musical Box Society Inter.national, all rights reserved. Mechanical Music cannot be copied, reproduced or transmitted in whole or in part in any form whatsoever without written consent of the Editor and the Executive Committee.
MEMBERS: SEND ADDRESS CORRECTIONS TO: MBSI, PO Box 10196, Springfield, MO 65808-0196 Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196, Springfield, MO 65808-0196

MBSI NEWS
5 PresidentÕs Message 7 EditorÕs Notes 8 Outreach Corner
20 Annual Business Meeting Minutes 23 Financial Statements 26 Annual TrusteesÕ Meeting Minutes 57 In Memoriam

Features
9 Nickel Notes by Matt Jaro
30 Annual Meeting in review
53 Expanding Mechanical Music

Chapter Reports
54 Southern California

MBSI has replanted 202 trees so far as part of the Print ReLeaf program.

On the Cover
A view of Richard ReutlingerÕs Knabe Ampico piano and living room full of antique furniture and collectibles. This San Francisco, CA, Victorian-style home was one of two visited during the 2022 MBSI Annual Meeting. Photo by Rob Thomas. Page 30.

M
echanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and musician all at the same time. Play an automatic musical instrument in a room full of people and all else will stop as the machine enraptures the audience with the sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.matically-played machine that produces melodic sound including discs and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instru.ments at once using vacuum and air pressure; player and reproducing pianos that use variable vacuum to strike piano wires; phonographs; and self-playing stringed, wind, and percussion instruments of any kind.
The Musical Box Society International, chartered by the New York State Board of Regents, is a nonprofit society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it now has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More information online at www.MBSI.org, or
Call: (417) 576-4280, or
Email: jbeeman.mbsi@att.net
Copy this page, and give it to a potential new member. Spread the word about MBSI.
Last name First Name Initial
Last Name First Name Initial
Address

City State / Zip Postal Code / Country
Phone Fax E-mail
Sponsor (optional)

Membership Dues
US members (per household)……………………………………….$70 Student Membership $30
(online journal access only)
Canada…………………………………………………………………………$80 Other International ………………………………………………………$85
(Add $20 for International air mail.)
Join online: www.mbsi.org/join-mbsi
Check or Money Order Payable to: MBSI Treasurer (US Funds Only) Mail to: New Member Registration – MBSI PO Box 10196 Springfield, MO 65808-0196
Visa/MasterCard

Exp. Date CCV
Signature

By David Corkrum
MBSI President
Another year has come and gone and my first year as president of your society is over. It was not a rough year but it sure was not a smooth one, at least for me. Now, it is time to move on to the next one and see what it has in store for me and for our society.
One of our trustees, G. Wayne Finger, has decided to resign ahead of schedule for personal reasons. Wayne is an asset to the society, and I thank him for all of his hard work and dedication. Members like Wayne are the backbone of our society, so if you feel inspired, please join me in thanking Wayne for being here when he was needed.
I want to welcome Rich Poppe, who has agreed to serve in the trustee position vacated by Wayne Finger. I have officially appointed him to the position. Rich is also a hard worker and an asset to the board and the society. Thank you Rich.
Another dedicated volunteer we have to say goodbye to is Dan Wilson. He is not leaving the society, but he is leaving his position as our Nominating Committee chair. Like Wayne, Dan has worked very hard for the past six years providing us with qualified candidates for trustee membership. I had a feeling that this would be a difficult position to fill but a past presi.dent was convinced by her husband to take on the position. Please welcome Judy Caletti as our new Nominating Committee chair. In my heart, I know that she will fulfill this position in the best possible manner.
Our annual meeting, held in and around San Francisco, CA, concluded in early September. This was, as you know, a joint meeting with the Auto.matic Musical Instrument Collectors Association, or AMICA for short.
In spite of the challenges the world has faced due to the COVID pandemic, this meeting was, for the most part, a success. Like all past meetings I have attended, there were minor hiccups, but in this case, the host chapters from both our society and AMICA were able to work these out so that the show could go on.
Our sincere appre.ciation is extended to the members of both the Golden Gate Chapter and the AMICA Founding Chapter. You all worked very hard with minimal volun.teers and produced a wonderful meeting. I

also wish to congratu.late the meeting organizers on finding such uniquely wonderful table favors. They will look great in a bookcase or on a side table and will, most likely, elicit comments from visitors to your homes.
I look forward to reading the report on the meeting and seeing the many pictures of places and people I may have missed while performing my duties as president. I do want to say that if I did not get the chance to thank you in person for attending this meeting I wish to do so now. One of our members mentioned to me that I had not said thanks to all for attending during my time on the podium and so I apologize now for that omission. I certainly am grateful for all who took their time and traveled to the West Coast for good conversation, fun tours and fantastic mechanical music. It was great to see so many of our family together again. Yes, you are a part of my family.
That is all that I have for you in this issue of Mechanical Music. As always, our editor and Publications Commit.tee chair have gathered some great articles for us to enjoy in this issue. I hope that your Fall season is full of bright colors and beautiful music. Oh, and this monthÕs picture is from my greenhouse with Oncidium orchids behind me. That spike of flowers next to me was more than 6 feet in length. I did not count the number of flowers, but it is certainly more than 50.

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 January/February 2023 issue is November 30, 2022

Tell your friends!Tell your neighbors!Tell your mailman!This New Year brings a new membership deal

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.

EditorÕs Notes
By Russell Kasselman
MBSI Editor/Publisher
IÕm not sure where to begin, so IÕll start by saying a large thank you to the photographers who contributed wonderful pictures to this issue. Lowell Boehland, Rob Thomas and Ed
Cooley are consistently fantastic at documenting MBSI annual meetings and they have done so again this year. My only regret is that I am unable to print all the photos they shared. Please take the time to enjoy those that did make the cut and then start making your plans to attend the next convention in St. Paul, MN, hosted by the Snowbelt Chapter. I know I want to be there.
Linda Birkitt, David Corkrum and Ed Kozak also deserve a large pat on the back for doing yeomanÕs work to record, assemble, distribute, edit and finally deliver the minutes from both the annual business meeting and trust.eesÕ meeting along with the financial statements for the society that you can read beginning on Page 20 of this issue.
One thing you will notice missing in this issue is an article about the recipients of awards at this yearÕs convention. Suffice it to say that I just ran out of space for everything. So, look for the article on award winners to appear in the January/February issue.
Since this is the last issue of 2022, I will encourage all of you to make a New YearÕs resolution to write an arti.cle about mechanical music in 2023. Find a song that you love and look up the composer or the musician who performed it. Write about them. Write about the box you are listening to it on. Where did it come from? Who had
MAILING ADDRESS
MBSI Editorial / Advertising 130 Coral Court Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634
it before you? Who made it? Why did they make it the way they did? I look forward to hearing from you about what you find.
There are more than 1,000 members of MBSI and we print between eight and 12 articles per issue in six issues per year. That means a maximum of 72 articles per year will fill the journal. It also means if each member writes an article every 13.88 years, we would never run out of content.
I believe in you! You can do it. Make your resolution to submit an article today.

By Joel Cluskey
Immediate Past President, AMICA
A message to David Corkrum and the annual meeting/convention planning team: Speaking for the Automatic Musi.cal Instrument CollectorsÕ Association (AMICA), I want to thank everyone who was involved in the planning and hard work putting together and running the annual meeting/convention in San Mateo, CA. I very much enjoyed myself and appreciated the exposure to allied mechanical music interests and passions.
Most importantly, however, I value the opportunity I had to meet many of you and others with similar interests and passions. It was clear that there was a concerted effort on the part of the planning team to make this a truly ÒjointÓ convention whereby each group was able to conduct their own business, experience what they valued in a convention and at the same time mingle with our aligned organization. Please pass this commendation on to all the others that I did not copy on my email who were working behind the scenes to make this such a success. LetÕs keep the cooperation and support ongoing in the interest of all mechanical music!

Welcome new members!
August 2022 September 2022 Ronald Lang Louis Alexander Toledo, OH Hilton Head Island, SC Dender & Melodie Sotelo Philip Doak Spring Valley, CA Austin, TX Sponsor: Don Caine Cinda Rodgers Springfield, MO Thomas Weierick Cary, NC Sponsor: Bear Schultz

LetÕs keep the music alive
By Mary Ellen Myers
Special Exhibits Committee Chair
For any planned outreach event instruments to be shown and played need to look and sound great! Even though some owners have the know.how to keep the music sounding pitch-perfect, most of us do not. Musi.cal instrument repair and restoration specialists, seldom seen by persons attending public displays, are vital to the enjoyment of events, the memo.ries of the music and the piquing of interest in our hobby.
Before any public events like an annual meeting house tour or even a chapter meeting take place, craftsmen are often called upon to evaluate and repair non-functioning or poorly-func.tioning instruments in their trust. The magic they use to awaken past musical memories, previously locked under the lid of a silent box is a very special, personal yet subtle type of outreach. For the box owner, the completed repair might allow them to transit time in their mind and reunite with a long lost family member, a friend, or even imagine a friend not yet met! What a beautiful emotional bond! What a perfect opportunity to open the doorway to new friendships with similar interests.
For many new musical box owners, a visit from one of these craftsmen is their first introduction to MBSI. A caring, sharing repair specialist is such an asset to our society!
I would like to share my first encounter with a very talented repair specialist who came to the rescue when our first instruments were received at our home after a long journey to Florida from Pittsburgh, PA. We were not MBSI members at the time. In fact, we werenÕt even home when the instruments were delivered. We were enjoying an exciting year in Europe! Fortunately, our daughter and son-in-law were house sitting and there to receive the delivery.
My husband Wayne and I were finishing a superb dinner at an outdoor Florence bistro when we received a call from home with news that our very special first collection piece, a Home Model H2 Encore Banjo had arrived Ñ damaged! What to do? Whom to call? Where to go? How to get there?
At the time, I did (and still do) know a long term MBSI member and friend from Pittsburgh named Bob who Òsnow-birdsÓ or Òwinters,Ó in Flor.ida. Bob put me in touch with a Florida member of the society who connected me with another MBSI member in Florida, who then connected me with another and finally another. Five people went out of their way to take the time to help me get connected with a repair specialist named Richard.
Richard not only fixed the damage, but he gave us demonstrations of how to operate our instruments. He even supervised our efforts to change a never-ending paper roll. What an accomplishment.
Our application for MBSI member.ship was thus on the way! Richard was always available to solve mechanical problems and support our open houses with impromptu assistance if needed. Thank you, thank you, Richard!
I would be remiss if I did not mention that since joining MBSI, many of our local chapter members have helped us with quick diagnoses, tips, and fixes when needed.

Repair personnel are major assets to all of us. We listen, perform, and enjoy the music, sometimes without much thought of what goes on behind the scenes.
Watch this space in the coming issues as a few repair/restoration professionals have volunteered to share their interesting and unfor.gettable experiences as part of this Outreach Corner column.
The music must not die!

Nickel Notes
By Matthew Jaro
I have the honor of presenting Marty Persky to you in this column. Marty is a prominent broker and agent of mechanical music. He is a curator and manager of restoration projects and a driving force for organizing conven.tions and other mechanical music events. Marty was born and raised in the West Rogers Park neighborhood of Chicago (nobody ever just lived in Chicago).
Beginnings
I asked Marty how he became inter.ested in mechanical music. His reply was most interesting. At the age of 8 Marty had the experience of listening to an acoustic guitar in the basement of the next door neighbor. The sounds, he said, were just magical.
That experience gave him a profound appreciation for live acoustic music. Marty described himself as a bit timid at the time but he thought ÒI would really like to have one of those.Ó He ended up saying nothing. Then, lo and behold, a few weeks later the neighbor gave the guitar away to a kid down the block who wound up breaking it apart with a baseball bat! It was a good lesson, as Marty learned then that itÕs better to speak up. Later that year, MartyÕs uncle, who was a professional clarinet and saxophone player in the 1940s, bought him a used clarinet.
Marty said, ÒI enjoyed playing the instrument but I was no Benny Goodman.Ó Eventually the clarinet fell by the wayside. Yet that didnÕt diminish his love of music.
He was a curious kid. He put his thumb in a light socket when he was 3 years old and tried to cut through his parentsÕ Formica kitchen table when he was 5 years old.
Marty said, ÒBy the way, the saw in the Handy-Andy tool kit that I had just received as a present didnÕt cut very well. I only succeeded in making a little notch in the stainless-steel rim.Ó
Marty enjoyed taking things apart to see how they worked. His universe was limited to his street and its alley. He was known as the neighborhood Ògarbage picker.Ó A windup suitcase phonograph was one of his favorite finds. After wearing out the two 78-rpm records, it was time to take it apart and use the motor for a spring-powered car.

Marty loved the TV program ÒWatch Mr. Wizard.Ó He was interested in chemistry until he blew up the basement at age 11. He went into electronics after that. His eighth-grade science fair project, ÒMusic by Light,Ó was an organ with tones created by light traveling through a perforated rotating disc and being picked up by a bank of photocells. The publish.ers of ÒWorld Book EncyclopediaÓ brought Marty and his project to their downtown Chicago studio to be photographed.
Electro-mechanical pinball machines were one of the first shared interests with his friend and fellow mechanical music lover Mel Septon. Marty and Mel would take a bus to Chicago Coin, a company on Diversey Avenue that refur.bished pinball machines to send to South America. At that time pinball machines were illegal in the city of Chicago, since the authorities felt they contributed to truancy.
In their sophomore year at Lane Technical high school Marty and Mel formed ÒAMCO Pinball RepairÓ with their business card motto, ÒIf we canÕt fix it, there is no charge.Ó Marty says somehow they got paid for every job they did.
Marty engaged in many projects with science fairs taking up much of his time. His 1965 programmed lawn mower was the biggest show stopper that year. In 1966 he used pinball machine equipment to demon.strate digital switching logic. Marty kept all the mechanical and electrical parts from his many projects. While the parts may have had value only to him, they seemed worth saving. He would go to Olson Electronics where he befriended the manager, who took pity and sold demonstrators to Marty very inexpensively. Marty managed to build a decent bedroom sound and recording system with very little money.

The Music Box Bug
MartyÕs friend, Mel Septon, decided that he was going to rebuild a player piano for himself. Mel wound up buying a beautiful Schultz player piano from Roger Dayton, owner of Pedals, Pumpers and Rolls. It was the only retail establishment for automatic music in the Chicago area. Roger offered it at a discounted price but cautioned Mel that the Schultz player stack was particularly difficult to restore. Mel replied, ÒI can fix anything,Ó and bought the piano. The restoration job was kind of like learn.ing to swim by diving into the deep end of the pool. After college, Mel decided he would rather open a player piano restoration shop than teach physical geography. Marty enjoyed spending time with Mel in his shop but didnÕt yet have the bug to collect mechanical music.
In 1975 Mel joined MBSI and spent a week at Lloyd KelleyÕs Music Box School to learn how to restore music boxes. On his long drive back home Mel was looking through the MBSI directory and saw a large collection in Paris, IL, listed as ÒVATÓ meaning viewing any time. Mel called and was told he could stop by later that day. The collection belonged to Dr. Paul Fleener, an early member of MBSI. Soon after returning home Mel agreed to buy the doctorÕs Regina accordion-top music box. Mel shared his adventure with Marty and asked if Marty would go with him to help move the music box. It would be a 424 mile roundtrip but Marty thought, Òthis sounds interesting.Ó
He stepped into the house that held a collection of around 50 high-quality music boxes. He said listening to the beautiful sounds so distinct from any other orchestral instrument was like being in heaven. The doctor indicated he was interested in mentoring new collectors. Marty started to rethink his former concept that money was something you saved and never spent. A week later, the doctor told Mel that Marty should bring $300 and he could find a music box for him. After getting the green light from Sandy, his bride of some six months, Marty went to the bank. For some reason he took out $400. (Why? He still doesnÕt know.) Mel and Marty went to visit the doctor and, of course, the first thing the doctor asked was not, ÒDid you bring the $300?Ó but instead, ÒHow much money did you bring?Ó

Not thinking Marty blurted out, ÒI brought $400 É but…Ó and before Marty could say more, the doctor said, ÒWonderful, we should be able to find a music box for you for $400.Ó
Mel and Marty made an agreement that Mel would use the keyword ÒniceÓ if it was something that Marty should really buy. The doctor showed Marty one box after the other, Marty really liked them all. Mel said, Òthis is wonderful,Ó and, ÒMarty, you should really consider this one.Ó He never used the word Ònice.Ó
The doctor finally said, ÒDid you come here to buy a music box or not?Ó Marty replied, ÒYes, I did.Ó
Then the doctor turned to a beau.tiful interchangeable cylinder music box and said, ÒI might be crazy enough to offer you this one.Ó Mel quietly said, ÒYeah, thatÕs a nice one.Ó Marty said he will never forget the butterflies in his stomach just before he told the doctor, ÒYes, thatÕs the one I want.Ó

It was the start of Marty becoming an enthusiast and collector of music boxes. When Marty brought the newfound treasure home, Sandy became an instant fan. Within the next few years Marty, Sandy and Mel would come to own a sizable part of the doctorÕs collection and forge lifelong friendships, visiting regularly over the next 17 years.
Computer Science Career
I asked Marty how he got into computer science and, as anyone who has met Marty knows, there was an answer along with several side stories to go with it.
In 1966 he built a science fair project called ÒDigital Switching Circuitry,Ó which was made up of parts from the brains of pinball machines. His display won the fair. Bell Laboratories awarded him and a teacher of his choice a trip to the companyÕs Murray Hill, NJ, lab joining other high school science fair winners from around the country. This was a first for Marty in many ways. It was his first time on an airplane (a first-class ticket, no less). The filet mignon and macadamia nuts served on the flight out were also both firsts for him.
In the hotel room, MartyÕs teacher said, Òyou stay up here and IÕm going down to meet with the other teachers in the bar.Ó Several students, including Marty, felt deserted and got together in the hallway trying to figure out what to do. Marty suggested taking one bell off from each phone in their hotel rooms so they would make a funny ring. Using a dime, Marty demonstrated this opening his phone and removing one bell. However, once accomplished he got nervous and put the bell back before the teachers returned.
Marty thought he wanted to be an electronic engineer. He had decided to go to either the University of Illinois, in Chicago, which was a brand new school with modernized engineering curriculums or to the University of Illinois downstate, which had a well-established engineering school. Undecided, Marty wrote out deposit checks to each school. Standing in front of the mailbox he finally dropped in the deposit to the Chicago school Ð which meant he could stay at home with all the stuff he had already collected. It turned out well as Marty would be hired by the UniversityÕs Energy Engineering department to help build and create instrumentation for a shock tube laboratory. The lab became MartyÕs second home for the next four years.

Taking graduate classes in his senior year he was hired by the Information Engineering Department to run labo.ratory sessions. Two paychecks later the university said he could not work for two departments at the same time.
It was then he decided to pursue his Masters in Computer Science.
In 1972 he applied for a job seeking someone with a Ph.D. and offering $10,000 a year. He was hired despite only having a masterÕs degree.
The Academy for Interscience Methodology (AIM) was a small non-profit scientific research organi.zation formed when the University of Chicago got out of the military and classified world. AIMÕs primary funded work was in the development of strategic defense computer models. The clincher for Marty in taking the job was that his office would be inside the Museum of Science & Industry,

Sandy and Marty Persky in their living room.
ChicagoÑone of his favorite places in the world. Marty worked as a scientific programmer and as a strategic defense analyst. Seventeen years later, when the Berlin Wall came down, Marty, as CEO, saw AIMÕs work coming to an end. In 1995, AIM ceased operation.
Mechanical Music
MartyÕs first exposure to automatic musical instruments was in the late 1960s at SvobodaÕs Nickelodeon Tavern and Museum. It seems like so many members of AMICA and MBSI started out this way. The nickelode.ons there were lots of fun and they were used as they were intendedÑin a bar setting. It was a big party time! It was probably the heyday of the establishment.
I asked Marty if he met Art Reblitz or Dave Ramey, Senior, at SvobodaÕs and Marty said, ÒThey might have been there but I didnÕt know them at the time and I only went on Saturday nights when it was usually very crowded.Ó There were instruments of all types playing all over the place. It was totally wild. Al Svoboda would dump a burlap bag full of instruments onto the floor and hand an instrument to each woman he picked from the audience.
By 1971, Sandy came along. Al picked Sandy and gave her a string of sleigh bells to put around her waist. After that, Sandy knew to stay in the background during the instrument assignment process. Marty thought the dollar beers were the biggest money maker. People would drink them all night and never seem to get too drunk.
The 1977 MBSI annual meeting in Cleveland, OH, was Marty and SandyÕs first. Attending MBSI and AMICA chap.ter meetings and annual conventions often became a family affair. After several years of enjoying the benefits of membership, Marty thought it was time to help out by taking on official duties in the Chicago-Area Chapter of AMICA and then Mid-America Chapter of MBSI. These were all rich and rewarding experiences that grew his network of friends and fellow collectors.
In 1986 Marty met Norio Isogai of Tokyo, Japan, during one of his buying trips to the U.S. Marty had offered him a musical stage of the Mikado operetta. Norio was not interested as the music was not complicated, but he wanted to purchase almost the entire rest of MartyÕs collection. Marty agreed to sell Norio a few nice pieces

A swinging arm clock in the Persky house.
that he knew would be replaceable. What he did not realize was it would take him several years to find pieces in comparable condition. Over a four-year period Marty and Norio spent many hours discussing technical issues of various instruments. In late 1990, Norio called Marty at his office asking if he would work part time as his purchasing agent. Marty said he recalls the feeling of being on cloud nine as he immediately accepted.
The next year turned out to be extremely difficult for Norio. As JapanÕs economy was collapsing, instead of selling inventoried instru.ments, he and his assistant had to totally rebuild a Phonoliszt Violina already placed in a museum exhibit space. With no money coming in from Japan, MartyÕs opportunity of being a purchasing agent transformed into an opportunity of taking out a substantial loan and becoming a partner in NorioÕs

U.S. acquisitions and restoration projects. It was continuous work but on-and-off as far as getting paid. MartyÕs accountant would ask him, ÒTell me again, why did you get into this business?Ó
Marty began to acquire and sell instruments for private U.S. collectors, taking on music box restoration jobs and restoration management for other instruments. Mechanical music was becoming a second full-time job. In early 1995, after AIM closed down, Marty had the opportunity to continue his work in strategic defense by moving to Offutt Air Force Base near Omaha, NE. Sandy said, ÒYou can do that if you want, but weÕre not moving.Ó At the time, Sandy was working part time as a nurse which provided health insurance benefits. So, Marty decided to stay put and go all in with mechanical music.

Angelo Rulli was given the job of chairing the 1996 MBSI convention in Chicago. Early that year Angelo had told Marty he was recovering from bypass surgery and didnÕt know if he could do the job alone. Marty said he would be happy to help. It became another full-time job for the next six monthsÑworking and reworking the convention to accommodate 708 attendees! Since Marty wouldnÕt have time to hold an open house, he decided to bring his entire collection to the hotel. It was opened to the public on the Sunday after the convention. Many attendees said it was the best conven.tion ever.
As of this time, none of the pros.pects for a new Japanese museum had come to fruition. In late 1996, Marty received a call from Angelo saying, ÒI need help. There is someone who wants to spend $100 million on music boxes!Ó
It turned out that it wasnÕt just music boxes, but all types of automatic music and the money covered the cost of buying land and constructing a museum complex. Ultimately Marty would provide a sizable number of world class instruments for the Ukai Music Forest museum in Kawagu.chi-ko, Japan. The museum obtained many fine instruments from Jasper Sanfilippo. Fortuitously, Jasper had comparable instruments waiting to be restored, so he could replace most of what he let go. The museum hired Norio Isogai as director of curatorial services and Norio and Marty wrote the museumÕs catalog. In the years since the Ukai Music Forest opened on Sept. 9, 1999, some 400,000 people annually have experienced mechani.cal music there in a grand setting.
Marty wasnÕt just working behind the scenes. He presented several workshops at annual MBSI meetings. The talks featured some of his favorite instruments: the Symphonion Eroica and the Hupfeld Phonoliszt Violina. His work continued in the new millen.nium providing support to collectors worldwide. Some of the collections are among the largest in the world. He served as an MBSI trustee for eight years. With the advent of the internet he created a website with the domain of www.MechMusic.com. Today, the website gives background on Marty and offers pictures and videos of some instruments he has available for sale.

In 2006 he became curator for the Jasper and Marian Sanfilippo Collec.tion. He also supports the Sanfilippo Foundation (www.SanfilippoFounda.tion.org) which conducts tours and events at the estate. Through these events the foundation has helped charities raise millions of dollars for their respective causes. Marty says it is always a pleasure for him to organize the AMICA, MBSI, COAA and COCA tours and events at the estate. The enthusiasm of all the collectors makes these events especially exciting.
He said his work has seldom been a one man show. He relies on collaboration with colleagues, many of whom are combinations of histo.rians, authors, collectors, artisans and restorers. Over the last 26 years people who share a passion for these instruments have been a major part of his work and life. Marty said he would not have reached his level of success without the support and friendships of Norio Isogai, Jasper Sanfilippo, Art Reblitz, Jerry Biasella and Mel Septon.
Two Acquisition Stories
I asked Marty what was the first big instrument he handled. Marty said that during the MBSI 1990 convention in Indianapolis, IN, he brought a Regina Musical China Closet to NorioÕs atten.tion. The owner was not attending the convention but had come from Farmersville, IL, to show a picture of the Regina in hopes of finding a buyer. It attracted quite a lot of attention. Marty asked the owner to not sell the piece before calling him. Norio was interested and told Marty to see how much he wanted. A few days later the owner called Marty saying he would only sell the china closet as a package with his $15,000 organ clock. Marty asked the owner if he could see the pieces at 6:30 a.m. the next morning as he had an important meeting at work later than morning. He called Norio who gave him permission to buy both instruments, as long as the Regina was good and he could pay somewhat more if there was competition over the asking price. Upon arrival, the Regina was all original but the clock was a marriage with the head not original to the body. So, Marty said he would buy the pair. The owner said he had promised to call other people before he sold it and wanted to do so.

Marty said ÒEither I buy it today or not at all, so if there is someone you have to call, do it now.Ó Marty contin.ued, ÒTo show you how interested I am, IÕll pay you $5,000 extra for the Regina and you can keep the clock.Ó The owner liked that deal even better. He tried to reach several people but reached only two. Neither of them would commit without seeing the pieces first. Finally, the owner relented and accepted a $5,000 deposit and executed a contract for the Regina.
Marty then related another interest.ing story. The Milhous brothers had purchased the Fisher collection and wanted to sell off duplicate and surplus

The Oiseau-Chantant (singing bird) cylinder music box. The bird movements are choreographed for each of eight tunes with voice from 11 miniature pipes accom.
panied by two music box combs.

pieces. The Music Forest museum was interested in the Franz Oehrlein organ grinder automaton. Marty attended that auction with Jasper Sanfilippo. Marty felt confident he could purchase it since he had arranged permission to bid up to a super high price. When the lot hit the block, lo and behold, Marty never got a chance to raise his hand.
Including the premium, it went for more than $100,000.
Marty immediately got on the phone with his friend Hans Schmitz in Stutt.gart, Germany, who was also a friend of Franz Oehrlein. Marty asked, ÒHow are we going to find an Oehrlein organ grinder?Ó It turned out the last produc.tion model was still sitting in the shop unfinished, awaiting further payment from the buyer. Through Hans, Marty could secure the organ grinder from Oehrlein for the museum. Even though word of the auction price had gotten around, the price was consid.erably less than what the museum had been willing to pay at the auction. Months later Franz agreed to sell the prototype for the flute player and bird automaton which Mrs. Oehrlein regarded as their son. After some time, Franz Oehrlein himself finished it just like the production model.

The Collection
When Marty experiences an instru.ment for the first time he thinks about its history. Who would have owned this? The commercial pieces were owned by businesses. They were not just nickel grabbers, but trade stim.ulators. They made business sense, and thatÕs the only reason they were successful in their time. Since Marty has a regular sized house there is little room for such instruments. His Bowfront Mills Violano, for example, is well cared for at a friendÕs house where there is a large music room.
The instruments made for the home were generally quite expensive, but the music they provided was worthy of the cost at the time. Reproducing pianos werenÕt sold for the piano or the songs, they were sold as if the artist was coming to your parlor and playing your piano for you. Salesmen said you would be listening to the artist perform in your own home on a real piano. The largest instrument in MartyÕs home is a Chickering AMPICO B reproducer with carved lyre legs. Marty feels fortunate to have pieces that were originally afforded by only the very well-to-do and enjoys sharing their experience with other people.
He observed that because so much music is simulated now, people are forgetting what real acoustic sounds are like. A piano, for example, is not just one pin-point source of sound. Our ears pick up sound from all direc.tions. Speakers just donÕt reproduce the same three-dimensional sound as the instrument and its surroundings.
In addition to the music and history, Marty enjoys the mechanics, and the inventiveness of the instruments. One of the focuses of his collection is the oddities. Some unusual designs were implemented just to get around othersÕ patents. The F.G. Otto Capital Cuff music box was such an example. Rather than a flat music disc, Otto punched projections on a strip of sheet metal which was rolled into the shape of a shirt sleeve cuff.

MartyÕs is not just any Otto cuff box, but the one that uses OttoÕs patented spring motor. The motor is powered by two compressed helical springs on wooden dowel rods. As the springs expand they pull on a chain which rotates a cylinder which drives the mechanism via a right-angle gear drive. These have been known to explode at times if wound too tightly, but it is certainly a novel way of powering a music box. Marty has the patent drawings, so visitors can compare the drawing to how the actual machine works. Another design that went lengths to avoid patent infringement was Euphonia MusikwerkeÕs Hero.phon organette that rotated the entire reed organ player under a stationary square cardboard music sheet.

A friend from Connecticut called Marty one day, and said ÒI donÕt know what it is, but it looks like the patent model for a music box, coming up soon at auction.Ó Looking at it, Marty determined that it was the model for PaillardÕs 1874 Sublime Harmony music box patent. There were no phone bids allowed at this auction but an absentee bid would be accepted. Marty didnÕt know what to tell the auctioneer as a high bid. He really wanted it, but if he proffered a high bid, the auctioneer might just push the bidding up. So, Marty put in a bid close to what he was willing to pay. He got it for a nominal price of about 10 percent of his maximum bid. He was very pleased to have an honest auctioneer who was unknown to him. When it came time to pack and ship the model, Marty asked the auctioneer to pack it and remember his maximum bid, not just what he actually paid for it. Marty was elated when he later confirmed the model was depicted exactly in the drawings for the patent specifications.

Art Reblitz, Norio Isogai and Marty Persky in 1998 in ArtÕs shop.

Marty had Craig Smith and Jeff Vincent restore two pieces in his collection. The first was an 18-key barrel pipe organ with monoblock flute and metal violin pipes by Joseph Hicks of Bristol, England, circa 1830. Nobody ever told Joseph that you couldnÕt put 17 tunes on a single barrel, so that is just what he did. The other is a hand-cranked barrel piano by George Hicks out of Brooklyn, NY, with 10 moving figures, circa 1840. This is a fun and novel piece with lots of action.
One of the most beautiful pieces is a Oiseau-Chantant (singing bird) cylin.der music box. The bird movements are choreographed for each of eight tunes with voice from 11 miniature pipes accompanied by two music box combs. The singing bird box came from a very early Chicago collection

Ex-Sanfilippo Instruments at Ukai Music Forest museum in Kawaguchi-ko, Japan, on the performance stage.
that was exhibited at the downtown Chicago public library every Christ.mas season during the early 1950s. Marty helped Mabel and Simon Zivin acquire a piece from that collection and was able to buy this at the same time. Having relationships with other collectors caused synergistic things to happen. It would take some five years before Marty had Robin Biggins restore the Oiseau-Chantant box. Robin also worked on the circa 1860 Husson-Buthod et Thibouville three musician automaton formerly from the Sullivan collection in Evansville, IN.
One of the best cylinder music boxes in Marty and SandyÕs collection is an 1854 forte-piano box attributed to Langdorff, Geneva. It has 238 teeth of graduated width. It makes four revolutions of a 13-inch-by-3.5-inch diameter cylinder. The music box was owned by Clarence and Marguerite FabelÑtwo of the founding members of MBSI. In 1954, the Fabels sent the box to Switzerland to be restored. Not hearing anything for over a year, they decided to go visit their box. Showing up unannounced, they were told ÒOh my, I know where one of the combs is!Ó They were assured that it would be finished and sent back. Six months later they received it safe and sound. Marguerite recalled that Marty had taken a fancy to that piece. When it was time for Marguerite to sell off pieces of the collection, she held this for Marty. Years later Marty had Dave Wells go through the box. It is just a marvel to listen to. A 60-note upright Chordephon is a more recent addition. ItÕs a mechanical zither with a beauti.ful sound which is just amazing.
The early days of eBay were great for Marty as some legitimate rare pieces were offered straight out of peopleÕs attics and dresser drawers. Since then it has become difficult to sift through all the junk and verify condition. It is all too common to read, ÒI am not an expert, but it sure sounds good to me!Ó Another common comment is, ÒIt is excellent condition for its age.Ó Also, listening to an instrument play over the telephone can be problematic as well. Modern telephone communica.tion is designed for transmission of speech, not music. Unfortunately, too many novices and would-be collectors have been burned by purchasing what they believe is a great bargain to learn they have a noise box that would cost much more to fix than if they had paid full price for a good one. Such expe.riences can cause people to lose all interest in collecting music machines.
The PerskysÕ personal collection and the business inventory comprise some 200 instruments plus related ephemera and accessories. Some pieces are in the process of resto.ration and not presently operable or assembled. In addition, they typically have a few customer instruments for

The Completed Oehrlein prototype automaton on display at An HBT three musician barrel reed organ in the Persky
the Ukai Music Forest museum.
restoration and consignment. There are always plenty of instruments to play for visitors. Marty said, ÒSharing the experience of these musical wonders is always our pleasure.Ó
Positive Experiences
Marty said participating in the hobby while having another vocation was wonderful, but being able to work in the hobby was a special privilege. As time went on, most of his waking hours were with the instruments and the people associated with the instru.ments, both collectors and restorers.
When I bought a Seeburg G through Marty, he called me to say that the machine had a problem. It was very minor but Marty thought it was important to disclose everything. He said, ÒIf it was an unrestored instru.ment then we wouldnÕt worry about it, but when you want to get a restored machine that is Ômove-inÕ ready and you are going to be living with it, why shouldnÕt I have Jerry Biasella fix it?Ó
told Marty that most people wouldnÕt even mention something like
collection.
that. He said he was lucky to represent an instrument that was worthy of such scrutiny. Since the collectors and the restorers are both a big part of MartyÕs life, he wants both to be happy. He says itÕs not like a mail-order business, where new customers are assured even if past customers are unhappy. Preserving these instruments for posterity is something that is well worth doing. I said I always felt we are caretakers of the instruments. When I wanted to buy something, I would always go to Marty first. You could always be assured that he would honestly represent the machine under consideration.
The Persky Family
Sandy equally enjoys the instru.ments, their music and their collector friends. The Perskys have a daughter and son and three grandchildren. At a very young age, their daughter accom.panied them to national collector conventions and homes of collector friends. Upon her return from visiting a pre-K school friend, Marty asked, ÒDid you have a good time at RachelÕs house?Ó Her reply was, ÒIt was OK, but, daddy, where are their music boxes?Ó She had never been to a home without music boxes. She is now a scientist at the National Institutes of Health, but spent all her free time while in college as program director for rock music. Their son trained in vocal performance but when Pavarotti did not step down he switched to a degree in political theory and now is with a New York City non-profit organization working to improve our world. To their delight, the grandsons aged 10, 8 and 8 love to listen to the music boxes.

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 March/April, 2017 issue of The AMICA Bulletin.

Minutes of the 72nd Annual Business Meeting of the Musical Box Society International

Marriott Hotel San Mateo, CA, Sept. 4, 2022
President David Corkrum called to order the 2022 MBSI Annual Busi.ness Meeting at 10:44 a.m. He read the names of members and friends who have passed away since the last Annual Meeting: Joseph Berman, Ed Buchanan, Rex Burgett, Hal Estry, Mary Louise Freiheit, Donald Huene, Wendell Jacob, Aline Kadlec, Judith Kohlhaas, Ron and Regina Koontz, Michael McKilligan, Kim Pontius, Ruth Ramey, Sandra Smith, Arthur Thompson, and Jonathan White.
A moment of silence was observed in remembrance.
Sincere appreciation was extended to Lyle Merithew and Sandy Swirsky, Bob and Judy Caletti, David Corkrum and the members of the Golden Gate Chapter for their excellent work in putting this meeting together.
The officers and MBSI Board of Trustees were introduced. Past MBSI presidents and trustees were recognized.
Those attending an annual meeting for the first time were recognized.
President Corkrum introduced our distinguished guests from our sister organizations: Arlette Baud and Michel Bourgoz of MusŽe Baud; Alli.son Biden, president of MBSGB; Peter Both, president of the Swiss Friends of Mechanical Music; Michel TrŽmouille, vice president and treasurer and Jean-Marc Lebout, vice president and redactor of the Association des Amis des Instruments et de la Musique Mechanique, also known as the Asso.ciation of Friends of Instruments and Mechanical Music. President Corkrum was able to successfully pronounce this last part by drawing on his high school French.
OfficersÕ Reports
President Corkrum reported that the minutes of the 71st MBSI Annual Meeting held in Fort Myers, FL, were published in Volume 68, No. 1, of Mechanical Music. There being no corrections, additions or deletions, President Corkrum entertained a motion to approve the minutes. The motion was made and seconded and the motion passed.
Vice President Matt Jaro was introduced and presented the vice presidentÕs report. The vice president is responsible for the giving of awards to those who have given their time and energy in promoting mechanical music. The vice president is also responsible for reports made to the University of the State of New York. The report was received.

Committee Reports
Finance Committee: President Corkrum presented the finance report. Total fund balances for 2021 decreased by $18,218. Net assets totaled $749,995 as of Dec. 31, 2021.
The main items of revenue is membership dues. That revenue declined from $69,029 to $66,090. The Southeast Chapter did a commendable job running the 2021 convention. Their efforts contributed a net profit to the societyÕs bottom line, and they should be congratulated for their efforts.
Publishing revenue was $17,643 and publishing expense was $68,162. Accounting, tax preparation and administrative expense totaled $33,943.
As of Dec. 31, 2021, the society had operating investments totaling $403,283 and restricted investments totaling $316,811.
For the Endowment Fund, the total was $161,850. The fund increased by $1,580 from the previous year. The endowment interest earned fund shows a balance of $43,287, two-thirds of which, or $28,825, is available for projects or programs. The report was received.
At the mid-year trustees meeting, it was proposed and approved to increase the membership dues by $10 per year. The reason is the increase in the cost of doing business and the decrease in membership. President Corkrum entertained a motion to increase the dues by $10 effective Jan. 1, 2023. The motion was made and seconded and the motion passed.
Also at the mid-year meeting, it was proposed by the Marketing Commit.tee to offer half-price memberships to new members and those whose membership had lapsed by two or more years for the first year and be billed the full price thereafter. This plan would be offered for a two-year period and all other discounts to new members would be suspended for the same two years.
President Corkrum entertained a motion to offer half-price member.ships for the first year to new members and those whose member.ship had lapsed by two or more years. Members who join using this discount would be billed the full price for membership on renewal the following year. The program would take effect Jan. 1, 2023, and would continue for a two-year period. All other new member discounts would be suspended for these same two years. The motion was made and seconded. The motion passed.
Audit Committee Chair Ed Cooley presented the audit report. Cinda L. Rodgers, CPA, PC, who conducted the audit, stated that, based on her review, she is not aware of any mate.rial modifications that should be made to the financial statements for them to be in accordance with accounting principles generally accepted in the United States of America.
While compiling the 2021 data elements for the revenue analysis spreadsheet, Chair Cooley discovered that 36 of the 93 international members chose the option of airmail delivery of the journal. This reduction in esti.mated revenue produced a very small variance from actual membership revenue. The difference between the estimated and actual revenue was $425 or a difference of -0.64 percent. The committee will continue to report this type of analysis each year.
Last month, our current accountant, Sherry Werner, advised MBSI that she will no longer provide services for the society. A conference was held between President Corkrum, Treasurer Ed Kozak and Audit Chair Cooley. A suggestion was made to consider Cinda Rodgers who normally reviews the societyÕs annual financial statements.
Chair Cooley conducted a phone conversation with Mrs. Rodgers about her potential interest in transitioning to be our accountant. Treasurer Kozak was included in further discussion with Mrs. Rodgers, and it was decided that she would take on the position of the societyÕs accountant. She has agreed to provide our current level of service for about the same cost for one year, during which time she will determine if the costs may need to change. She has also agreed to find a replacement for her review contract capacity. The report was received.
Marketing Committee Chair Bob Smith presented the report. The trans.lator and two articles have been put on the website for foreign members to try. Comments from new members show it is the chapter meetings and personal contacts which are essen.tial for retention of new members. Advertising for MBSI continues on Mechanical Music Radio. The report was received.
Meetings Committee Chair Matt Jaro presented the report on the dates of upcoming annual meetings. Snowbelt Chapter will host in 2023; Southern California Chapter will host in 2024 joint with AMICA; and Lake Michigan Chapter will host in 2025. The report was received as presented.
AdministratorÕs Report: President Corkrum presented the report. Our administrator, Jacque Beeman consistently sends a detailed report of what is going on with the member.ship as well as the procedures she follows. As of Jun. 30, 2022, there were 1,043 members. For the same period ending Jun. 30, 2021, there were 1,091 members. There was a loss of 48 members. There were 30 new memberships from Jan. 1, 2022, to Jun. 30, 2022. Of these, 14 or 47 percent were from the website.
The recipients of a free renewal were quite extensive. Don Caine is the dealer recipient of a free renewal for sponsoring three new members. There was a 13-way tie for the member recipient of a free renewal; Ardis Prescott, Bill Wineburgh, Bob Caletti, Brooks Low, Hope Rider, Jack Hostetler, Jessica Holden, Kelly Newsome, Nancy Stevens, Nancy Van Broekhoven, Robin Biggins, Russell Kasselman, and Wayne Myers for sponsoring one new member each. The report was received.
Museum Committee: President Corkrum presented the report. There have been no changes to the loans to museums of our inventory. All inven.tory items remain the same and are housed at A.T.T. in Oaks, PA, as well as at the Musical Instrument Museum (MIM) in Phoenix, AZ, and at a number of museums in the Midwest.

The MIM contacted the committee chair with a request to repair/restore the faade of the Swiss chalet box on display. Their conservation depart.ment was given permission to enhance the piece. The report was received.
Nominating Committee Chair Dan Wilson presented the report. There were no scheduled or anticipated vacancies from the board this year, so no search for a new trustee or officer candidates was initiated. Chair Wilson still intends to vacate the position as chair. The composition of the commit.tee will be changing at the conclusion of this meeting.
Chair: Vacant
Members: Tom Kuehn, immediate past president, Bob Caletti, Trustee, Mary Ellen Myers, Trustee, and representatives from the following chapters: Lake Michigan, Mark Pichla; Mid-America, Rob Pollock; Snowbelt, Tracy Tolzmann; and Sunbelt, Ray Dickey.
The Nominating Committee submits the following slate of officers and trustees for approval and confirmation by the members.
¥
Vice-President: Matt Jaro to serve a second one-year term.

¥
Treasurer: Ed Kozak to serve another one-year term.

¥
Recording Secretary: Linda Birkitt to serve another one-year term.

President Corkrum asked for a motion to approve the slate. The motion was made and seconded. The motion passed.
Publications Committee Chair Bob Caletti presented the report. Chair Caletti thanked everyone who had contributed to this yearÕs journal. He also thanked Russell Kasselman, our editor/publisher, and Rick Swaney, our website committee chair for the great job they have been doing. Behind the scenes there is also our great proofreading team to catch any errors that may appear in an article.
In the future you will be seeing reprints of past articles of inter.est as well as articles from other publications.
The publication date of Mechanical Music will be moved to the middle of each odd month to coincide with other publication deadlines.
The committee will be putting some Òhow toÓ articles on the website to generate interest in the society. The report was received.
Editor/Publisher Russell Kasselman presented the report. A total of 34 writ.ers and 12 photographers contributed articles, columns, chapter reports, memorials and pictures to the journal this past year. Russell continues to encourage any member to contribute new material and he offers his edito.rial services to help turn even a jumble of notes into a piece of writing that all can enjoy and benefit from.
Advertising percentages were down slightly from last year, filling an average of 18.75 percent of journal pages. This average remains between the target goal of 15Ð25 percent adver.tising in each issue. He would like to thank our consistent advertisers, especially Nancy Fratti, Marty Persky, Steve Stanton, Porter Music Boxes, Cottone Auctions, Bob Caletti, Reeder Pianos, Renaissance Antiques, Breker Auctions and Morphy Auctions for their support of Mechanical Music.
Costs for producing the journal continue to rise slowly due to postage and paper costs. MBSI is participating in a program called ReLeaf, which plants trees to offset the carbon footprint of the pages we print and mail. So far, MBSIÕs participation has resulted in the planting of 195 trees.
As his role as website editor/ manager, Russell continues to keep the websiteÕs core code and all plug.ins up to date. He has corrected a few logic flaws affecting the functionality of the membership management tools used by the MBSI administrator. The report was received.
Website Subcommittee Chair Rick Swaney presented the report. There is good news and bad concerning the redesign project. The bad news is that it is not as far along as hoped. Higher priority work keeps pushing back the work. The good news is some of the work has been completed on the new design. Notable features include Simplified top-level menu, in which the menu is reduced to the items most likely wanted; Hero image which cycles images through various eye-catching images which have overlaid text; horizontal slices which consists of several horizontal frames, each one describing a different feature of the website or the society itself; and link icons which give quick access to other web sections. These replace items that are currently hidden in the top-level menu.
The archive of text-only journal issues (suitable for translation) is being kept up to date. An issue is generated each time a new journal issue is published. The archive covers the years 2018 to 2022.
The MBSI Forum on Facebook continues its rapid growth. Last year the membership was at 440. This year it is 892. In the last 60 days there were 385 posts and 12,550 views. The website is averaging 3,000 visits per month. Last year, almost 10,000 people found our site via a Google search. The report was received.
President Corkrum entertained a motion to adjourn. It was moved and seconded to adjourn the 72nd annual business meeting. The motion passed and the meeting was adjourned at
11:27 a.m.

Respectfully submitted, David Corkrum, President on behalf of the Recording Secretary Sept. 19, 2022

MBSI Annual TrusteesÕ Meeting Minutes

of August 31, 2022

The MBSI Board of Trustees, left to right: Vice President Matt Jaro, Immediate Past President Tom Kuehn, Trustee Bob Caletti,
Recording Secretary Linda Birkitt, President David Corkrum, Trustee Ed Cooley.
President Corkrum called the MBSI Annual TrusteesÕ meeting to order at
9:21 a.m. on Aug. 31, 2022 at the San Mateo, CA, Marriott Hotel. Those Trustees who attended in person were: David Corkrum, President Presiding, Bob Caletti, Ed Cooley, Matt Jaro and Tom Kuehn, while those who attended via Zoom were: Dave Calendine, Richard Dutton and Mary Ellen Myers. Eight of eight present made up a quorum. Guest Judy Caletti was recognized by President Corkrum as were Ed Kozak, Treasurer, Linda Birkitt, Recording Secretary, and Sally Craig and Rick Swaney as committee chairs. Trustee Wayne Finger had resigned prior to this meeting.
Because the minutes of the 2021 Annual TrusteesÕ meeting, and the minutes of the 2022 mid-year trustees meeting were not approved even though they were published in Mechanical Music, all the minutes for 2021 and 2022 will be approved as they have been published in Mechani.cal Music. Trustee Dutton moved that the minutes of the Aug. 31, 2021, MBSI Annual TrusteesÕ meeting as published in Volume 68, No. 1, and the minutes of the Mar. 18, 2022, MBSI Mid-year TrusteesÕ meeting as published in Volume 68, No. 4 in Mechanical Music are hereby approved. Tom Kuehn seconded the motion. Motion carried and the minutes were approved.
Board actions
Recording Secretary: Linda Birkitt conducted a review of pending board actions. There were no changes to other board actions except for a clarification of the Marketing Commit.tee board action. (See Marketing Committee Report). The report was received.
VICE PRESIDENTÕS REPORT
Matt Jaro, vice president.
The vice president is responsible for coordinating all award plaques as well as presenting the awards luncheon. All nominees for awards have been chosen, plaques have been ordered and the presentation has been assembled. A video presentation for the luncheon, which includes some of the winners with their collections, has been produced. The Annual Report from the society to the Board of Regents of the University of New York, which is required to maintain our 501(c)(3) status, has been submit.ted. The notebook with all chapter reports is on display in the Hospitality Room. This report was received.

LIST OF COMMITTEE MEMBERS
President Corkrum noted that the committee makeup list, which documents the committee chairs and members, has been developed. All members have agreed to continue with their respective committees. However, a motion is needed to approve the committee member list. Trustee Kuehn moved to approve the list, which was seconded by Vice Pres.ident Jaro. Motion carried. President Corkrum asked Vice President Jaro to assume the role of Membership Committee chair until a chair is secured. Per protocol, the president is, by default, on all committees. Committee chairs Craig and Caletti have reached the end of their chair terms but have graciously agreed to continue another year, if not longer as needed. Nominating Committee Chair Dan Wilson will be leaving his post early, so that committee needs a chair.
FINANCE COMMITTEE
Treasurer Ed Kozak presented the financial statements ending Dec. 31, 2021. They showed a deficit of $18,218. Actual results are consistent with the budget projections. The following are a few revenue and expense items of note:
¥
Dues revenue declined from $69,029 to $66,090.

¥
The Southeast Chapter did an amazing job of running the Convention under very difficult circumstances, and even managed to create a net profit for the Society.

¥
Publishing revenues were $17,643 and publishing expenses were $68,162.

¥
Accounting, tax preparation and administrative expenses totaled $33,943.

Per the Board of Regents of the University of New York, the Society is required to have an independent review of its financial statements for year-end by a CPA. The societyÕs inde.pendent CPA, Cinda Rodgers, opined that no material modifications need be made to the financial statements.
As of Dec. 31, 2021, the society has operating investments totaling $403,283, restricted investments totaling $316,811 and cash of $61,354. Interest rates are expected to rise for the next couple of years, so the certificates of deposit should also be expected to rise.
A proposed 2023 society budget was emailed to all trustees and committee chairs requesting any changes. The Marketing Committee budget was adjusted to $2,500 from $550. No other changes were received. The budget is now being submitted to the trustees for their approval.
Russell Kasselman was contacted regarding the publication revenue and costs. Revenue is projected to be flat, but the cost of production could increase by an estimated 1.2 percent.
The treasurer was advised that Sherry Warner, the societyÕs accoun.tant, will no longer be able to serve in this capacity. She will, however, provide services until a replacement is found. Independent CPA, Cinda Rodgers, appears willing to take over the internal accountantÕs position and help find a replacement for her position. Trustee Calendine moved to accept Cinda Rodgers, CPA, as the new internal accountant. Seconded by Trustee Cooley. Motion carried.
Also, it appears that we only need quarterly financial statements, not monthly financial statements, provided by the accountant. Since there was no contract between our current accountant and the society, a new contract will have to be devel.oped. The report was received.
ENDOWMENT COMMITTEE
Ed Kozak, treasurer.
The societyÕs financial statements as of Dec. 31, 2021, indicated the Endow.ment Fund balance to be $161,850. The fund balance increased by $1,580 from the previous year. The Dec. 31, 2021, compilation report includes a schedule showing a balance of $43,287 in the ÒEndowment Interest Earned Fund.Ó Two thirds of this amount ($28,825) is available at this date for projects or programs which have a lasting impact on the preservation or presentation of automatic musical instruments, or which demonstrate historical or scholarly merit. No requests for funds were made in 2021. The report was received.
ADMINISTRATOR
Jacque Beeman, administrator.
President Corkrum presented the report. There are currently 1,043 active members. The administrator recommended canceling the FAX service as it is rarely used. Instead, the administrator will ask the society to pay $30 per month towards her personal cell service, which will save the society $30 per month by not having the fax machine. President Corkrum will notify the accountant to add another $30 to the administratorÕs check monthly. The Trustees agreed. This report has been received.
AUDIT COMMITTEE
Ed Cooley, chair.
As required by New York statutes and regulations, each year our finan.cial statements must be reviewed by an independent CPA. The Dec. 31, 2021, year-end report was in accordance with accounting principles accepted in the United States of America. Cinda Rodgers, CPA, presented her inde.pendent Accountant Review Report on Aug. 5, 2022. Her complete report is included with the Audit Committee Report. Trustee Cooley recommended that we send back issues as well as a subscription to Mechanical Music. He agreed to notify Russell Kasselman regarding this plan.
Vice President Jaro asked if the society should give Sherry Warner a plaque. President Corkrum agreed, stating it should have her name as well as the reason for the plaque. The report was received.
MARKETING REPORT
Judy Caletti, committee member presenting a portion of the report.
In order to build membership, the committee started to approach various schools of music so that membership might increase. Additionally, the committee is sending an electronic welcome letter to all persons who join MBSI online, followed by a letter two weeks later from Rick Swaney on how to use the website, and finally after another two weeks. The last is a letter from Trustee Caletti describing how to best utilize Mechanical Music or how to advertise in it.

The translator and two articles have been placed on the website for foreign members to try. Soon another article will be available for trial for non-members. The society will notify other foreign societies about the translator feature and invite them to join. Comments from new members indicate that the chapter meetings and personal contacts are essential for new member retention. This report was received.
MEETINGS COMMITTEE
Matt Jaro, vice president, chair.
The Snowbelt Chapter has agreed to host the 2023 MBSI Annual Meeting (74th Anniversary) and currently has a fully executed contract with Doubletree Hotel in St Paul, MN. Tracy Tolzmann and Trustee Kuehn are planning this event. Attendance is expected to be about 75 members.
Currently, the Southern California Chapter will host the 2024 MBSI Annual Meeting (75th Anniversary/ diamond) which will be a joint AMICA/ MBSI meeting with AMICA taking the lead. Frank Nix is charged with plan.ning the event for MBSI.
The Lake Michigan Chapter has been invited to host the 2025 MBSI Annual Meeting (76th Anniversary).
The East Coast Chapter looks to host the 2026 MBSI Annual Meeting (77th Anniversary) as a joint meeting with AMICA in Princeton, NJ. This report has been received.
MUSEUM COMMITTEE
Sally Craig, chair.
The Musical Instrument Museum (MIM) of Phoenix, AZ, contacted the Museum Committee chair as Russell Kasselman wanted to take pictures and write an article on the societyÕs musi.cal watch key fob that is on display there to use in Mechanical Music. The MIM will have more pictures made by their curators, but MBSI permission was needed to execute that activity. Some of the fencing on a Swiss Chalet was coming loose, but the MIM will take care of that as well. Thus, an opportunity was created to talk with the MIM about engaging in ongoing programs between the MIM and MBSI. STEM labs are now being held at the MIM, so the MIM may be interested in repairing some of the societyÕs collection as part of the STEM project. Every two months Richard Simpson and the Museum Committee chair check on the MBSI collection at the American Treasure Tour museum. Everything in the music room is safe. Report received.
MEMBERSHIP COMMITTEE
No report.
NOMINATING COMMITTEE
Chair Dan Wilson reported that he intends to vacate his position at the conclusion of the 2022 MBSI Annual Meeting. No replacement has yet been found. The Nominating Committee submitted the following slate of offi.cers and trustees for approval at the 2022 Mid-year TrusteesÕ meeting, and for confirmation by the membership at the 2022 MBSI Annual Meeting:
¥
Vice President Matt Jaro- to serve a second one-year term

¥
Treasurer Ed Kozak Ð to serve another one-year term

¥
Recording Secretary Linda Birkitt

Ð to serve another one-year term
These nominees do not need a motion for their positions at this meet.ing but will need a motion during the annual MBSI business meeting. The report was received.
SPECIAL EXHIBITS
Mary Ellen Myers, chair.
Chair Myers is seeking more members for the Special Exhibits Committee such that the entire coun.try would be represented, rather than just having representation from the Southeast Chapter.
A relatively new outreach column in Mechanical Music focusing on Òhow to do itÓ articles can be found in the journal. Collaboration with other groups includes the Baker Historical House, the Villages Christmas Show and the Annual Camp Villages Music Box Making event for children and their grandparents, as well as the Christmas Show 2022. This report was received.
PUBLICATIONS
Chair Bob Caletti thanked those who have contributed to the journal, especially Russell Kasselman and Rick Swaney as well as the unsung heroes of the proof-reading team. In the future, the committee plans to include more Òhow toÓ articles on the website to increase interest in the society and generate new members. The committee is requesting to change the date of publication to the middle of the odd months, as the current date of publication coincides with many other publication deadlines. Further.more, we are seeing more new authors writing articles for Mechanical Music. Besides the new content, the commit.tee will be reprinting past articles of interest that most of our membership has not seen. Reprints from other publications related to mechanical music will also be included. This report was received.
EDITOR/PUBLISHER
Russell Kasselman, editor/ publisher.
Report presented by Trustee Caletti.
From NovemberÐDecember 2021 through SeptemberÐOctober 2022, a total of 34 writers contributed articles, columns, chapter meeting reports, or In Memoriam tributes to the journal. That is fewer than the 39 contributions last year. Additional contributions will be needed to keep the quality and size of the journal the same going forward. Twelve different photographers contributed images to the journal, making the pages a pleasure to view. Trustee Caletti encouraged all chapter chairs to talk with their members about writing an article for the jour.nal. The editor continues to search for articles of interest that could be reprinted from other mechanical music societies so that MBSI members receive the most comprehensive view of their hobby. Members who speak more than one language are encour.aged to suggest articles that might be reprinted from other mechanical music journals. Besides cylinder boxes, disc boxes and orchestrions, the editor would appreciate articles on bird boxes, automata, pianos, clocks, phonographs, calliopes, band organs or any other type of mechani.cal items in their collections. Last year advertising percentages were 19.61 percent as compared to 18.75 percent for this yearÕs advertising percent.ages. However, these percentages are within the 15Ð25 percent advertising goal in each issue. The editor would like to thank our consistent adver.tisers, especially Nancy Fratti, Marty Persky, Steve Stanton, Porter Music Boxes, Cottone Auctions, Bob Caletti, Reeder Pianos, Renaissance Antiques, Breker Auctions and Morphy Auctions for their support of Mechanical Music this year. Efforts to find the right marketing approach to attract new and consistent advertising will continue. Costs for the journal continue to rise slowly due to postage and paper cost increases and that looks to continue for the foreseeable future.

Website advertising is a work in progress. The editor endeavors to keep the websiteÕs core code (Word.press) and all plugins that provide additional functionality up to date with each major release, so that the site security is as tight as possible. The report was received.
WEB SUB-COMMITTEE
Rick Swaney, chair.
Although the web redesign is not as far along as he had hoped, the Website Sub-Committee chair indicated that other issues slowed progress. Currently, it is awkward to see the website on a small phone as there is a sizing issue. The code that runs the website can detect the type of device it is viewed on and can automatically resize things to fit better on the size of the screen being used. The result is a compromise of both large and small screens. The editor is restructuring the code to separate the code that does the function from the code that does the presentation. When that split is complete, the look of the website will be updated, but not that part of the code which does the work behind the scenes.
The simplified top-level menu will be reduced to the items most likely wanted. Also, each page can have a different menu. For example, a members-only page can have addi.tional items that are available only to logged-in users.
The topmost section is an expanded version of the current home pageÕs instrument slideshow. The section cycles through various eye-catching images. Each image has overlayered text and a button which takes the user to a related page.
The home page consists of several horizontal frames, each one describ.ing a different feature of the website or the society itself. Each frame can have multiple buttons to take the user to a related page.
A set of icons give quick access to other web sections. Most of these replace items that are currently hidden in the top-level menu.
You may observe there is a great deal of white space on the sides of the page. This is part of the redesign to allow a better experience when visiting the website on smaller screen devices such as smart phones.
There is significant work being done behind the scenes on the website architecture. WordPress has evolved and so has the knowledge of how best to use its functions.
A text-only journal archive covers the years 2018Ð2022. The MBSI Forum on Facebook continues its rapid growth. Last year the membership was 440 and this year it is 892.
The website consistently averages 3000 views per month. Blocked log-in attempts by bots and hackers was 192,837. The report was received.
Old business
Vice President Jaro modified a previous motion to ÒThe Vice Presi.dent shall inform Standing Committee Chairs of any action taken during a TrusteesÕ Meeting. The Chair then informs their Committee Members.Ó Trustee Calendine made the motion as modified by Vice President Jaro which was seconded by Trustee Myers. Pres.ident Corkrum restated the motion as follows: The Vice President shall inform the Standing Committee Chairs of any action taken during a TrusteesÕ Meeting that affects those Committees within 60 days of the meeting. Trustee Myers seconded the motion. Motion carried.
New business
President Corkrum noted that Vice President Jaro brought up the issue of The Wonders of Mechanical Music and Carousels. Vice President Jaro noted that for the past few years, the Carou.sel Organ Association of America (COAA) has held a monthly presenta.tion on Zoom about mechanical music. The Lady Liberty AMICA Chapter, the East Coast Chapter of MBSI, COAA and the National Carousel Association (NCA) have all offered help to this new group. Presentations are offered every month on the first Monday of the month. People register online for the presentations. Since there are more than 100 members using Zoom, they have an unlimited Zoom license but need to use an online registration program which has a cost. The group is requesting $400 per year from MBSI. This allows the society to be an offi.cial sponsor, and the group, in turn, displays our logo on their website. Trustee Calendine moved that MBSI provide this COAA-sponsored group with $400/year and to inform that group of MBSIÕs upcoming events. The exact name of the recipient will be needed for this donation. The motion was seconded by Past President Kuehn. President Corkrum indicated that these costs will be added to the Marketing Committee budget.
Having no other business before the board, Trustee Calendine moved to adjourn the meeting. The motion was seconded by Trustee Cooley. Motion carried. Adjournment was at 12:01 p.m.

Report submitted by Recording Secretary Linda Birkitt

Richard ReutlingerÕs living room featuring a Knabe Ampico piano, antique furniture and loads of col.lectibles. Photo by Lowell Boehland.

2022 MBSI Annual Meeting
By Russell Kasselman

Fantastic weather, two dedicated groups of hard-working volunteers and several marvelous adventures greeted the 158 attendees of the 2022 MBSI Annual Meeting held jointly with the Automatic Musical Instrument CollectorsÕ Association (AMICA) in San Francisco, CA, Oct. 31 through Sept. 5. Meeting organizers from the Golden Gate Chapter of MBSI and the Founding Chapter of AMICA made every effort to overcome obstacles and smooth out the ride for those in the passenger seats.
The evening reception on day one of the convention featured delicious desserts and a three-hour concert by Adam Swanson, a musi.cologist and ragtime pianist from Durango, CO.
Roaring Camp / Santa Cruz Boardwalk
The first optional tour of the week took both

Headed to the top of Bear Mountain with the 1912 steam locomotive Dixiana Shay in the lead.

Open rail cars allowed for great views of the redwoods. The train passing over a wooden trestle.
groups to Roaring Camp for two train rides.
The first, a 75-minute ride over wooden
trestles, through towering redwood trees and up a winding narrow-gauge grade, carried passengers to the summit of Bear Mountain near Santa Cruz, CA. Conduc.tors shared stories of how the owner of the grove of redwoods had plans to log it
and make huge profits but was dissuaded
when his wife witnessed the beauty of the area and convinced him to preserve it, therefore creating one of the largest areas of redwoods to have never been logged. Roaring CampÕs steam engines date from 1890 and are among the oldest and most authentically preserved narrow-gauge steam engines providing regularly sched.uled passenger service in America.
The Dixiana Shay, Roaring Camp Engine No. 1, hauled the tour group up one of the steepest climbs made by train in North America. Built by Lima Locomotive Works, shop No. 2593, on Oct. 12, 1912, it served on six different short line railroads before coming west to California. A two-truck engine, the Dixie weighs 42 tons. Three 10-inch-by-12.inch cylinders can maintain 180 pounds of working pressure.
Upon returning to Roaring Camp, the

Colette TrŽmouille, Matt Jaro and Michel TrŽmouille pose with The engine of the train taking the group to the Santa Cruz the engine at the summit of Bear Mountain. Boardwalk pulls into Roaring Camp.

tour groups had the opportunity to browse through several Old West-style buildings, including a general store featuring a museum with displays showing what the early days of railroading in the area was like. Everyone then enjoyed a lunch among the redwoods. A mile-long hike through the trees was also available to those with a need to stretch their legs.
After lunch, the groups boarded the Santa Cruz Beach Train for a 60-minute ride through Henry Cowell Redwoods State Park, down the scenic San Lorenzo River Gorge, across a 1909 steel truss
bridge and through an 1875 tunnel

The painted sign above the entrance to the historic Looff Carousel on the Santa Cruz Boardwalk.

Marti Wilson and Mike Wallace enjoying a ride. Julian Dyer flashes a smile from the carousel.

Bruce Newman and Cheryl Hack go for a spin. Reaching out to grab a brass ring.

Geoffrey Kaiser takes a ride on a white stallion.
Mike Walter is ready to go around again.
Glenn Thomas makes the circuit with Mike Walter.

Joel Cluskey prepares to fire a brass ring at the target. Sandy DeWeese is all smiles on the carousel. The Looff Carousel was built in 1911 and features original hand-carved horses and benches.

Alison and Mike Biden ready to go for a ride. Sandy Swirsky and Holly Walter enjoy a comfy seat.

Bruce Newman and Paul Hempel wave to the crowd. Connie and Dieter Brehm are mounted and ready.

Riding the carousel offered a view of the Pacific Ocean.
Ron Palladino looked quite natural on his carousel horse.

Marty Persky has a good laugh during his ride. Gary Rasmussen waits for the ride to start.
before arriving at the Santa Cruz Beach Boardwalk. Conductors described how redwoods grow in family groups and how their thick bark helps the trees survive
and thrive during forest fires. The trip
is unique in that the train travels right through the center of several Santa Cruz streets, passing only feet from the front doors of several homes. Many residents of the city waved from their porches or the sidewalk providing an enjoyable experience from the open-air train cars.
Arriving at the beach, it was time for rides on the historic Looff Carousel while listening to performances by the Ruth & Sohn 38 band organ, the Wurlitzer 165 Duplex Orchestral organ and the Wurlitzer 146-A Military band organ. The Ruth & Sohn 38 organ has played at the Santa Cruz Beach Boardwalk since 1911. Built in 1894, the organ features 342 pipes, a glockenspiel and percussion instruments. It was originally located at the center of the carousel and got its air through a complicated system of bellows to play tunes using punched books of music. It was converted to play paper rolls in the 1950s, which required a conversion from the original 96-note
format to a 75-note Wurlitzer format.

Today, the organ operates via a Musical Instrument Digital Interface (MIDI) system. The transition to MIDI allowed the organÕs original 96-note format to be reinstalled. A new facade was installed in 2008 during a restoration. The new facade
features moving figures and paintings of
beach boardwalk scenes.
The Wurlitzer 165 Duplex Orchestral organ made its way to Santa Cruz in 2007, receiving a restored facade featur.ing scenes of California history including gold miners and the old Cliff House of San Francisco, CA. Built in North Tonawanda, NY, the organ was shipped to Playland in San Francisco in 1918, serving there until the amusement park closed in 1972. The organ has 69 keys, 256 wooden pipes and 22 bell bars. It is also operated via a MIDI system that allows it to play 180 songs from the Wurlitzer catalog.
The Wurlitzer 146-A band organ was added to the carousel building in 2011 after being in storage since 1989. Prior to that it had played on the balcony of the boardwalk for the original miniature golf course. The organ was built in the 1920s in North Tonawanda, NY.
The carousel has 73 unique horses and two chariots or seats, all made by one master carver and all still original. Each year, a restoration effort is undertaken to repaint and repair any damage done during the summer operating season. It is one of six remaining intact in the United States. Riders on the outside circle of horses enjoyed reaching out and trying to grab brass rings from a dispenser, then tossing them at a target of a large clown mouth. It is one of only twenty ring dispensers still operating in the world and several thousand of the rings go missing each year as riders keep them for mementos.
Joy was evident on many faces during the rides as memories and music were shared by all.
Dominican Church, Victorian Homes, Alcatraz, FishermanÕs Wharf, MusŽe MŽchanique
The third day of the convention featured
more optional tours. The first part of the
day was spent as a single large group while the evening sessions were split and went in different directions. A planned tour and Wurlitzer organ concert at the art deco Paramount Theatre in Oakland, CA, had to be scrapped at the last minute due to restoration work not being complete at the theater. Instead, convention goers were treated to a concert at St. DominicÕs Cath.olic Church in downtown San FranciscoÕs Fillmore District. The Dominican Order has occupied the same plot of land in the city since it was purchased in 1863 for $6,000. Four different church buildings

were built on the site, the first completed in 1873 without using any nails. Asecond, larger, building was erected in 1887 in an
Italian-Baroque style, but it was destroyed in an earthquake in 1906. A temporary structure served as the third version of the church until the current Gothic-style building was completed in 1928. Another earthquake in 1989 caused the church building to be condemned as unsafe, but
the use of nine concrete flying buttresses
saved the building. Enormous stained glass windows high in each wall of the
church filtered the sunlight streaming in
and created a wonderful atmosphere to enjoy music in.
The organ inside was originally installed in a private home in San Fran.cisco, but was later donated to the church. David Hegarty, who often played the

The organ at St. Dominic’s church in the Fillmore District of San Francisco.
organ for its previous owner, was invited to play a concert. He entertained the crowd marvelously with stories about the organ and the music he played. Listening to songs like ÒTheatrelandÓ by Jack Strachey and ÒToytown TrumpetersÓ by William Davies while sitting in the pews of a church might have felt slightly odd to some, but the acoustics of the building certainly helped enhance the highly-en.joyable sound of the organ. Many in the crowd simply let the tunes carry them away as they let the music wash over them.
Lunch was served in the basement of the church before most of the group proceeded to the next location, near Alamo Square park neighborhood where the row of famous Victorian-style homes known as the Painted Ladies can be found.
ItÕs no secret that San Francisco is built on some very steep hills, and while this presented a bit of a challenge for some it did not deter any in the group from making their way to the extraordinary Victorian-style homes of Philip Strauss (originally the Mitchell House) and Richard Reutlinger (originally the Brune House). Richard, a founding member of AMICA, passed away in 2019 and the home is now managed by a trust managed by Bobby Skinner and Robert Pritchard.
The homes are almost directly across the street from one another. PhilipÕs home is restored to appear as it did in the 1870s and all the furniture and fixtures inside are from the same time period. The house even has its original gas lighting system intact. The main floor features a 1926 Mason and Hamlin Ampico grand piano for which approximately 3,000 rolls are kept downstairs in the basement in neatly-organized cabinets. Philip proved an excellent host, chatting with guests about every detail of his home and its furnishings. Upstairs, guests could tour the library and bedrooms along with a sunroom at the back of the home where Darryl Cole entertained with an Orgelbau Stuber monkey organ. A model 1 Regina music box on the main floor in the dining room also caught many an eye.
In the Reutlinger/Skinner home, Bobby Skinner entertained in the ground-level ballroom which is filled with automatic musical instruments, including an Amer.ican Orchestra photo player, a Seeburg G orchestrion and a D.C. Ramey Co.

Banjo-Orchestra. Bob Gonzales served iced tea and water from the bar in the back of the room. Theater posters and irreverent signage were everywhere on the walls, providing a wildly entertaining, if not slightly chaotic, atmosphere that hearkened back to the days of prohibition
and Vaudeville. The main floor of the
home featured an eclectic mix, including a display of rare china and a greenhouse
filled with myriad growing things.
From the Victorian homes, some people
headed for FishermanÕs Wharf, a famous San Francisco destination, with many great restaurants and too many souvenir shops. They visited MusŽe MŽchanique (museemecanique.com), an interactive museum of 20th-century penny arcade games and artifacts on Pier 45. Housing more than 300 mechanical machines, it is one of the worldÕs largest privately-owned collections and it is loved by the locals. Founder Ed Zelinsky started collecting the instruments and games at age 11. His

A view of the main entry to the church. Stained glass windows created a lovely atmosphere to listen to music in.

Convention attendees listen to the concert in the Gothic-style cathedral of St. DominicÕs. Outside Philip Strauss’s home in San Francisco. The main staircase and hallway just inside the front door.

The living room of the Strauss home featuring the 1926 Mason and Hamlin Ampico grand piano. The view of an upstairs bedroom. Bobby Skinner talks with guests in the mechanical music filled basement of Richard ReutlingerÕs home.

Robert Pritchard shows off the china collection in the Reutlinger home. Bobby Skinner making announcements with a megaphone.

Collectibles covered almost every surface. The dining room table can seat 14 people. Bob Gonzales, Matt Tolentino and Danielle Bennignus listen to Danielle Bennignus and Matt Tolentino in the greenhouse.

a D.C. Ramey Banjo orchestra.

son, Dan Zelinsky, now does all the main.tenance and gets around on roller skates!
The museum was first opened at the Playland amusement park, but in 1972 Playland was replaced by apartments and the museum moved to the Cliff House basement. In 2002 it took up its current residence. Admission is free and the instruments operate by coin at original prices. You can test the strength of your love and your grip on different machines.
There were lots of games to play. One of our convention’s evening entertainment performers, Matt Tolentino, even found a roll-playing accordion that pleased him greatly. Laffing Sal from the old Playland greets you at the door, and everyone seemed to be having great fun.
In the evening a small group headed for prison, or more accurately the former federal maximum security prison known as Alcatraz and now a national park.

The ferry ride to the island was slightly choppy but offered fantastic views of downtown San Francisco, the Golden Gate Bridge and the Bay Bridge. Disem.barking onto the island, the group made its way up a long hill past a gun emplace.ment from when the island served as a military base and eventually prison barracks. Entering the prison through the shower room, it was clear to everyone that those who served time on Alcatraz did not have an easy time of it. Prisoners did not have privacy and when locked in their cell for the first time they were given a copy of the handbook describing the rules of their new residence. Rule number five stated very clearly that, ÒYou are entitled to food, clothing, shelter, and medical attention. Anything else that you get is a privilege.Ó
An audio tour of the island provided background and details on the prisonÕs construction, its operation and its inmates. The tour allowed walking through the cell blocks and into the treatment unit where prisoners who did not follow the
rules were kept in solitary confinement in
the dark for days at a time. One inmate recalled that the worst day of the year on Alcatraz was New YearÕs eve. The prisoners could hear the revelry from the San Francisco Yacht Club party carrying across the water and into their cells and it drove home the knowledge that many of them would no longer experience anything like that again.
Outside the prison and on the return ferry ride to the mainland, views of both bridges and the city glowing with lights were quite the sight to behold.
Workshops and Pumper Contest
Saturday, day four of the conven.tion, was workshop day. Presentations

Jean Marc Lebout presents a workshop.
included one from Jill Sison speaking about piano roll preservation at the Stan.ford Piano Roll program. Bruce Newman covered player piano rebuilding tips and tricks, while Rob Thomas described the best ways to take good photos of music boxes and record great sound while they are playing. A presentation on producing a print magazine in a digital world was given by Russell Kasselman. Peter Both, president of the Swiss Friends of Mechan.ical Music, and Alison Biden, president of the Musical Box Society of Great Britain, presented a talk on their research related to PlŽrodienique music boxes. Bruce Grimes detailed his work restoring a Duo-Art piano and its reproducing unit. Julian Dyer conducted a master class in pianola playing in the hospitality room of the convention hotel. MBSI President David Corkrum described his method for creating new Polyphon discs, and Paul Bellamy showed how music box combs are tuned. Harpist Adele Stinson conducted a session demonstrating the harp and presenting its history. MBSI Vice President Matt Jaro detailed his work to transcribe music rolls made for an Wurlitzer Automatic Player Piano and convert them into tunes that would play on his Seeburg H orchestrion via a MIDI program (more about this on Page 53 of this issue). Jean Marc Lebout, of Belgium, presented an engaging session on the evolution of the helicoidal and semi-helicoidal system found in PlŽrodi.enique music boxes.
Many of these workshops were recorded and will be made available later on the MBSI website in the video library found in the members-only section.

Bruce Newman shows rebuilding techniques for player pianos.

Mike Walter chats with David Corkrum and Rick Swaney at the Mart. Diane Field and John Haskey with music boxes for sale.

The Frederick Hodges Orchestra brought the banquet to life. Matt Tolentino sings with the Frederick Hodges Orchestra.

Thirty people traveled from outside the U.S. to attend this annual meeting. Belgium, Switzerland, Japan, France, the United Kingdom, and Canada are represented in this photo.

Julian Dyer and Joel Cluskey present Jared DiBartolomeo with ÒThe FootsieÓ trophy for winning the AMICA Pumper Contest. One of the table favors given away during the banquet.

Awards were presented at the luncheon during the afternoon and that evening the entertainment kicked off with AMICAÕs traditional pumper contest. The contest invites participants to perform a song of their choosing on a player piano with style points given for presentation flair. Jared DiBartolomeo was declared the winner of this yearÕs contest playing ÒJim JamsÓ to earn the coveted Footsie trophy.
Mart
Breakfast and business meetings were the order of the day for Sunday with both AMICA and MBSI communicating rele.vant information to members and taking votes on proposed actions as needed. See Page 20 of this issue for the minutes of the annual business meeting and Page 26 for the minutes of the annual trustees meeting.
At 1 p.m. the doors to The Mart opened letting convention attendees in to browse the books, discs, rolls and music boxes being offered for sale by several vendors.
Lively conversations were the order of the day as members asked questions and considered what to purchase.
The evening wrapped up with a no-host bar, banquet and a concert by the Freder.ick Hodges Orchestra bringing the music of the 1920s and 1930s to life. Many tapping toes were observed and a few were inspired to dance during the lively performance.
Home Tours
The final day of the annual meeting featured tours of three homes in the area. Bob and Judy Caletti invited people to Menlo Park, CA, to see their collection including a newly-restored 27.-inch Symphonion upright music box with 12 bells, a 27-inch Regina Changer, an 18.-inch Mira Console, Eroica three-disc music box, Cremona orchestrion, Seeburg H orchestrion, 1906 Peerless Style D nickelodeon and more. Bob also showcased his restoration workshop and talked with visitors about his new water jet precision cutting tool that allows the production of many small parts used in his work.
Lyle Merithew and Sandy Swirsky greeted visitors to their San Jose, CA, home by showing off a Nelson Wiggen 4X, a Western Electric Mascot, a Regina Corona Style 35, a Raffin 31-note concert organ with 119 pipes, a Seeburg G, a Marshall & Wendell Ampico-A, and a Hupfeld Phonoliszt-Violana reproduction and more.
The collection of Marc and Marguerite Kaufman, in Woodside, CA, included an extensive collection of cylinder boxes from Nicole Frres, some that are called Òfat cylinderÓ operatic boxes, plus a Symphonion Eroica and a Sirion disc music box. The Kaufmans also played their Knabe Ampico and a street barrel piano.
Next yearÕs event is scheduled for Aug. 30ÐSept. 6, 2023 in St. Paul, MN, hosted by the Snowbelt Chapter.

Sandy Swirsky and Lyle Merithew invited visitors to enjoy their collection in San Jose, CA. Bob and Judy Caletti welcomed annual meeting guests to their home in Menlo Park, CA. Marc and Marguerite Kaufman entertained annual meeting guests with many disc and cylinder boxes from their collection.

Expanding Mechanical Music
Cakewalk Application Language enables playlist for Seeburg H to grow exponentially
By Matthew A. Jaro
For many years I owned A-roll and G-roll machines and I collected rolls in order to have the greatest variety of music possible. I really enjoy the period of music encompassed by the nickelodeons and orchestrions. Then, I acquired a Seeburg H orchestrion, where the number of rolls was limited and the rolls that were made are very difficult to obtain and fairly expensive. I designed and built a MIDI system for the H with the help of Dick Hack. Glenn Thomas had a compatible MIDI system built for his Seeburg H Ñ and we were off and running.
The Seeburg H was an ideal machine because of the instrumentation: piano, mandolin, flute pipes, violin pipes, xylophone, snare drum, tympani, bass drum and cymbal, castanets and triangle. Further, the scale is very extensive with 66 playing notes and 9 octave-coupled notes in the bass. There are also 32 each of flute pipes and violin pipes and 22 xylophone bars.
Glenn Thomas shares my love of the music so the first thing we did was to scan all of the H rolls we could find. Jack Breen did the scanning for us, and some rolls were previously scanned by Frank Himpsl. Arnold Chase graciously lent us some of his rolls. Additionally, we scanned both my own collection and GlennÕs collection. We wound up with 2,401 tunes that could be played through the MIDI system. We also had new music arranged by several top-notch arrangers.
Now we can play any tune instantly without finding rolls, mounting them on the machine and winding through all the songs you donÕt want to hear.
Wurlitzer Music
Glenn has a large collection of Wurlitzer Automatic Player Piano (APP) rolls and has loved Wurlitzer music for many years. I was thinking about acquiring an APP machine myself, but I had no place to put another machine in my music room and no place to store any more rolls. Besides, the APP rolls are hard to find and are quite expensive. Upon examination of the APP scale, we discovered that the scale would work fine on the Seeburg H and we would have all the instru.mentation covered. With a little help from Art Reblitz, our mapping work was complete. Enter Cakewalk. The Cakewalk Digital Audio Workstation (DAW) has a programming language with it called CAL (The Cakewalk Application Language). Using this language, I wrote a program to convert APP MIDI files to Seeburg H files. This worked great! I was able to play any one of 4,458 songs. I now could enjoy APP music without having to buy a machine and without having to estab.lish a large roll collection. ItÕs true that the H doesnÕt sound exactly like an APP machine, but the instrumentation is correct, and the effect is wonderful in its own right. The APP rolls cover a much longer period than the original H rolls, so now I could listen to music that was never offered on H rolls.
Maesto Music
For a long time, I loved the Gustav Bruder arrangements for the Weber Maesto. We bought 256 Weber files from Tim Westman and I wrote a program to do the conversion. The Maesto has more instrumentation than the Seeburg, so certain ranks couldnÕt be replicated. Consequently, our transcriptions donÕt sound exactly like a Maesto, but they do sound very good and now I can play Gustav Bruder arrangements on the Seeburg. The style is completely different from the American arrangements and the result is exciting and mesmerizing.
Cremona M Music
The latest adventure was to convert Cremona M rolls to play on the Seeburg. This project was suggested by Bob Caletti, who has a Seeburg H and a set of our Seeburg files. Art Reblitz suggested transposing the Cremona scale down three semi.tones in order to obtain a nearly perfect mapping. Again, the Cremona arrangements are very exciting and are generally different from the QRS arrangements of the H rolls or the Wurlitzer arrangements. The organ in the H sounds an octave lower than written and this results in a very rich organ tone. Consequently, the sound is different from a Cremona J or similar machine, but the end effect is exciting, and the result is quite musical.
Again, I wrote a CAL program to do the conversion. The process only takes a minute or so for each song. Conversion involves more than just mapping notes. For example, the Cremona uses lock and cancel signals for the hammer rail and the Seeburg requires a ÒholeÓ to actuate the hammer rail. This is my latest project. I completed the program only a few days before writing this article. So, I didnÕt have to buy a Cremona machine or a Wurlitzer or a Maesto in order to enjoy the music. IÕm super excited about this and IÕm busily converting files to listen to on my Seeburg H. Now, I have to find a good source of M rolls in order to obtain a lot of new music to listen to.

The Seeburg H orchestrion (at left) was an ideal machine for new music because of its wide variety of instrumentation.
Southern California Chapter
Chair: Robin Biggins Reporter: Robin Biggins Photographer: Lowell Boehland
Dana Point, CA Ñ Aug. 13, 2022
DoesnÕt time fly by? It was almost exactly one year ago (Aug. 14, 2021) when we held one of our first post-pan.demic meetings at Mike and Kathy ChoateÕs home in Dana Point, CA. To celebrate that momentous event, this year we joined with Automatic Musical Instrument CollectorsÕ Asso.ciation (AMICA) chapter members for a repeat visit to the wonderful Choate collection.
Mike and Kathy are generous hosts and knowledgeable about their large collection of mechanical music. The 33 members and guests in attendance were treated to more than four hours of entertainment and education, along with bountiful snacks and beverages.
We enjoyed listening to and learning about the array of machines, including automatic pianos, nickelodeons, band organs, musical boxes, orchestrions a Wurlitzer Harp and many more. We particularly enjoyed the harp, DeCap dance organ, DeCap street organ and the Cremona J.
All members were fully vaccinated (masks were optional) so it was a pleasure to see many smiling faces again, particularly that of Mike Ames, who has been well enough to attend the recent chapter meetings.
Some members had a three-hour drive each way to attend this meet.ing, but they all agreed it was well worth it. At the business meeting we encouraged people to attend the combined MBSI/AMICA annual meet.ing in Northern California and to read the ÒOutreach CornerÓ article in the September/October issue of the jour.nal to see if we can take advantage of the information. Some early MBSI journals and technical books were made available for free.

A room of wonderful mechanical music machines in the Choate home.

Members gather for a group photo full of smiling faces. Members visiting with each other on the patio. The DeCap street organ and Violano in the living room.

Mike Choate, Diane DeTar, Dave Reidy, Mike Ames and Dianne A lion carousel figure, DeCap Jazz Organ and several other Reidy in front of a Stinson organ. eye-catching collectibles found in the Choate home.

Business meetings conducted by Diane DeTar (AMICA) and Robin Biggins, (MBSI) both at the far right.

Ray Dickey Ñ1933Ð2022
Dr. Ray Dickey, former Sunbelt Chapter chair, has passed away at the age of 88. He was a devoted husband, father, grandfather and friend. Although his family misses him terribly, they are comforted to know the exact number of his days were planned by his Creator. He was born in Baker, MT, on Dec. 5, 1933 to Hilda Lorraine Leischner and Frank Rayner Dickey.
Ray attended 20 different schools in Montana, Minnesota, Colorado, and the Bahamas before graduating from Riverdale High School in North Dakota in 1952. He then attended the University of Montana in Missoula, MT, graduating with a pre-med degree in 1956.
He graduated from Baylor College of Medicine in Houston, TX, in 1960. He married Nancy Dean Myers while an intern and they celebrated more than 60 years together before she passed away in 2021. Ray finished his residency in Otolaryngology in 1965, doing pioneer work on inner-ear surgery and becoming certified as a head and neck surgeon. He was on the faculty at Baylor until 1969, when he began his private practice.
During his career, Ray was admired for his expertise, kindness, and humility, and he continued working for 48 years until 2017. He held various medical leadership positions, such as president of the Texas Medical AssociationÕs ENT branch, and in 2021, he was recognized by the Houston Methodist administration for his exceptional contribution to health care in the Houston community.
He restored cars, such as a 1948 MGTC, a grand 1956 Bentley, and a 1961 Mercedes 300SL Roadster. Ray had two Chris Craft boats he worked on, and he also built a beautiful wooden canoe to take on Buffalo Bayou with friends. Like a museum, Ray and NancyÕs house was full of old clocks, artwork, chronome.ters, ivory, and especially music boxes and organs he had collected. Ray spent hours every day after work in his tool

shop, restoring and refinishing antiques
to become things of beauty. He was the
fixer of everything broken and made his
grandkids wooden toys, pinewood derby cars, and swords. He was involved in the MG car club and the Musical Box Society International (MBSI) for many years. Ray and Nancy traveled every year to MBSI meetings around the country to see music box collections and had groups to their house to show and play the boxes. These were his most joyful moments, playing music for friends and visitors.
Ray was a quiet man, but he did every.thing with unrelenting energy, including sports. He began running marathons in his 40s and completed about 30 of them, including those in Boston and New York various times. He also did the MS-150 bicycle ride to Austin many times and was tough to keep up with!
Ray and Nancy were members of Chapelwood United Methodist Church and faithfully sang in the Chancel Choir for 30 years. He and Nancy went on choir and other Chapelwood trips throughout Europe as well as medical missions to Nigeria. They also went on a safari in Africa and visited the Holy Land.
Ray had a deep faith, and although he didnÕt share his feelings much, he was respected for his loyalty, eternal optimism and treatment of others, never saying a bad word about anyone.
In lieu of flowers, memorial contribu.tions may be directed to SamaritanÕs Purse at samaritanspurse.org. Condolences may be offered at millerfuneral.com.

Our Condolences
MBSI has learned that the following members have passed away: Rex Burgett, Bradenton, FL.
Russell Nery, Sheboygan Falls, WI.
Robert Mersey of Branford, CT

William Endlein
By Jamie Brewer
It is with a heavy heart I relay the news that longtime member William ÒBillÓ Endlein passed away on Oct. 6, 2022. Bill leaves behind his wife Linda, and children Christopher, Erin and Jonathon.
Bill was a teenager when he joined MBSI in 1972. An early association with Theodore Edison, Thomas A. EdisonÕs youngest son, planted the seed in BillÕs mind for acquiring knowledge of Òall things Edison.Ó At the winter 1974 East Coast Chapter meeting in Summit, NJ, Bill gave a talk titled, ÒThere Is a Little Bit of Thomas Edison in Everyone.Ó
The early experience of working with Lee Munsick at the Yesteryear Museum and later with Walt Bellm at his museum, BellmÕs Cars and Music of Yesterday, gave Bill an encyclope.dic knowledge of automatic music machines.
Bill was the consummate wheel.er-dealer, working the music/ phonograph shows in Union, IL, the various New Jersey shows, as well as venues in North Carolina and Florida. I could write a book on the friendships made and experiences had just being BillÕs sidekick at these shows.
Bill was a businessman who could calculate percentages and work figures that would make my head spin. IÕd get headaches when he would explain to me his involved property acquisitions and sales. His memory was pretty much photographic. It only took one visit to a room and Bill could recall years later where the Ògood stuffÓ was!
Throughout the 1970s Bill ran his antique business called Eastern Musical Antiques sending out flyers of instruments for sale. In 1976, if you saved his flyers, you got the surprise of having a set of Bicentennial leaflets that were red, white, and blue!
When Bill and family relocated to Florida, Eastern Musical Antiques was renamed Born Too Late. Discussing Bill with a friend today, this friend remarked, ÒBillÕs business was Born too Late but he is Gone Too Soon.Ó

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
Bob Caletti

Add a photo to your ad!

Specializing in Antique Music Box Restorations ¥ Buy ¥ Sell

605 Wallea Dr. Menlo Park, CA 94025 (650) 325-3898
www.musicboxrestorations.com info@musicboxrestorations.com

You know the old saying, ÒA photo is worth 1,000 words!Ó For $30 you can add a photo to your ad in the Mart.
A photo makes your ad stand out on the page and quickly draws a readerÕs interest in the item.

Email your advertisement with photo to editor@mbsi.org or call (253) 228-1634.

Your Perfect Gi÷ Solution

A New Custom Hardwood Music Box
Give a gift that shows your thoughtfulness, a gift that continually renews fond memories of you
$100 Discount with code MBSI at checkout for any Custom Music Box at www.EspeciallyWallaWalla.com

In order for anything

A Lasting Legacy

once alive to have meaning, its effect must remain alive in eternity in some way
Ð Ernest Becker, Philosopher

The Musical Box Society International Throughout its history, MBSI has fostered an interest in and preservation of is a 501(c)(3) nonproÞt organization. automatic musical instruments. Your gift to the Endowment Fund will All donations to the Endowment support programs that will help future generations appreciate these Fund are tax deductible. achievements of human creative genius. Visit www.mbsi.org to learn more.
A gift of any size is welcome.

Disc BoxesÉOrganettesÉCylinder BoxesÉ

Monkey OrgansÉCobsÉ DiscsÉand so much more!
Email me for a LINK to my new ÒFOR SALEÒ site in the cloud!

THE MART

CLASSIFIED ADS
¥
47¢ per word

¥
ALL CAPS, italicized and bold words: 60¢ each.

¥
Minimum Charge: $11 per ad.

¥
Limit: One ad in each category

¥
Format: See ads for style

¥
Restrictions: Ads are strictly limited to mechanical musical instruments and related items and services

¥
MBSI memberÕs name must appear in ad

¥
Non-members may advertise at the rates listed plus a 10% surcharge

PLEASE NOTE:
The first two words (or more at your choice) and the memberÕs name will be printed in all caps/bold and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
MBSI Advertising Statement
It is to be hereby understood that the placing of advertisements by members of the Society in this publication does not constitute nor shall be deemed to constitute any endorsement or approval of the busi.ness practices of advertisers. The Musical Box Society International accepts no liability in connection with any business dealings between members and such advertisers.
It is to be further understood that members are to rely on their own investigation and opinion regarding the reputation and integrity of advertisers in conducting such busi.ness dealings with said advertisers.

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
SUBMIT ADS TO:
MBSI Ads
130 Coral Court
Pismo Beach, CA 93449
(253) 228-1634
Email: editor@mbsi.org

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
See Page 66 for advertising prices and publication schedule.

REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110, www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING.
40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE -The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com

DOES ANYONE know anyone who does investment castings in small quantities (50-100) pieces?. Certainly there must be someplace that can do less than 100,000 of this small gear that I need. Any ideas?. Please help. Contact JOHN ULRICH, at julrich2847@ att.net
ALL ADS MUST BE PREPAID
We accept VISA/MC and Paypal.
ADVERTISING DEADLINES:
The 1st day of each even month: Feb., Apr., Jun, Aug., Oct. and Dec.
Display ads may be submitted camera-ready, as PDF files, or with text and instructions. File submission guidelines available on request.
Errors attributable to Mechanical Music, and of a significant nature, will be corrected in the following issue without charge, upon notification.
Advertise in The Mart

Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors in The Mart, an effec.tive advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. Or, go to www.mbsi.org and place your ad online!
Name Phone Email Text of ad

ORDER EXTRA COPIES
The 2020-2021 Directory of Members, Museums and Dealers is only $10 for members. (International shipping is extra) Call MBSI Administrator Jacque Beeman at
(417) 576-4280 or send a check to: Musical Box Society International P.O. Box 10196 Springfield, MO 65808-0196

Display Advertisers
3………. Renaissance Antiques 58…….. MBSGB 59…….. Mechanical Organ &
Clock works 60…….. EspeciallyWallaWalla.com 60…….. Reeder Pianos 60…….. Music Box Restorations 61…….. Nancy Fratti Music Boxes 67…….. Marty Persky Music Boxes 68…….. Porter Music Box Company
Photos are only $30 extra per issue.
Email editor@mbsi.org or
call (253) 228-1634 for more details.

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 Gary Goldsmith, Snowbelt Robin Biggins, Southern California
Vice President Edward Cooley, Trustee Julie Morlock, Southeast Aaron Muller, Lake Michigan Matthew Jaro Dave Calendine, Trustee Rob Pollock, Mid-America Robert Pollock, Mid-America 24219 Clematis Dr B Bronson Florie Hirsch, National Capital
Publications Committee

Gaithersburg, MD 20882 Wayne Wolf Dan Wilson, Piedmont Bob Caletti, Chair, Trustee mjaro@verizon.net Gerald Yorioka, Northwest IntÕl
Executive Committee Richard Dutton, Trustee
TBD, East Coast

David Corkrum, Chair, President Steve Boehck
Recording Secretary TBD, Lake Michigan
Matthew Jaro, Vice President Christian Eric Linda Birkitt
TBD, Sunbelt

Tom Kuehn, Immediate Past Pres. Kathleen Eric PO Box 145,
Dave Calendine, Trustee Museum Committee
Publications
Kuna, ID 83634

Bob Caletti, Trustee Sally Craig, Chair,
Sub-Committee

scarletpimpernel28@yahoo.com David Corkrum, President
Finance Committee Website Committee
Matt Jaro, Vice President
Treasurer Edward Kozak, Chair, Treasurer Rick Swaney, Chair
Glenn Crater, National Capital
Edward Kozak Wayne Wolf, Vice Chair B Bronson
Ken Envall, Southern California
3615 North Campbell Avenue Edward Cooley, Trustee Knowles Little, Web Secretary
Julian Grace, Sunbelt

Chicago, IL 60618 Peter Both Richard Simpson, East Coast Special Exhibits Committee
ekozak1970@gmail.com

Marketing Committee Chair Mary Ellen Myers, Trustee,
Museum Sub-Committees
Bob Smith, Chair Southeast
Ohio Operations

Judy Caletti David Corkrum, President,
Rob Pollock, Mid-America
TRUSTEES Don Caine Golden Gate Dave Calendine Robert Pollock Donald Caine, Southern California Bob Caletti SPECIAL ACTIVITIES Jack Hostetler, Southeast
Meetings Committee
Edward Cooley Knowles Little, National Capital
Matt Jaro, Chair, Vice President Publications Back Issues:
David Corkrum Judy Miller, Piedmont
Judy Caletti Jacque Beeman
Richard Dutton Aaron Muller, Lake Michigan
Tom Chase
Matt Jaro Regina Certificates: Wayne Myers, Southeast
Cotton Morlock
Tom Kuehn B Bronson Rick Swaney, Northwest IntÕl
Rich PoppeMary Ellen Myers
MBSI Pins and Seals: MBSI Editorial Office:
Rich Poppe Jacque Beeman Iron Dog Media 130 Coral Court
Librarian:
Pismo Beach, CA 93449 Jerry Maler editor@mbsi.org
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
Aug 29-Sept 3, 2023 MBSI Annual Meeting St. Paul, MN Snowbelt Chapter

Send in your information by Dec. 1, 2022, for the January/February 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 (417) 576-4280 jbeeman.mbsi@att.net
CHAPTERS
East Coast Chair: Elise Low (203) 457-9888 Dues $5 to Roger Wiegand 281 Concord Road Wayland, MA 01778 or pay via PayPal, send to treasurer.eccmbsi@gmail.com
Golden Gate Chair: Jonathan Hoyt jenjenhoyt@yahoo.com Dues $5 to Dave Corkrum 5826 Roberts Ave. Oakland, CA 94605
Japan Chair: Toshihoro Hamamura 81 045-333-9055 toshibo@titan.ocn.ne.jp Secretary: Toshihide Atsumi 81 48 466 7729 atupho@icloud.com 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
Traveling MBSI Display Bill Endlein 21547 NW 154th Pl. High Springs, FL 32643-4519 Phone (386) 454-8359 sembsi@yahoo.com
Regina Certificates: Cost $5. B Bronson Box 154 Dundee, MI 48131 Phone (734) 529-2087 art@d-pcomm.net
Advertising for Mechanical Music Russell Kasselman Iron Dog Media 130 Coral Court Pismo Beach, CA 93449 Phone (253) 228-1634 editor@mbsi.org
CHAPTERS
Snowbelt

Chair: Tracy Tolzmann (651) 674-5149 Dues $10 to Gary Goldsmith 17160 – 245th Avenue Big Lake, MN 55309
Southeast

Chair: Wayne Myers (407) 333-9095 Dues $5 to Bob Yates 1973 Crestview Way Unit 147 Naples, FL 34119
Museum Donations Sally Craig 2720 Old Orchard Road Lancaster, PA 17601 Phone (717) 295-9188 rosebud441@juno.com
MBSI website Rick Swaney 4302 209th Avenue NE Sammamish, WA 98074 Phone (425) 836-3586 r_swaney@msn.com
Web Secretary Knowles Little 9109 Scott Dr. Rockville, MD 20850 Phone (301) 762-6253 kglittle@verizon.net
Southern California
Chair: Robin Biggins (310) 377-1472 Dues $10 to Diane Lloyd 1201 Edgeview Drive Cowan Hgts, CA 92705
Sunbelt
Chair: TBD (713) 467-0349 Dues $10 to Diane Caudill 4585 Felder Road Washington, TX 77880

Copyright 2022 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X

MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments

DISPLAY ADVERTISING DIMENSIONS & PER ISSUE COSTS
Dimensions 1 issue 2-3 issues 4-6 issues
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $247
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43
Non-members pay a 10% surcharge on the above rates
Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount

QUARTER PAGE 3.5Ó x 4.5Ó EIGHTH PAGE 3.5Ó x 2.125Ó

HALF PAGE HORIZONTAL 7.25Ó x 4.5Ó

CLASSIFIED ADS

¥ 47¢ per word
¥
ALL CAPS, italicized and bold words: 60¢ each.

¥
Minimum Charge: $11.

¥
Limit: One ad in each category

Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 63, No. 1 January/February 2017

¥
Format: See ads for style

¥
Restrictions: Ads are strictly limited to mechanical musi.cal instruments and related items and services

PRODUCTION SCHEDULE

ISSUE NAME ADS DUE DELIVERED ON
January/February December 1 January 1
March/April February 1 March 1
May/June April 1 May 1
July/August June 1 July 1
September/October August 1 September 1
November/December October 1 November 1

CIRCULATION
PRINTING & ARTWORK SPECIFICATIONS
Mechanical Music is mailed to more than 1,500 members of the Musical Mechanical Music is printed on 70 lb gloss Email Øles to: Box Society International six (6) times paper, with a 100 lb gloss cover, sad-mbsi@irondogmedia.com per year. dle-stitched. Trim size is 8.25Ó x 10.75Ó. USPS or Fed Ex to: Artwork is accepted in the following for-Iron Dog Media, LLC

ALL ADS MUST

mats: PDF, PSD, AI, EPS, TIF. All images 130 Coral Court

BE PREPAID

and colors should be CMYK or Grayscale Pismo Beach, CA 93449
The Musical Box Society International
and all fonts should be embedded or
accepts VISA, Mastercard and online

converted to outlines. Images should be a
payments via PayPal.
minimum of 300 dpi resolution.

Contact MBSI Publisher Russell Kasselman at (253) 228-1634 or editor@mbsi.org
The Spectacular Mechanical Music Collection of Carol Veome & the late Larry Dupon

Polyphon Regina Style 35 Regina Upright Seeburg G Steinway OR 6Õ6Ó Art Case 24Ó Mikado Clock & Art Glass Style 67 Rookwood Orchestrion Reeder/Leedy Restoration

3 Disc Eroica Regina 20 .Ó Drum Table Rococo 26Ó Stella Empress 18 .Ó

B. A. Bremond Orchestra Box Nicole Freres Desk 206 Teeth Paillard Sublime Harmony Piccolo 42 Airs on 7 Cylinders 20 Overtures & 8 Airs on 7 Cyls. 36 Airs on 6 Cylinders
Call Marty Persky 847-675-6144 or email Marty@Mechmusic.com for further information on these and other fine instruments.

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

MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 68, No. 5 September/October 2022

MBSI NEWS
5 PresidentÕs Message 7 EditorÕs Notes 8 Outreach Corner
57 In Memoriam
Features
13 Nickel Notes by Matt Jaro
17 In a hand organ factory in New York
20 Damering a music box
29 Reed Organs and Mechanical Music
39 The real story of the English Barrel Organ

On the Cover
This is the Reuge ÒAntoine FavreÓ musical box. It was made in 1996 as the bicentennial to Antoine Favre who is credited for inventing the musical box. Limited edition of 99 pieces. Photo by Lowell Boehland.
43 A 639 year concert on an automated organ

Chapter Reports
46 Southern California 50 National Capital 54 Golden Gate

MBSI has replanted 188 trees so far as part of the Print ReLeaf program.
Corrections
An article titled ÒModel B Steinway Duo-Art, and a Royal Connection?Ó that appeared in Mechanical Music Vol. 68 No. 2, March-April 2022 was written by Steve Greatrex. Our apologies for incorrectly attributing that article to a different author.
In an article by Harold Peter titled ÒOne portable Phonograph begets anotherÓ in Mechanical Music Vol. 68 No. 3 May/June 2022 the price of records sold in the 1920s should have been six pence. Also the name of an album maker should have been Mimosa. We regret the errors.
Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums, and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offices.
Copyright 2022. The Musical Box Society Inter.national, all rights reserved. Mechanical Music cannot be copied, reproduced or transmitted in whole or in part in any form whatsoever without written consent of the Editor and the Executive Committee.
MEMBERS: SEND ADDRESS CORRECTIONS TO: MBSI, PO Box 10196, Springfield, MO 65808-0196 Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196, Springfield, MO 65808-0196

M
echanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and musician all at the same time. Play an automatic musical instrument in a room full of people and all else will stop as the machine enraptures the audience with the sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.matically-played machine that produces melodic sound including discs and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instru.ments at once using vacuum and air pressure; player and reproducing pianos that use variable vacuum to strike piano wires; phonographs; and self-playing stringed, wind, and percussion instruments of any kind.
The Musical Box Society International, chartered by the New York State Board of Regents, is a nonprofit society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it now has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More information online at www.MBSI.org, or
Call: (417) 886-8839, or
Email: jbeeman.mbsi@att.net

Copy this page, and give it to a potential new member. Spread the word about MBSI.
Last name First Name Initial
Last Name First Name Initial
Address

City State / Zip Postal Code / Country
Phone Fax E-mail
Sponsor (optional)

Membership Dues
US members (per household)……………………………………….$60 Student Membership $20
(online journal access only)
Canada…………………………………………………………………………$70 Other International………………………………………………………$75
(Add $20 for International air mail.)
Join online: www.mbsi.org/join-mbsi
Check or Money Order Payable to: MBSI Treasurer (US Funds Only) Mail to: New Member Registration – MBSI PO Box 10196 Springfield, MO 65808-0196
Visa/MasterCard

Exp. Date CCV
Signature

By David Corkrum
MBSI President
Recently, while I was making a new disc for a customer, I started to think about how far the human race has come, technology wise. Nowadays, almost everyone I know has at least a personal computer or laptop and a cell phone. If I look back to the time when I was a lot younger, you know, 10 years old, I was lucky that my family had a one-party telephone line and a 12-inch black and white TV. It has been 63 years and I now have a 48-inch color monitor (TV) with surround sound as in the theaters, a regular (almost) phone, a cell phone, laptop and desk.top computer and a car where I can talk on the phone while driving and listen to music delivered via satellite. Our technology has come such a long way in a very short amount of time.
My own home dates from the early 20th century and contains objects that date back to the 19th century. In 200 years, we have gone from wind-up engines to gas powered to electrical to solar-powered. It is truly amazing and yet we still love the wind-up machines we have in our homes. Most of the instruments I own are either crank- or spring-powered. Many of you have electrically-powered instruments that are as much as 100 years old or are reproductions of instruments that are that old.

It just astonishes me how far we have come, and heaven only knows where we will be in the next 200 years. Sadly, we wonÕt be around to see what technology has come up with, but I am sure that our mechanical instruments will still be around in the hands of their new caretakers and providing beautiful music for their listening enjoyment. Continue to take care of these instruments and pass them on to those who will appreciate their beauty, craftsmanship, and the great music they present. We want them to be played and enjoyed, not languish.ing in some museum or storage room.
And for your information, the instru.ment I am standing in front of is not from my collection but that of Mark and Christel Yaffe. The instruments they have collecteda are really top level and I thank them for allowing me to show this one here.

LetÕs keep the music playing
Have you solved a problem while repairing, restoring or maintaining a mechanical music box?
Cylinder boxes, disc boxes, band organs, orchestrions and nickelodeons each have their own special needs.
Share your restoration or maintenance tips with other mechanical music enthusiasts.
Email editor@mbsi.org, call (253) 228-1634
or mail to: Mechanical Music 130 Coral Court Pismo Beach, CA 93449

By Russell Kasselman
MBSI Editor/Publisher
If this issue arrived in your mailbox slightly later than you might have expected I apologize. I was unable to escape COVID and spent a week under the weather with a bad cough and a variety of other symptoms just as it was time to start putting this magazine together.
Fully recovered now, I am hard at work preparing for the next issue of our Directory of Members, Museums and Dealers that will mail out some.time after the conclusion of the MBSI Annual Meeting in San Mateo, CA. The directory will include the latest versions of the bylaws as well as the most recent winners of the awards presented at the meeting.
I encourage you now to get on the MBSI website and double check that your address, phone and email details are up to date so that anyone trying to reach you about mechanical music will be able to get in touch.
Several people have commented

ADVERTISING
that the last directory had listings beginning with first names instead of last names and that some listings were not in the correct order. I am working to correct these issues and I appreci.ate your patience as we make changes to the website where all the contact information is stored. By improving the online directory, we will also make the printed version of the directory better.
If you are an advertiser who regu.larly uses the directory to make sure people have your business informa.tion in front of them, please make sure to contact me to renew your advertise.ment contract as soon as you are able. I will be sending out emails and calling all previous advertisers in the coming weeks to obtain advertising files but I appreciate anyone who takes the initiative to get their materials to me in advance. My contact information is at right if you donÕt have it.
In closing, I want to thank all the authors who contributed to this issue. This magazine relies on all MBSI members sharing their expertise and
MAILING ADDRESS
MBSI Editorial / Advertising 130 Coral Court Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634
experiences in order to thrive. I look forward to hearing from you soon!

EDITORIAL

Advertisements for the November/December 2022 issue
Articles and photos for the November/December 2022 of Mechanical Music need to be submitted by Oct. 1, 2022.
issue of Mechanical Music should be submitted by Sept. Advertisements for the January/February 2023 issue of
25, 2022. Mechanical Music need to be submitted by Dec. 1, 2022.
Articles and photos for the January/February 2023 issue of Mechanical Music should be submitted by Nov. 25, 2022.

Making a keepsake music box
By Wayne Myers
Southeast Chapter Chair
The Special Exhibits Committee held its ninth annual Musical Box Makers Camp at The Villages, FL, recently. This event brings together residents and their visiting grandchil.dren to learn about and make their own music boxes using kits provided by the MBSI committee.
This article describes the program and gives how-to information so that other chapters might hold their own music box making events.
IÕll start by saying that every MBSI chapter has designed and constructed table favors for our annual conven.tions. Each table favor follows a clever theme and incorporates all the same types of materials we used in our most recent Musical Box Makers Camp, so it is clear to me that no chapter lacks the experience and/or skill sets needed to put together an outreach project like this. The only real chal.lenge is to keep the music box simple enough that it can be assembled by children, typically 8-12 years old. Both grandparents and parents can create music boxes alongside the children so everyone can compare ideas while also learning how a cylinder box makes music. In this way, we have the chance to expose our hobby to multiple generations.
Materials
First you will need a mechanism. Photo 1 shows a standard mecha.nism. These can be ordered online from various sources. Tune choices, however, have been limited more recently. What may have been avail.able in the past may not be available today. So, if your event is meant to have a theme, it is best to do a web search or create your theme around any available tunes. One source that we often use is: National Artcraft Co.

–
ItÕs use a
fits of a
a
able

Photo 1: A standard music box mechanism available hole in the floor of the box. from many online retailers.

Photo 2: Double-stick foam pad with hole cut for winding key access later in the process.
Once it is secure against the box floor, you can instruct them to remove the protective film from the top of the double-backed sticky pad and install the mechanism in place by applying downward pressure to ensure the mechanism wonÕt move around inside the box. Next, ask them to install the winding key and decorate the outside of their box. We always have our team members walking around the room to assist and answer questions.
Keys
There are several sizes of shaft lengths for the windup keys that are available on the market. There are short, medium and long lengths (see photo 3). Depending on the size of the box you have chosen and the key posi.tion (either side, back, or bottom), the key length needs to take into account any clearances from nearby surfaces. For example, If you have chosen to put the winding key at the bottom of the box, you will probably want to use a short key length and then you will need to make some sort of space between the bottom of the box and the surface it rests on. This can be achieved by gluing small wooden balls on each of the four bottom corners of the box to lift it just enough to accommodate the key underneath. We have found that boxes with the feet pre-installed make the assembly easier for younger participants.

Boxes
Initially we went to craft shops and found a variety of different sized boxes, but we were limited by the fact that the stores often did not have a sufficient quantity of the boxes we needed. So, often we will choose two different styles of box, trying to make sure that each has a hinged lid with a clasp. In our experience, the simpler the box the better as it leaves more room for decorative ideas from your participants. For our last few events, we have found the place to shop for boxes is Amazon. The choices there are unlimited. The current box style we are using is available from DemiÕs Products, Inc as shown in photos 4 and 5. Photo 6 shows some of the styles we have used in our past events.
Decor
This is where your group can really go crazy with options. Materials for decorating the boxes are infinite. Color markers and glue sticks are essential. Cloth, foam, beads, ribbonsand many more items are available in any craft stores near you. We have found that small glue/paste tubes are easier to use and share by participants and they create little waste. We often put together packets in small baggies that are geared toward a boy or girl so that parents or grandparents can help to focus the child and begin decorat.ing instead of spending all their time choosing from too many materials.

Small safety scissors are necessary and should be kept by the chapter for future use or passed on to another chapter that might need some. Trash bags for cleaning up are sometimes provided by the host venue, but you may need to plan to bring your own and definitely plan for some time after the event to tidy up the space so you will be welcomed back by the venue.
Strip reader activity
Hole punches need to be available for this fun learning activity. All of these materials are readily available online. The readers (see photo 7) and punches can be reused by your chap.ter or passed on to others. The strips are for the children to keep after the have punched out a tune.
The Special Exhibits Committee has a line item in its budget to purchase materials like these in support of chapter outreach programs. If you are interested in pursuing a project of your own, simply contact a commit.tee member and find out how to get approval in advance to use Special Exhibit Committee funds.
Drilling and attaching
Prior to the event, it is best if you pre-drill a hole in the box for the key so that the mechanism can be wound. Once you determine the location for the hole, make a template and mark the spot on the box where you want to position the mechanism (see photo 8). It is best to keep one or two edges of the mechanism in contact with the inner walls of the box so that the mechanism does not rotate during winding. If that is not possible, however, the sticking pad may provide a strong enough attachment. I suggest drilling a small pilot hole to prevent splintering the box wood. The final size of the hole should be one-quarter inch in diameter. A round file is best for smoothing the hole. A scraper blade may be necessary as well to clear any splinters off the box surfaces.

Starting your event
We suggest a very simple presenta.tion at the beginning of your event. It helps to gain the attention and interest of the participants. We sometimes show an instructional YouTube video that explains how sound is transmit.ted from the mechanism to your ear and amplified by the wood of the box. There are many videos available on the internet. Try to find one that has clearly spoken audio and be sure to use external speakers and a large screen if they are available at your venue so that all your participants can get the information easily.
Components

Before turning everyone loose on their projects, I recommend you have your participants hold their mechanism and describe to them the basic components they are looking at. Having a model that shows the various parts of a music box can be helpful. We often use a Reuge display (see photo 9) to help with this. You can make your own display by taking apart a music box mechanism, then gluing and labeling the parts on a cardboard mount that you can pass around for a hands-on feeling. This has proved popular at the events we have hosted so far.
Ask your participants if they can count the number of gears and point out the Ònever ending gear.Ó
Sound (Resonance)
Have your participants wind their mechanism and listen to it while hold.ing it in their hand. Then have them place the same wound-up mechanism on their wooden box lid and let it play. While they are amazed by the level of sound amplification, simply and briefly explain the concept of resonance. Ask if anyone learned something fun.

WhatÕs that tune
See if anyone can identify the tune in their kit. There are many options for very popular tunes that transverse generations. Select ones that best align with your group. Classics are a good choice. Photos 10 and 11 show several tunes on simple mechanisms mounted to a wood board that they can play including Christmas classics.
Strip readers
This is a fun filler activity. Some of the children will finish sooner than others and will be looking for some.thing else to do. Enter the strip reader. We have found that the kids enjoy punching out their name on a strip so they can hear what it sounds like when it is fed through the reader. You can imagine the responses. We allow our participants to keep all the strips they punch and we also give them information on acquiring their own reader and blank strips.
Consider combining your event with other existing events
The Villages Summer Camp is an annual week-long program with a wide variety of events, each charging a nominal fee to cover basic costs. Our event is just one small part of this larger group of events, but it has always been a sell-out from the onset. Most cities have recreation depart.ments or libraries or even churches that operate summer camps each year. Locate and contact the organizers of these events and ask if there is a way your group can conduct a music box making workshop. You might be surprised at the enthusiastic response you get.
Preparations
If you are considering putting on an event, you might guess (correctly) that it will take some planning and advance work by a group to make sure everything runs smoothly on the day of the actual happening. Consider making your prep sessions fun by having cookies and coffee and playing music boxes for each other while you work. Think of it like planning a mini convention in that someone should be in charge of coordinating with the venue, someone should be in charge of acquiring materials, someone needs to do the hole drilling, someone needs to make the presentation, etc. None of these jobs are difficult and if you share the work then everything can come together without any one person having to do too much.

Closing message to all our MBSI friends
We have been fortunate that our previous Southeast Chapter Chair, Jack Hostetler, has developed a relationship with The Villages and has kept that relationship on good terms for the past 10 years. He has coordinated several venues that have a wide draw for MBSI. Additionally, Mary Ellen Myers, Special Exhibits Committee chair, has maintained and cultivated contacts within Orlando Arts, among other organizations. As a docent, I have engaged the Orlando Science Center and coordinated events through them as needed. I am confident many of you have similar community involvements that that you could draw upon for the betterment of MBSI. So, go for it!
Outreach Corner was launched by Special Exhibits Chair Mary Ellen Myers in 2020 to share information about MBSI using show-and-tell demonstrations to generate interest in these remarkable instruments for the public at large and potential new members. Please look at these past issues of Mechanical Music for further information about possibilities for chapter opportunities to expand membership.
This is what ÒOutreachÓ is about. All of us need to find local outlets to keep Mechanical Music alive.

Nickel Notes
By Matthew Jaro
I often wondered what the exact business model was for Seeburg and other nickelodeon companies. For example, did they sell machines directly, or through showrooms only? Did they have salesmen employed by the company or just freelancing on commission? Did they have any type of distribution system? To find answers, I hit the old trade press for some research. I think I already knew that the companies employed agents, since I own a Seeburg K with a plate labeled ÒButte Piano Company, 116 E Broadway, Butte, Montana,Ó and my Seeburg H has a plate that says, ÒAutomatic Piano Co., Minneapolis, Minnesota,Ó but I really wanted to get a sense of the bigger picture.
Seeburg
In 1911, The Music Trade Review published a full-page spread entitled ÒThe J.P. Seeburg Piano Co., Chicago.Ó They say the following:
Dealers the country over are

rapidly awakening to the fact that A notice in the music trade press regard-opportunity for increased business ing the Automatic Player Co., an agency and enhanced profits is to be found in for the Seeburg Company. At right is an
advertisement promoting the value of
coin-controlled instruments.
becoming a Seeburg agency. Another
While a few retail piano houses
advertisment promoting Seeburg
here and there have in the past made a
agency appears on Page 14.

success in this line, they have been as a rule larger concerns who have been able to conduct a separate department of their business in charge of specially Many dealers quick to realize the trained experts. value of a Seeburg agency have built
Besides doing an immense local up a most profitable business on these retail business, Mr. Seeburg soon instruments, displaying the hand-commenced reaching after the whole-some art styles in their warerooms sale trade, going after the regular and in their windows, side by side piano trade as well as operators. with regular pianos of famous makes.

In 1914, a Seeburg ad, proclaimed:
A NEW YEARÕS POINTER Ð It is not a difficult thing to establish a coin-op.erated department. Let us discuss the matter with you. The Seeburg agency will help you make 1914 a year of increased prosperity.
In addition to dealers, Seeburg also had wholesale distributors:
The Butte Piano Company
Remember, I mentioned that my Seeburg K was sold by the Butte Piano Company. There is, however, scant information about that company. In 1917, this notice appeared:

The following quote from The
Montana Standard in 2002 also talks
about the Butte Piano Company.
Quite a few player pianos and other automated music machines found their way into Butte and the surrounding area from 1910 to 1925, during what John Ellingsen calls the Ògreat era of the player piano.Ó
Electricity and an ambitious company helped make that happen.
ÒThe mining West had electricity before the Midwest, and Butte was on the cutting edge,Ó said Ellingsen. ÒElectricity was in Walkerville before New York City.Ó
The Butte Piano Company sold Seeburgs and Violanos. Their store was located where the driveway for the Finlen Motor Inn is now located. Ellingsen said they were the largest dealers outside of Chicago.
ÒThey were very ambitious sales people,Ó he said.
Many of the machines survived
because of MontanaÕs lack of
humidity.
ÒMany were still operating when Charley Bovey found them,Ó Ellingsen said. ÒThe dry climate helped preserve them.Ó

The Automatic Piano Company
My Seeburg H has a name plate that reads, ÒAutomatic Piano Company, Minneapolis.Ó Again, information about this company is scant but there was this notice in 1928 in the Music Trades:
A.W. Pence, proprietor of the Automatic Piano Co., Minneapolis, writes: ÒAfter hearing a demonstra.tion of the Seeburg phonograph I must say there is positively nothing like it on the market. How many can I get right away? The possibilities are unlimited.Ó
In 1947, there was this announce.ment in the coin machine section of The Billboard Magazine:
Cecil Pence has given up his share in the Automatic Piano Company, Minneapolis, operated by him and his father, Archie. É. CecilÕs brother, Alvin, has taken over active manage.ment of Automatic Piano.
It is interesting that this company survived way into the 1940s and it was held in the same family. It would be my guess that they handled Seeburg jukeboxes also.
The Mills Novelty Company
The Mills Novelty Company, manufacturer of the Violano-Virtuoso machines, had both dealers and company-owned stores. The following appeared in a 1916 issue of Music Trade Review:
The Mills Novety Company., Chicago, has opened quarters in New York at 226 Fifth Avenue, where the Violano-Virtuoso manufactured by the company, is being featured.

Another 1916 article states:
The Steussy-Schulz Piano Co. has taken the agency for the Viola.no-Virtousos for Milwaukee and vincinity.
Another item about Steussy-Schulz shows that they handled a number of automatic instruments:

Operators Piano Company
Operators made Coinola instru.ments. They, too had a business model of finding dealers to distribute their products.
Operators had a wareroom to show their Coinola and Reproduco models to perspective dealers. They also participated in the National Music Show.
Marquette and Wurlitzer
These companies had the same business model as the ones we have already covered. Wurlitzer had branch offices as well as dealers. Would they compete with each other for the busi.ness, or would the companies respect the territories of their dealers and refer a sale to them? In WurlitzerÕs case, the branch offices mainly provided retail sales like straight or player pianos. Companies like Marquette used department store window displays to show player pianos destined for retail sales.
Peter Bacigalupi and Sons
One of the biggest dealers was Peter Bacigalupi and Sons of San Francisco. They dealt in straight pianos and auto.matic instruments until 1911 when they announced termination of the straight piano lines. The Music Trade Review writes:
It is the plan of the company, Mr.
Bacigalupi says, to close out the line of straight pianos, retaining for future business only the Cremona and North Tonawanda electric pianos and the Edison phonographs.
In 1912, however, they reversed themselves and started carrying straight pianos again. They were dealers in Regina music boxes, North Tonawanda and Wurlitzer band organs and orchestrions, Marquette (Cremona) machines and Q.R.S. music rolls. In 1923, Bacigalupi had 40,000 rolls in stock. In 1925, follow.ing the death of Peter, the heirs to his estate decided to close the business. Fred Dahlinger, Jr. wrote a very informative and well-researched arti.cle on Peter Bacigalupi for Carousel
Organ, Issue No. 42 Ð January, 2010.
As an aside to all of this, Lucien
Peter Bacigalupi, the blind son of Peter Bacigalupi died in poverty at a Chicago rooming house. He had sued his father for support but did not prevail.
Conclusion
It seems obvious to me, based on all the above information, that all automatic musical instrument companies shared the same business model. First, they would establish showrooms to try to interest dealers, then they would invite responsible owners of music stores to become distributors for a certain territory and eventually possibly sell instruments directly. It is also evident to me that the coin-operated business must have been large enough to support these types of networks. Most companies had corporate sales managers to coor.dinate all of these activities.
If any of our readers has more information on this subject, including pictures of name plates from their nickelodeons, I would appreciate hearing from you.

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 January/February, 2017 issue of The AMICA Bulletin.

IN A HAND-ORGAN FACTORY
WHERE AND HOW THE MUSIC MILLS ARE MADE SOME ACCOUNT OF THEIR MANUFACTURE AND IMPORTATION AND THE PEOPLE WHO BUY THEM PUTTING IN THE TUNES TRICKS OF THE TRADE
This article was originally published in The New York Times on January 15,1882. MBSI member Craig Smith submitted it as an item of interest for those who enjoy a hand-cranked organ.
There has been a great ÒboomÓ in the hand-organ business in this City within the last six months; and, however the public may feel about it, the few deal.ers in that instrument of bad repute are rubbing their hands with satisfac.tion, much as the coal-dealers are said to do on a very frosty morning. There is no other city in America where hand-organs can be bought, and the state of the business in New-York is, therefore, the state of the business in the whole country. But because there is unusual activity just now it is not to be supposed that immense factories are turning out instruments by the hundred and shipping them all over the United States, like our piano-makers. That would be a very great mistake. The fact is, facilities for making hand-organs in America are so exceedingly limited that an order for 20 instruments, all to be finished within three months, would astonish the manufacturers. For nearly a score of years the number of organs of the barrel type made in New-York averaged from 75 to 100 a year, but last year, owing to the increase in the business, more than 150 were made. Most residents of New-York have noticed a great increase in the number of organ-grinders within the last few months. In the busy avenues, hardly a corner but has its organ-grinder on pleasant days. And the grindersÕ penny boxes are always pretty well supplied with small coins, though they are too smart to leave very much money lying in the box, where the public can see it. To learn something about the ins and outs of this mysterious business, a Times reporter called a short time ago at a hand-organ factory, and in a very unmusical and dusty atmosphere, had a conversation with one of its managers. The factory, which until within a short time was the only one in America, is in the lower part of the City; and it might easily be passed a hundred times without its modest signs attracting any attention. It is up several flights of stairs and when reached it is not imposing. One large room, without too many windows, comprises the whole of it; and there are not enough workmen in the place to lift one of the larger sizes or stationary organs, such as have come into use in larger beer saloons. But the men were all busy when the reporter called, and the manager was several times interrupted by customers in the course of our brief conversation. The customers, though, were not of the most profitable kind. They nearly all had organs undergoing repairs or changing their tunes.
ÒI have no objection to telling you anything you want to know about the business,Ó said the manager, Òfor, though people generally know little about it, it is only because they do not take the trouble to inquire. There are no secrets in it, any more than there are in the piano or parlor-organ busi.ness; indeed not as much, for some of the piano-makers have processes of their own which they keep to themselves. We have no secrets at all, and no patents. One man is as free to make a hand-organ as another, if he knows how. The technical skill required for putting the tunes in an organ is a sufficient protection to the business without any legal safeguards. There are only three men in America who can mark an organ barrel for the tunes, and I doubt whether there are 50 men in the world who can do it. So you see it is something of a monopoly without any patents. There is very little competition in the business anywhere; in this country there is none. There is a house in the City that imports hand-organs from Europe, and at one other place here they are made. We sell at the same prices and all have a fair business, without making sudden fortunes. Last year was the best year we have ever seen for the business in New-York.
ÒIt may seem strange to you,Ó the hand organ man continued, Òthat there should be a sudden increase in our business in any particular year. It is easily explained. In the first place, you must have noticed that a large majority of the organ-grinders are Italians. Italy is the home of the hand-organ and an Italian out of work takes almost as kindly to turning the handle as he does to eating macaroni. Among the emigrants who arrived within the last year were a great many Italians, who all have to gather, in some way, enough money to keep them alive. Some of them are not able to work, and others are not willing. A large percentage of those who do not work take to grinding organs. This is one cause of the increase in business.

An Italian in the organ business does not generally expect to earn enough money himself, but sends his wife out also, he taking one organ and she another, the children being divided between them. In this way they some.times pick up a good deal of money. The other cause is the unusually mild winter. The Italians do not like cold weather, and generally keep in the house as much as possible in the Winter months. But this year there have been so many warm days there has been a great demand for organs. These two things taken together have given the hand-organ business a lift.Ó
ÒYes,Ó the organ man went on, in reply to a question, Òthe organs you see in the streets are generally rented, and do not belong to the people who play them. There are five or six large places in the City where any number of organs can be rented, besides a number of smaller places, where only one or two organs are kept for hire. There is one place in Mott-street and two in Mulberry-street, both within a block of Police Headquarters. There is another in Crosby-street, and still another, the largest place of the kind, in Bleecker-street. In the Bleeck.er-street place 15 to 18 organs are kept, and on a fair day they are gener.ally all in use. No, the people who keep these places do not buy their organs from us. They are generally old organ-grinders themselves, and know about what an instrument is worth. They watch their chances till they find a man with an organ who is in need of money and lend him $10 or $15, taking his instrument for security. Nine times out of ten the borrower is not able to repay the loan, and the capitalist keeps the organ. When he gets enough instruments to start in business he rents them out by the day. The rent he gets depends very much upon the organ and the number and character of the tunes it plays. The customer has something to do with it, too. For instance, if a man has possession of a good corner, where he can take in $2 and $3 a day, he has to pay higher rent for an organ than a man who goes wherever he can find a chance. An organ in good condition playing 10 popular tunes will sometimes rent for as much as $1 a day. From this the rent comes down as low as 10 cents a day. A regular professional organ-grinder who is known can generally rent an instrument without any trouble. But a new hand who is not known has to give security for the safe return of the instrument. Women have a fancy for sick organs, and they generally rent for about 25 cents a day.Ó
ÒSick organs?Ó
ÒThat is some of the slang of the trade. The squeaky little music-boxes you often see melancholy looking women playing on the corners we call sick organs. They are not out of tune, or even worn out, as they seem to be, but are often quite new. They are made with die-away tunes to excite sympathy. A woman with one of these sick organs, a half-starved baby, and a sorrowful countenance is sure to make a good living. But these things are all outside of our part of the business. We have nothing to do with them, of course. We make the organs only to order and for cash, and there our part of the business ends.
ÒHow many organs are there in the City? It is impossible to say. We have made nearly 2,000 here in this factory, but they go all over the country, though they were nearly all made for New-York men. The organ-grinders have regular routes, many of them just like a theatrical company. But there is this difference, instead of going East and West, they travel North and South, so as to be in the North in the Summer and the South in the Winter.
They do all their traveling on foot, of course, so it is slow work. But they play all along the road whenever they come to a house, and are sure of making their traveling expenses at least. It has been so warm this Winter that a great many of the travelers have not started southward, but take their chances in the City. What an organ-grinder can make in the City streets is just as uncertain as what a merchant can make. He may take in $5 in a single day if he has a good place and strikes a streak of luck. On the other hand, he may not get half a dollar, work as hard as he will.
ÒI tell you,Ó said the enthusiastic organ-maker, Òthe hand-organ is the worst maligned musical instrument in the world. Because there are a great many bad ones, all hand organs are declared a nuisance. The instrument can be made with as fine a tone as the best piano. Drum away on a piano for 25 or 30 years and what would be left of the tune? But hand-organs last longer than that, often without any repairs. I have put new tunes in organs that were made in Florence 40 years beforeÐand that were still in good order. That is one of the drawbacks of the business. Organs last too long. Listen to this one and then tell me whether you think there is any music in a hand-organ.Ó
The organ-maker, as he spoke, adjusted the stops of a new instru.ment that had apparently just been completed, and turned the handle. The result was as sweet music almost as could have been extracted from a piano.
ÒThat is not an unusually fine instru.ment, he continued, Òthough it is a good one; and it just shows that there is as much music in an organ as in any instrument when it is properly made and in good order. That was made to order, like all our organs, and is worth $150. It plays 10 tunes, and it is good for at least 80 yearsÕ steady use, with occasional changes of tunes. We do a great deal of tune-changing. Two or three popular airs will coax out more pennies than a dozen stale tunes. The tunes are very easily changed when you know how to do it. Do you know anything about the construction of a hand-organ?Ó
The reporter was compelled to confess that, beyond a general idea of a pair of bellows with a cold being hidden somewhere inside the case, he knew very little of organ anatomy.
ÒA hand-organ,Ó the guide continued, Òis just like any church organ, with a few points of difference. It has bellows and pipes and keys. When you want to play on a church organ you depress the keys; when you play a hand-organ you elevate them. You use your fingers on the keys of the big organ; but these little brass pins are the fingers that operate the hand-organ. Here is one of the cylinders for an ordinary sized organ. It is 15 inches long and 5 inches in diameter. It is, you see, first covered with a sheet of clean, stiff paper, and then is stuck full of little brass pins. Some of them, you will notice, are no more than tiny brass pegs, while other are nearly half an inch long, with a pin at each end, thus |__|. The barrel is put in the organ and connected with the crank. When it is turned, the brass pins are brought against the keys, and the keys are raised. If it is one of the small ones, it raises the key only for an instant, and makes a short note. If it is one of the half-inch ones, it makes a long note. It is very simple, you see, when it is explained. When the cylin.der is marked for the tunes, it is easy enough to drive in the pins, as you say; but it is not an easy matter to mark the tunes on the cylinder. I have the honor (as well as the profit, if there is any) of being one of the three men in America who can mark an organ barrel for the tunes. The gentleman who imports organs from Italy is another; and there is one more. I will show you how it is done. But you must promise me that you wonÕt go off and make a hand-or.gan as soon as I show you how!Ó

The promise was given without mental reservation.
ÒWhen the barrel is properly prepared for marking,Ó he explained, Òby being smoothly covered with a piece of tough paper, I hang it in position in the organ directly under the keys. Suppose I want to mark it for ÔThe Mulligan Guards.Õ A man with a steady hand turns the crank and I play the tune on the keys, pushing each key down upon the cylinder instead of raising it up. They do not, of course, make any sound, but they make a slight impression upon the paper wherever the key strikes. By long practice a tune can be played mutely in this way as well as if the player heard the sounds.
When it is all marked off I take out the cylinder, and go carefully over all the indentations with a pen, and there is the tune. When the tunes are all marked, a skillful workman puts in the pegs, as you call them, and the barrel is completed. Every organ plays from seven to ten tunes. This one here plays nine. You see these little grooves at the end of the cylinder? When the grinder wants to change the tune he lifts a spring that keeps the cylinder in place and shoves it along a groove. Each groove controls one of the tunes. A man can put in about three tunes a day.Ó
ÒThe cost? It all depends. Do you see that big fellow in the corner? That is a saloon organ, and belongs in Hous.ton-street. They got tired of the old tunes and want a new set. I made that organ five years ago and got $2,200 for it. Prices have come down about 10 percent since then and I could make the same organ now for a trifle less than $2,000. It is just as good today as when it was made. In the ordinary barrel-organs we charge $4 a tune for putting in new tunes. And we have had a great deal of changing to do in the last year, getting rid of the ÔPinaforeÕ airs. There was a great run on them at one time, but they are no use now and have to come out. A common organ weighs about 25 pounds, and is worth, to make, from $100 to $135, according to the number of tunes it plays. A parlor organ, with from 25 to 46 keys, costs from $150 to $200. What we call a Ôside show organ,Õ to imitate a brass band, has 60 keys, 35 brass trumpets, large and small drums, and triangles, and generally plays nine tunes. It is worth $2,500.Ó
There was one of these Òside-show organsÓ in the shop waiting to be repaired, and he started it up and kept it going till it was about time for the neighbors to come in and complain of the racket.
ÒWe make a great many mechanical figures, too,Ó be continued. ÒWe have to do something else to piece out the income a little, for there is not much money in making hand-organs. A good workman cannot be hired for less than $3 a day, and it would take one man fully 20 days to make an organ. Mate.rials are pretty high, and we have to make a good many organs to make a living. If an organ-maker comes out at the end of the year with as much profit as he could have made in wages as a journeyman, he is doing well. A man makes a mistake when he learns this trade. If I had it to do over I should get a good organ and go traveling. TheyÕre the fellows that make money out of the business-the grinders. It comes in in small sums, but it is for sure. Some of the grinders are very comfortably off. Even if they make no more than a dollar a day they save money, for they spend nothing. Of course, you know how they live, like rats. They start out after breakfast, and their dinner is often a half a loaf of dry bread. Fifteen cents a day would keep one of them in luxury. They get in a good deal of bad money, but nearly always manage to get rid of it. I have had men come in here to get their organs pull a greasy bag out of their pocket, and count out $40 or $50 in little stuff-not a coin in the whole lot larger than a five-cent piece. That doesnÕt often happen, but it does sometimes. Well, now you know pretty much all there is to learn about the organ business. If you write anything about it, try to put in a good word for the hand-organ, for thereÕs more music in it than anybody would believe!Ó

Shop Notes

Dampering a music box comb
By Joseph E. Roesch
In an interesting autobiographical sketch in Hobbies in 1938 (reprinted by MBS in 1967), Louis Gustave Jaccard recounts the different phases of his apprenticeship in Sainte Croix during the late 1870s: it was only in the last phase of his three-year training that Jaccard learned the art of dampering. If even the old Swiss masters regarded dampering as one of the last graces to be acquired by an apprentice, it is small wonder that much apprehension surrounds the topic in the minds of modern music-box repair.ers. Perhaps, however, a little too much apprehension surrounds the topic-to be sure, dampering is arduous, but it is not some arcane alchemic ritual carried out with spells and incantations in the dark of the moon. Less romantically, dampering merely requires a sound understanding of some basic theory and a great deal of patience and practice. While it would certainly be unreasonable to expect abso.lute perfection from oneÕs first attempts at dampering, the mechanically competent amateur who approaches the task with seriousness and patience will not fail to achieve at least some marked improve.ment in the quality of music produced by the comb. The more natural dexterity you have to begin with and the more practice, the more rapid and satisfying will be your progress.
The techniques of dampering have been described several times in literature of former and more recent years. See, for example C.H. JacotÕs How To Repair Music Boxes (New York, 1890: reprinted by Bomand Music Box Company); Glenn HeckertÕs repair section of Roy MosoriakÕs The Curious History of Music Boxes (Chicago, 1973); Ruth BornandÕs article, ÒDampering the Swiss Music Box,Ó (MBSI Bulletin, Vol. 14, No. 4, Page 106). Among more recent treatments, I find most thorough that offered by Graham Webb in his Cylinder Musical Box Handbook (London, 1968). The feather dampering of the treble teeth is nowhere so thoroughly covered as in Frank MetzgerÕs article Dampering Miniature Boxes,Ó (MBSI Bulletin, Vol. 17, No. 4, Page 163).
Some Theory and Geometry
Perhaps almost everyone knows that dampers are those funny little curved wires (Figure 1) under the tips of the teeth of a music-box comb. Depending upon the strength (thickness) of the teeth, the dampers will run (starting at the bass end) anywhere from halfway to two-thirds or perhaps even three-quarters of the length of the comb. Of the remaining teeth not designed to take wire dampers, some (how many varies from comb to comb) require dampers of individual barbs from a chicken feather. Finally, the extreme treble teeth (again, how many varies) require no dampers because their vibra.tions are so brief in duration.
To understand how a wire damper works, you need only consider what happens when your music box is playing:
This article was originally published in Mechanical Music Vol. 53, No. 5, September/October 2007. It is being reprinted here for the benefit of members who have joined the society since that time. Graphic elements have been enhanced and enlarged as much as possible in this reprinting to improve comprehension of the material.
when a comb tooth is lifted and released by a pin in the revolving cylinder, that tooth is set into motion or vibration; the longer and heavier teeth (representing the lower tones of the scale) vibrate through a longer arc and for a more extended time than do the shorter and lighter teeth (representing the higher tones of the scale). Now, if another pin in the revolv.ing cylinder comes into contact with a tooth which is still vibrating, the metal-to.metal contact of pin and tooth produces a disagreeable grating noise. You can get a very good sense of this effect by placing
half of a flexible six-inch steel rule over
the edge of a table: by twanging the rule and then rapidly stopping its vibration

with your fingernail, you will see and
hear exactly what happens when a cylin.der pin contacts a vibrating comb tooth. The purpose of the wire damper is to provide a buffer or cushion between the vibrating tooth and advancing cylinder pin; because the wire has some stiffness, it offers resistance to the pin (thus braking the vibration of the tooth), but because the wire has some spring and give, it will also recede before the advancing pin (thus eliminating the noise of abrupt metal-to-metal contact). If the damper wire is of the proper strength, and if it has the proper shape, it will succeed in stopping completely the vibration of the tooth immediately before the advancing cylinder pin comes into full contact with the tooth.
If we could catch the action of the damper with camera and strobe light, we would see something like the sequence represented by Figure 2. In step 1, we see the initial contact between pin and damper wire: at this point, the wire is being pushed both upward and backward. In step 2, the pin has advanced further along the wire and is now pushing the wire fully backward, toward the block or anvil which holds the wire. In step 3, the wire has receded backward and upward so far as to contact the underside of the tooth tip: at this point, the motion of the tooth has been completely stopped, and the pin is ready to lift the tooth and sound the next note. After the pin releases the tooth, the wire will spring back to its original position (step 4), allowing the tooth to continue to vibrate without inter.ference until the next pin in the revolving cylinder begins the dampering sequence all over again.
So much for the description of how the damper functions; now, letÕs consider the factors which determine the shape of the curve that should be given to the wire. Anyone who has dampered more than one comb knows that not all dampers have the same shape: those of one comb might have a shape somewhat like the letter ÔDÕ, with the wire running from anvil to tip in a line only moderately curved; other combs might have dampers with curves more nearly approaching semi-circular form. These differences in curve are not at all arbitraryÑrather they are determined by the angle or pitch at which the comb is set to the cylinder. As a general rule, and the greatest pitch of 21 degrees on the combs of earlier boxes lie flatter than a Paillard comb of the late 1890s. As those of later boxes. I just took protractor Figures 3, 4, and 5 show, these variations measurements of six combs of different in comb pitch will dictate variations in periods: I found the lowest pitch of 10 the curves of the damper wires. Figure 3 degrees on a comb of the 1850 period shows a comb of low (10-degree) pitch: at this angle, the wire must have a fairly pronounced curve in order to be caught by the cylinder pin early enough for effective dampering to take place. If the wire doesnÕt have adequate curve, either the dampering will not be effective, or the wire will be compressed (and so ruined) between the pin and the tooth. Figure 4 shows a comb of high (20-degree) pitch: at this angle, the wire must have less curve; if it is too rounded, the pin will catch the wire right on its curve and force it straight up against the underside of the tooth. This action, of course, will squash the damper and also (because the wire canÕt properly recede before the pin) produce a grating sound quite as loud as that produced when there is no damper present at all. In Figure 5, we see a comb of median pitch (15-degrees): at this angle, the proper curve of the wire is somewhere between the curves shown in Figures 3 and 4. The reader need not infer from all this technical discussion that the shaping of the curves is a matter of extreme precision with absolutely no margin for variation, but she or he should realize that there are some situations which will require some experimentation. If you realize that the curve of the wire is dictated by the pitch of the comb, you will not make the time-consuming mistake of giving a fully round curve to the wires

of a high-pitch comb or a too-flat curve
to the wires of a comb with low pitch. In most cases, of course, you will be damp.ering a comb which has at least a few of the original dampers intact; naturally, you will take your model of shape from these. It does sometimes happen, though, that none of the original dampers are present. In that situation, I take the pitch of the comb into consideration and shape four or
five wires in the curve that I feel matches
the comb pitch. These experimental wires are tested by playing and perfected until I
feel confident in proceeding with the rest
of the comb.
One final factor which affects the operation of the dampers is the depthing of the comb to the cylinder. If the depth is quite shallow (as may be the case with early mechanisms), the wires must have more curve in order to present themselves to the cylinder pins early enough to achieve full dampering. If the depthing is quite deep (more likely in very late boxes), the wires must have less curve to avoid being squashed between pin and tooth. The question of depthing really becomes problematical when you have altered the original setting of the comb. LetÕs suppose that the tips were severely enough worn to require a rather vigorous honing: now, of course, the comb will barely be in contact with the pins. What do you do? Probably what most people do: you shim up the back of the comb with one or more thicknesses of writing paper. This practice is all well and good in that it achieves the desired deeper engagement of pins and teeth, but it also alters the pitch of the comb and consequently may alter the curve which should be given to the wires. For this reason, I do not shim a comb any more than a maximum of two pieces of medium weight typing paper. If more depthing than this is required, I prefer to ease the dowel pins and gently tap the comb forward. If you do, then, have to alter the depthing, remember that too shallow a re-setting may negate the operation of the dampers, too deep a resetting may damage them, and excessive shimming from the rear may so alter the pitch that even dampers with the proper original shape may not function properly.

The Required Tools
It is not realistic to attempt the re-damp.ering of a comb without the proper tools. Most of the required tools can be secured from clock supply houses; a few have to be made by hand. Figure 6 shows some of the required tools. Other required tools not shown in the photo include a platform for holding the comb during dampering. I use a piece of 1 x 6 board about 15 inches long; the front edge of the board is elevated by a strip of half-inch.thick wood, which gives the platform a convenient pitch. A lever-bar for pushing out damper pins from behind, is shown in Figure 10.
The hammer, the pliers, the nippers, the micrometer, the India slip, and the two ordinary tweezers can be ordered from supply houses. The damper wire and taper pins are available from different dealers. The dampering tweezers and the trimming jig-both absolutely necessary for good damperingÑmust be made by hand (Figure 7). Figure 8 (Page 24) is a closeup of the dampering tweezer tips: the tips are filed up from any pair of good tweezers with sufficient width at the tips. The recess filed away behind the tips is about 5/16 of an inch; the acting surfaces of the tips themselves are polished smooth and slightly rounding in cross-section. Many authorities recommend the use of another type of tweezer made of mating male and female hemispherical sections. I am sure that this type works well, but I have never found the simpler style that I use wanting in any respect; they have the further advantage of functioning as tiny right-angle pliers for bending and manipulating the wire to bring it into perfect alignment with the tip of the tooth. The trimming jig (Figure 9 on Page
24) is made from a piece of brass plate one-eighth of an inch thick, 11/2 inches wide, and three inches long. Along one edge of the jig is a lip which rises two mm from the plate and which is .018 of an inch thick; this edge was produced by soft-soldering a thin piece of brass to the edge of the plate and then milling or
filing the height and thickness of the lip
to uniformity. As described below, the jig is used to cut all the new damper wires to exactly the same length, so that their curves will be uniform. The thickness of
.018 is, I find, right for about 90 percent
of the combs I encounter; I have a slightly

Figure 6: Bottom Row (L. to R.): End-cutting nippers; small snipe-nosed pliers (smooth jaws); small side-cut nippers; small
square-end pliers (serrated jaws); oil-stone slip (India stone). Top row: Swiss staking hammer; card of damper wire; small micrometer in hundredths of a millimeter; ordinary tweezers (cos.metic tweezers); just to right of micrometer are some taper pins from which new damper pins are cut.
The flat plate with raised edge below the micrometer is a trimming jig; to the right of the jig is a pair of special tweezers used to shape the wire; to the right of the tweezers is a small flat-end punch made from an ordinary 8-d nail. To the right of the punch is a pair of fine-tipped tweezers.
thinner and a slightly thicker jig (.016 and .020, respectively) for combs on which the distance between damper anvil and end of tip is slightly less or more than usual. I recommend making only the one jig (.018) until need dictates the manufac.ture of another size.
The Procedure

After all this preamble, we now get down to the nitty-gritty. It is assumed that all other work on the comb (tip and tooth replacement, honing, and cleaning) has already been performed. The feathering of the treble teeth-not described in this article because it is so well covered in on the wooden platform described earlier. to hold it in place against the pressure MetzgerÕs earlier-cited article-may be left The tips should be just behind the edge of exerted when the damper pins are tapped for last. Here are the steps in their proper the platform; if they overhang the edge, back into their holes. order of execution. you may break a point. Drive three or four 2. Remove the pins which secure the
1. Place the comb (tuning weights up) small brads at the back edge of the comb old wire. I start at the bass end, but thatÕs simply a matter of individual preference. I recommend that each pin be removed and replaced individually to avoid mixing up the pins and affecting the pitch of the teeth, which were originally tuned after pin and damper wire were in place. The pins are often very stubborn and some.times show as little as 1/32 protruding from the damper anvil. That isnÕt much to get hold of with the pliers, so you want to try to get the pin on the first attempt-oth.erwise, the pin may become so burred as to be impossible to grasp. On combs which have some small space between the tuning weight and the damper anvil, you should use the lever shown in Figure

10: apply pressure with the lever until you hear a little metallic snap, which indicates that the pin is free in the hole; now, you may easily withdraw the pin with the small snipe-nosed pliers.
If there is no space between tuning weight and anvil, you must rely on the pliers alone: try the snipe-nosed pliers first, but if the pin wonÕt budge, donÕt burr it. If the snipe-nosed pliers wonÕt draw out the pin, try the small square-end pliers with the rough jaws: get a good hold, squeeze tightly, and draw straight out on the pliers. If the pin still wonÕt budge, try a few drops of penetrating solvent like ÔPenetrolÕ or ÔLiquid WrenchÕ: apply the solvent and slightly vibrate the tooth; after allowing the solvent to work for a few minutes, try again with the pliers. If the penetrating solvent doesnÕt work, and if you have by now mutilated the pin with the pliers, you have no recourse but to drill out the old pin. This is a delicate operation, but it is sometimes the only way. If you have to drill, you must first cut the protruding pin flush with the anvil and center punch it, otherwise the drill will drift off the pin. With the comb firmly bedded on the wooden platform mentioned earlier, I use a light hammer and a very sharp beveled chisel adapted from a small wood carverÕs chisel, the cutting end filed to a width of about 0.0125 inches. Because the pressure is downward, a slip or too heavy a hammer blow could result in a broken tip, so caution and a light touch are required. If you are uneasy doing this, you can also use a very small burr in a flexible shaft to cut the pin flush with the anvil: use a slow speed and keep the tooth firmly pressed against the wooden platform (tuning

weights up). Use a small twist drill in a holes. Typically, I find the right drill in pin vise or flexible shaft (at a very low the #66-76 range. You canÕt find drills
speed) to drill out the pin. The drill should that small in a hardware store, but you be slightly smaller than the hole so that it can order them from supply houses such will not wedge and break in the hole; you as MSC (Manhattan Supply Company). can size it against one of the other damper ItÕs best to order in lots of a dozen since they break easily. If the drill gets dull, you can touch up the cutting lips with a small
Arkansas stone slip. A cutting fluid such
as ÒTapfreeÓ or even just a drop of light
oil speeds the operation and floats out the
swarf. Keep drilling until you know you are all the way through the pin. If there is still a shell of brass in the hole, use a tiny clockmakerÕs cutting broach to remove it: wedge the broach in the shell, turn the broach a slight amount and withdraw the broach and shell together.
3. After the pin is removed, set it aside (still gripped in the jaws of the pliers). Remove the old wire from the hole: some.times it comes out with the pin; sometimes you can grasp it with the tips of the very fine tweezers; sometimes you can vibrate it out of the hole by holding the tips down.ward and plucking the tooth. Holding the small piece of original wire in the fine tweezers, measure its thickness (strength) with the small micrometer. The microm.eter I use is graduated in hundredths of a millimeter, as is the damper wire that I use. It is very important to replace the old wire with new wire of the same thickness. The more heavily leaded teeth require a fairly stiff wire, while the teeth with small or no tuning weights require a thin wire. Often, you will come out fine by using the original wire as your guide, but the guide becomes less reliable if you find evidence (e.g., two pieces of wire of different strengths in one hole) that the comb has been redampered in the past. Damper wire of varying strengths has not always been available during the last 80 years, especially during wartimes; conse.quently, you may find that the comb has been redampered with some inappropriate wire (watch hairspring wire is the chief offender). The comb of an average box (one, say, with a cylinder of 11-13 inches) will run through about six thicknesses of wire. If you find that the wires of your comb are all of the same strength, or if you find unreasonably heavy wire (.09 or .10 mm) being used on the upper and middle teeth or unreasonably light wire (.06 or .07mm) being used on the bass teeth, you can be pretty sure that the comb was inappropriately dampered in the past. To follow the original wire strengths in this type of situation would only result in disappointment. When you encounter this problem, only an experienced sense of the proper strength for each tooth can help you. I will put myself on the line by offering as a guide the following graduation of strengths of the dampers of
a comb which I have just finished. The
comb in question was a good example of the problem under consideration here: all the teeth had been dampered with a wire of one strength (approximately .09 mm), which was too light for the very bass teeth and too heavy for the teeth of the middle and upper parts of the comb. The comb has 57 musical teeth (it is the comb of a drum-and-bell box), 39 of which are provided with damper anvils. After the usual amount of experimentation, I achieved satisfactory dampering with the following gradation. The tolerances in parentheses (when given) indicate lighter or heavier strengths which might be required for teeth in the same position on another comb of approximately the same size:
Bass Tooth: .11 mm(± .01)
Second Tooth: .10 mm(± .01)
Next four Teeth: .09 mm (± .01)
Next 11 Teeth: .08mm
Next 10 Teeth: .07mm
Next 12 Teeth: .06mm
I think this gradation is fairly typical for a comb of the size in question, but please remember that it is offered as a guide only: some experimentation will still be necessary. It is also a good idea to scribe the forward face of the tuning weight with the number of the wire you have chosen: this gives you a reference if you find it necessary to use a lighter or heavier wire later. When you have to re-establish the gradation of a particular comb, it is a good
idea to redamper only the first tooth in
each group of teeth having tuning weights of the same height: play the box with only these experimental dampers in place and watch and listen to these dampers. When you have established the right weight for
the first tooth in each group of teeth with
the same sized tuning weights, you can
proceed with more confidence.
4. Having solved the question of strength gradation, we can proceed to the insertion of the new wire and the replac.ing of the damper pin. The comb is on the platform (tuning weights up), and the pin of the tooth you are dampering is in the jaws of the snipe-nosed pliers. If the old pin has dropped from the pliers or has shifted, re-secure it in the jaws, making sure that the little flat on the pin (caused by the wedging of the original wire in the hole) is uppermost in the jaws. If you have mutilated the old pin, make a new one from the smaller end of one of the taper pins mentioned earlier in the description of ÒThe Tools Required.Ó A new pin can, of course, be made by filing any small piece of brass wire to an appropriate taper. To avoid altering the pitch of the tooth, make the new pin the same length as the original adjacent ones. With the old or new pin in the pliers, then, and the pliers resting on the bench near to hand, insert the end of a length of damper wire of the predetermined strength into the hole of the damper anvil. On teeth with tuning weights, push the wire through the hole until a sixteenth or so of an inch shows at the rear of the anvil: this protruding tail acts as a brace to hold the wire in tension as it is arced back over the tooth to allow for the inserting of the pin. Curve the wire back over the tooth in the arc represented

in Figure 11: this will bring the flat of the
wire snugly up against the top of the hole in the anvil. With the left hand holding the wire in this arc (these directions are for a right-handed person), pick up the pliers holding the pin and insert the pin into the hole; push with the pliers only enough to hold the wire moderately tightly: you will use the small punch to tap the pin
all the way home. Before doing that final
tapping, however, it is wise to bring the wire back down over the tip to check its alignment with the tip. Much time will be saved by making sure of the alignment at this point. When the alignment is exact, re-curve the wire as shown in Figure 11 and tap the pin securely home with the small punch and the light staking hammer. The pin should drive in straight to secure a uniform wedging action: if it doesnÕt,
the flat on the pin has probably shifted, or
perhaps there is still a small piece of the original wire in the hole. The pin should be tight, but it need not be driven home
with a vengeance; two firm taps with the hammer should suffice. When the new
wire is securely pinned, bring the wire back down over the top and snip it off with the end cutters, leaving an eighth or three-sixteenths of an inch protruding beyond the tip. Later you will use the trimming jig to give a uniform length to all the wires. Repeat this procedure until you have re-wired every tooth that needs a new damper.
5. With all the new wires in place and cut to approximate length, we now use the trimming jig. The flat plate of the jig rests on the top surface of the comb (the top as you view the comb in normal position), and the raised edge of the jig bears snugly against the points of the comb teeth, the new wires protruding beyond the raised lip of the jig. Holding the jig and comb together firmly in one hand, cut off the wires with the end-cutting nippers. Hold the nippers squarely and snugly against the outer face of the lip of the jig. I advise cutting the wires one at a time: if you try to cut several at a time (especially wires of different thicknesses), you may well burr the ends of the wires excessively. The cutters, however sharp, will always leave some slight peak. After all the wires have been cut with the help of the jig, the peaks on the ends of the wires must be removed with the India slip. The peak will interfere with the smooth sliding of the wire along the surface of the point, and its removal is important. The ends of the wires may

be lightly honed to flushness with the slip,
using the jig as a guide. The wires are best stroked lightly in a vertical direction to avoid possible bending.
6. With all the wires honed, you can proceed with the actual formation of the curves. The first step is to bend each wire upward from the pin at an angle which I would judge to be approximately 60 to 70 degrees; if the wire is bent up absolutely vertical, it will fracture right at the hole and break off after only a short playing time. The bending is accomplished thus: with the dampering tweezers, grasp the wire right at the juncture of wire, pin, and hole; the top point of the tweezers bears against the anvil face (thus acting as a rounded fulcrum between wire and anvil), and the bottom point of the tweezers wedges lightly between the top of the pin and the under surface of the wire. Now, roll the wrist backward over the top of the anvil until the wire stands at the angle suggested. The rolling action imparts a small curve to the wire rather than an outright bend, thus avoiding possible stress at the point of the curve. Roll your wrist straight back over the top of the anvil to keep the alignment of the wire and the tip of the tooth straight. The result should be like that shown in Figure
12. Proceed in this fashion right up the comb until all the wires have the proper angle. In actual practice, I thus angle only
the heavier wires; I find that wires of the
.06- and .07-mm strength can be given the proper shape without this preparatory operation. To play it safe, however, you should angle all the wires if this is your
first dampering endeavor.
After all wires stand at the angle shown in Figure 12, proceed to impart the proper curve to each wire. At this point, youÕre pretty much on your own: only practice can perfect the operation which I will now attempt to describe. With the tweezers, again grasp the wire at the same point where you earlier formed the angle shown in Figure 12. Turn back a few pages and again study the curves shown in Figures 3, 4, and 5; to produce the desired curve, you draw the tweezer over the wire in the arc that you want the wire to assume. The proper motion is upward from the pin and then downward in a curve toward the tip. I find the arc easier to produce by holding the comb in my left hand: as my right hand describes an arc with the tweezers, my left is moving the comb through a corresponding but reverse arc. It should be clarified that the tweezers are held somewhat lightly with the upper tweezer point slightly in advance of the lower point. In effect, then, the downward pressure of the upper tweezer point bends the wire over the rounded fulcrum of the lower point; because the tweezers are in constant motion over the wire, the series of small individual bends flows together
into one smooth curve. If the wire does not assume the desired
curve with the first pass of the tweezers,
donÕt attempt to bend the wire into a curve-rather, repeat the drawing motion until the wire responds correctly. Once you have the curve correct, check the space between the end of the wire and the underside of the tip: it should be about 0.015 of an inch. If the space is too great, the wire will slip off the cylinder pin before it is pushed up against the underside of the tip of the tooth (thus losing most of its dampering action); if the wire is too close or touches, the tooth will rasp as it falls off the cylinder pin. To increase this space, grasp the wire back near the damper pin and gently roll the tweezers back and up toward the top of the damper anvil; to decrease this space, gently press down on the wire at this same point near the damper pin. The distance between the end of the wire and the end of the tooth point is also critical: it should be about 0.015 of an inch. If the wire is too far back from the tip, it will not catch the cylinder pin. When this latter action occurs, the wire will be so bent as to be useless: donÕt try to reshape it-just replace

it. As a general rule, I find that a damper
works best when it is as close to the end of the tooth tip as it can be without the danger of its being pulled over the tip by the cylinder pin. A way of testing this critical setting before the comb is actually played is represented in Figure 13. Hold the comb in the left hand, tuning weight down; put one tip of the dampering twee.zers on the top surface of the comb point and the other tweezer tip beneath the damper wire: angle the tweezers upward to bring the lower tweezer to tip into a position analogous to that of an advanc.ing pin in the revolving cylinder. When the tweezers are gently compressed, the lower tweezer point moves through an arc which simulates the arc of the cylinder pin as it advances along the damper wire. Watch the action closely: if the wire is too close to the point, the tweezers will carry it over the tip of the tooth; if the setting is correct, the wire will recede upward and backward in the desired manner. If the wire is too close to the tip, tighten the curve by stroking the wire with the tweezers along the section of the curve indicated in Figure 14. This action will bring the end of the wire away from the tooth tip but also closer to the under surface of the tip; if it is now too close to the underside of the tooth, bring it up a little by grasping the wire with the tweezers at the pin and rolling the wrist back and up toward the top of the damper anvil. If the end of the wire is too far back from the end of the tooth tip, stroke with the tweezers along the portion of the curve indicated in Figure 15: this opens the curve a little and moves the end of the wire outward toward the tip. This action also moves the wire upward from the underside of the tooth; if the gap between wire and underside of the tooth is now too great, gently compress the wire at the pin, which will move the end of the wire downward toward the underside of the tooth tip. After all wires are satisfactory,

give a final check to the alignment of wire
and tooth tip: look at the tooth points and dampers end-on and from above; if some are slightly out of line, move them left or right with gentle manipulations of the wire at the pin.
Testing And Trouble Shooting
We are now ready to put the comb in place and test the results of all our hard work. Secure the comb by means of every other screw only, as you will almost certainly have to remove it several times to make adjustments. Once in a great while, I have enjoyed complete success on the first shot; more typically, quite a bit of time must still be spent in making corrections and adjustments. With the comb in place and properly depthed, let the box play. No fair cheating by opening the governor vane to make the box play abnormally slowly: if the dampers wonÕt do their job at normal playing speeds, they simply are not to be regarded as satisfactory. A perfectly dampered box will even be noiseless when the tempo is accelerated beyond the normal. As the box is playing, listen and look for the noisy dampers. I use a small Tensor light slanted across the comb at an angle: this allows me to see what the dampers are doing. Mark the ineffective teeth with a felt-tip marker.
Having determined which dampers are inoperative or on]y partially effective, it remains to determine the cause of the problem. There are many reasons why a damper will stubbornly refuse to give satisfaction, but if you have had the patience to read and follow the advice of this article this far, such adjustments as you have to make will probably be minor only. On the following page is as complete a check list as I can think of for trouble-shooting damper malfunction:

1.
Problem: Cylinder pin contacts wire only immediately before pin contacts tooth tip. Cause: Inadequate curve in damper wire Remedy: Re-curve wire more fully as in Figure 3 or 5.

2.
Problem: Cylinder pin catches damper wire on its curve or so early as to drive end of wire straight up against underside of tooth. Cause: Curve is too fully round. Remedy: Re-shape wire with less curve as in Figure 4.

3.
Problem: Cylinder pin drags wire over tooth tip. Cause: End of wire is too close to tooth tip. Remedy: Retract end of wire as described earlier.

4.
Problem: Damper wire falls off cylinder pin before pin contacts underside of tooth tip. Cause: Space between end of wire and underside of tooth is too great. Remedy: Decrease gap in manner described earlier.

5.
Problem: Tooth rasps or squeaks just after falling off cylinder pin. Cause: End of wire is in contact with or too close to underside of tooth. Remedy: Increase gap in manner described earlier.

6.
Problem: Damper wire is pushed sideways by cylinder pin rather than straight back toward damper anvil. Cause: If this happens only occasionally, check for cylinder pins bent slightly sideways. If it happens regularly, the end of the wire may have been cut obliquely rather than squarely, or the wire may be slightly twisted out of parallel. Remedy: Straighten bent cylinder pins. Replace wire and cut end absolutely square. Gently twist wire at damper pin to bring flat of wire perfectly parallel to flat of tooth underside.

7.
Problem: Even though all curves and settings are correct, tooth rasps or squeaks when cylinder pin contacts damper wire Cause: Wire is too heavy. Remedy: Check strength and compare with adjacent teeth. Replace wire with lighter strength.

8.
Problem: Even though cure and setting are correct, tooth rasps or squeaks just as cylinder pin contacts underside of tooth. Cause: Wire is too light. Remedy: Check strength and compare with adjacent teeth. Replace wire with heavier strength

9.
Problem: Damper wire fails to spring back to original curve after being released by cylinder pin. Cause: Wire has been weakened or fractured at some point (probably at the hole) and will soon fall off. Remedy: Replace wire.

Using this check list, you should be able to spot the cause of malfunction in the dampers which you marked earlier. Having made a notation of the type of correction required, remove the comb and make the necessary adjustment. Keep at the adjusting and checking until the results are completely satisfactory. If you have done all the preparatory work care.fully, you will have greatly reduced the amount of time required for adjustment.
If you have been less than careful in the preliminary stages, you may well spend as much time in adjusting as you did in putting in and curving the new wires.
A few final words: absolutely perfect dampering presupposes very precise registration of the cylinder; the pins must contact the tips dead center if the dampers are to recede smoothly and in a straight line toward the anvil. Also, the cylinder pins should be very carefully gone over: even a slightly-bent pin can cause a rasp. Finally, after all is satisfactory, donÕt forget to give the pins just a touch of oil: as the cylinder revolves touch an oil-smeared glass plate to the very tops of the pins; the pins will distribute the oil to the dampers and comb tips.

Photo Credits: Robert Gates Illustration Credits: Helen Fitch

Reed Organs and Mechanical Music
A Lifetime Passion
By George Kurz
My father, Herbert T. Kurz, may not have been a man of many words, but he was a man with highly developed levels of focus and determination. A member of the Ògreatest generationÓ who piloted B-24 bombers in the Pacific Theater during World War II, he returned home to work as an electrical engineer. He was also a dedicated tinkerer. In his lifetime, he restored more than 100 antique reed pump organs plus many antique clocks, cylinder and disc music boxes, singing birds, and other automated mechanical music related items, such as piano player mechanisms and a player piano. Eventually, he built his own pipe organ and arranged it to be automated with a piano player unit. As an engineer, myself, and having grown up learning from him in his workshop, I shared a love for these machines and found joy working together to restore them to sometimes better than new condition.
Before he passed away in 2018 at age 98 (10 days shy of his 99th birthday), he and I found ourselves in a situation many of you might be able to relate to. Between my father and I, we owned 27 reed organs and the automated pipe organ. My fatherÕs home held 21 of the organs and my home had eight. In addition, our collection included a floor-model Symphonion with 25-inch diameter discs, a couple of grandfa.ther clocks and several other clocks and cylinder and disc music boxes that had not only monetary value, but emotional value to me. When I

A console and treble rank of pipes built by Herbert Kurz.
stepped back and considered it all, I had to face the truth that my home simply wasnÕt large enough to contain everything. So, together, my father and I began formulating a solution that we felt would honor our years of work on these instruments and also satisfy our desire to put these organs into the hands of new caretakers who would treasure them and keep them in good condition until another worthy owner of the next generation could be found. We decided I would be the one to give them away after he was gone.
I definitely didnÕt want to give them just willy-nilly to anyone off the street, but I did want to give them to anyone I felt would truly care for them in their homes where they could be played, touched and enjoyed as they should be. So far, I have given away 15 organs and I still have 12 to go, including the automated pipe organ. IÕve made my offer of free organs in the Reed Organ Society Quarterly, and IÕm doing the same here, hoping some of you, my fellow members of MBSI, might find yourself ready to explore a new avenue of musical enjoyment.
I feel I should tell you a bit more about my dad so that if you do find yourself interested in adopting an organ, you will know a bit about the hands that helped bring it to life.
Herbert was born in 1920 in a second-generation immigrant German family in New Jersey. His grandfather had been a leatherworker in Germany (which was an amusing connection we later recognized as we worked together on the leather parts in an organ). Before the Pearl Harbor attack, he was attending Lehigh University. He left school early to volunteer for Air Cadet training. Eventually, he qualified as a First Pilot for heavy bombers and flew B-24s, accumulating more than a thousand combat hours in the South and Central Pacific. Returning home, he worked as an electrical engineer and married Claire Pilger in 1946.
Shortly after our family moved to Athens, TN, from Florida, Dad bought his first reed pump organ (an Adler built in Louisville, KY). He had learned to play the violin as a boy and continued during his service overseas Ð but no one in our family had ever played an organ or any other keyboard instrument. This was new ground for all of us. When he brought it home, he said he bought it Òfor the woodÓ (Ha!). Naturally, he decided he wanted to learn how it worked and we disassembled it down to the pitmans below the keyboard. Fooling around with it, I accidently jammed one of the pallet valves and caused a cypher (a valve stuck open) which meant we all endured a rather loud constant note each time the organ had any air pumped into it. (Our first attempt at organ repair was a personal disaster!)

It was summer vacation, and my mother and I worried all day about what would happen when dad got home after work. She made a really fine meal. Nothing was said about the organ. Then after dinner, dad got up, looked at me and said, ÒOk, now weÕre going to take that thing apart and find out what makes it tick!Ó Those words set the course for our family for the next 55 years. A month after our first organ, he found another; then within three months, we had five organs. The next summer on a trip near Cherry Valley, NY, we drove by ÒDoc MorseÕs Organ and Book Museum.Ó Doc Morse was anxious to sell his collection (a harbinger of our future) and dad bought nine more instruments. We were restoring and refinishing them as fast as we could. As we rebuilt them and gained expertise and access to materials, we felt like the finished product may have actually been better than the day they were originally built. Our goal with each reed organ was to pump it up and then stop pumping and hit a note, and if the note would play for a full minute we knew we had done our job right.
Somehow, my mother managed to fit 21 reed organs plus the pipe organ into our home and make them an attractive theme. Dad also taught himself to play the organ based on a system in his mind that was related to playing the violin. I never could understand it.
Herbert just kept working on any problem he faced over and over until he found a solution. I think for him, his mind just worked that way. He never let a problem rest until he found a way through. During his last five years, while we spent time documenting his experiences during the war so we could send them to the National Archives, he told me about the last plane that he piloted. It was a bad mission. The plane was shot up and I attribute their reaching their airbase to dadÕs skill, but he reminded me everyone on the aircraft had a job and had they not done their jobs he could not have done his. Sometimes he even referred to himself as just the bus driver while the rest of the crew worked to keep the plane in the air. On the approach to the airbase, the crew was able to crank the landing gear down but they had lost the brakes. The airbase was on an island, so when you ran out of island you ran out of runway, and the plane went out in the coral. Even then it wasnÕt a total loss, but the commanding officer wouldnÕt tolerate having a plane out in the coral so he ordered it towed back, and when they did, they tore off one of the gas tanks. He told me he would still dream about that crash, wondering if there was something more he could have done. Here he was in his 90s and still occasionally wondering if there was something else he could have done to save the plane.
Ever since I can remember, I had always been his little helper in his workshop, cleaning up, holding tools, etc. My earliest life memory was sitting on top of his workbench when I was about two years old, playing with little pieces of wood while he worked. Men of that generation grew up with tools. My grandfathers both had lathes in their basement. My dad grew up knowing how to work with a wide variety of tools to fix almost anything. When I grew up and took shop class in high school, they had tools, but for the most part they were not teaching young men how to run a lathe or a milling machine or things like that, but my dad had learned it growing up from his dad and I learned from him. I always enjoyed working with him in the shop, but my role was always subordinate, the apprentice. When we began to work on organs, however, I realized we began working together as partners. I was about 18 at the time we started. Also, the organs really became a passion for our family. My mother wrote a lot of letters (this was the 1960s and 70s Ð well before the internet) to research organ companies and also to try and trace people whose names we found in the organs on letters or scraps that had fallen between keys or other parts of the case, or names written inside the organ.

In 1969 I went into the Army and spent 19 months in Vietnam. When I returned, I was stationed in the Army Operations Center at the Pentagon, and connected with a Reserve Military Intelligence Detachment just before discharge. That small unit (four officers and eight enlisted men) was deployed to Germany for a two-week annual reserve training with HQ-USAEUR in 1972. During our off-duty time, I scavenged through antique stores in Heidelberg and found a Symphonion music box with 13 10.-inch discs. That was the beginning of mechanical music for our family. Drawing on our experience with clocks and engineer.ing common-sense, we restored the Symphonion. It was in fair condition to start, so it was a good instrument for learning procedures and the general mechanics of the music box. Our next project, a cylinder machine with six tunes in a beautiful case was a much different situation. We finally concluded that the middle wheel (the gear driving the endless screw of the governor) was worn beyond repair and had to be replaced. That was well beyond our capabilities and we turned to a gear maker for a replacement at a cost close to the price of the instru.ment. That was an expensive lesson that we did not repeat. Some machines we acquired later had broken teeth on the comb or broken tips. Over time, we acquired abrasive discs for cutting and repairing these defects.
We also bought a couple of books; ÒThe Disc Music Box HandbookÓ by Graham Webb and ÒClockwork MusicÓ by Dr. Arthur WJG Ord Hume. We kind of cook-booked our way through the texts. We found that a lot of the restoration can be sorted out with some common sense, but if you read these materials, then you didnÕt have to spend time reinventing the wheel for certain tasks.
For me, I loved everything about restoring the organs and music boxes. There was just something magic about a music box, a notion that in a way a cylinder or disc box is kind of like a time machine. Unlike a record, the music box, if itÕs tuned back to its original tuning and restored to its best condition, you can hear the music exactly the way it was originally created for that instrument using the same metal and wood that was touched and heard by someone else 100 years before.
In the 1970s I found a Celestina roller organ. This hand-cranked instrument had a somewhat sophisticated system of pneumatic relays to operate the pallet valves for the reeds. Our reed organ skills came in handy on a minia.ture scale for that restoration. A more challenging application arose when we were contacted about a project to repair a singing bird unit. The leather on the miniature double-acting pump.ing bellows and the reserve bellows was crumbling and could not hold air. Rather than using new leather or zephyr skin, we experimented with a nylon material called Bilon which was very light and was coated on both sides. This non-traditional solution lasted well and was easy to work.
In his 80s, Herb was offered the bass cabinet of a Seeburg Style S pipe organ orchestra. He studied the unit and decided to build his own console and keyboard to operate the pipes. He also built three more ranks of smaller wooden pipes. In the process he built and tested different types of blowers to obtain the proper pressure and volume of air flow for each rank of pipes and for the pneumatic controls. Finally, he adapted an antique piano player to fit over the keyboard and automate the music.

He could just do that. He under.stood that you had different pressures and volumes and things. I donÕt know that he sat down and calculated it, but he created a pressure gauge so that he could measure what the pressure was and what it took to blow a pipe and what a little blower would do compared to what a larger one would do. Even the last time I was at his shop he was still working on things. He had about six blowers and fan assemblies that he built to accomplish certain things. Some tested fine but others were still not doing what he wanted and he was working on the problem.
He kept a record of everything that he worked on. I still have the book where he listed everything he repaired, including even the smallest or simplest clocks.
At one point he began to experiment with making gears. I had found an original Columbus clock from the Columbian Exposition in Chicago in 1893, and he decided he wanted to make a similar clock. He had a model makerÕs lathe and built a cutter and an indexing arrangement for the head stock. He studied books on gear design and built several models of gears for testing his work. Never satisfied to simply replicate anotherÕs work, he added in some of his own design ideas and one of the results is shown here.
My mother passed away in 2006, but Herbert continued to live in their home until four weeks before he died. He was still able to drive until he went to the hospital. When he was 97, a person remarked to him about what a long trip (3. hours) it was for him to drive himself to visit us in Nashville,
Above right, a test gear stand built by Herbert, and below right, a replica Columbus Clock he built after seeing one and deciding he needed one too.

One of the reed organs that is currently available for free from the collection of Herbert Kurz.
TN. He just gave a blank look and replied, ÒWell, that is not much Ð it took me 15 hours to fly my bomber from Hamilton Field to Oahu!Ó It was the just the kind of person he was.
I was with my father almost contin.uously his last five weeks and as we talked it became clear that our real love for the collection came from working on the repairs and resto.ration. There was a great satisfaction to complete a project, then to have it in our home and enjoy it and the memory of working on it Ð especially when it was a joint project. Of course, we knew that each item had monetary value, but the real value to us was in the enjoyment from the project work. We always thought of ourselves as the temporary custodians during our lifetimes and it was important to us to preserve these parts of our heritage for the future.
Athens, TN, is a town of about 15,000 people and Herbert was somewhat well known there. After he passed away, I contacted everyone he knew asking them if they would like one of his organs. I was quite surprised when a couple neighbors took organs. One of them was the organist who played at the church my dad attended and she had some family members who were also interested in having some instruments. Then, there was a friend of his who had an aviation company at the local airport who took a couple of them. This friend had just bought a rather grand old house out in the country and he thought they would really add to the character of the house. Then the organist at the church my mother attended took a couple, one for himself and one for a school where he taught. The attorney that handled my dadÕs will was also inter.ested. I stumbled into a guy who is a music producer in Nashville, TN, who wound up getting the player piano for himself and an organ for his family in Colorado. He has the player piano in his office and IÕve heard some of the music from the piano on videos he has produced so that was a neat thing.
Twelve organs remain, some in Athens and some in Nashville. The brands include Adler, Story & Clark (piano case), Story & Clark (organ case), Schoninger (set of 30 bells), Mason & Hamlin, Kurz, Loring & Blake (flat top), Estey (childÕs organ), Minschel-Estey (built as an electric organ with electrostatic pickup reeds), Orgatron with pedal ranks (electro.static pickup and separate Wurlitzer speaker cabinet), and Weaver. There is also the small, automated pipe organ built around a Seeburg bass chest for a fotoplayer and three additional wooden pipe ranks. The unit has many 35-key rolls and a piano player to drive the keyboard.
If, after reading my story, you still find yourself interested in adopting one, I would very much like to hear from you. You can reach me by email at George.kurz@comcast.net or phone at 615-714-6120.

A little about me: I am 74 and still practicing part-time as a licensed civil (environmental and hydraulic) engineer. I am a nationally recognized specialist in restoring deteriorated and leaking sanitary sewage collection systems. I have not worked on organs for a while but still restore clocks.
Fortunately, my wife Iva and I are still in good health and can enjoy our lives near Nashville. Sometimes, I wonder to myself if I would have so casually collected the organs I restored Ð if I had really thought it through in my early years Ð and real.ized that it may be a big problem (for

me or my heirs) to handle or dispose of such a collection. In particular, today it seems that most people do not care or value these instruments and sounds of the past. That makes me sad, but I can only hope that some of this heritage may yet be preserved for the future and that there may be a few people in succeeding generations who will enjoy these instruments.
In addition to his flight records, there is a wonderful collection of photos from HerbertÕs various missions in the Pacific. You can find most of his memoirs on his website, www.b-24-thegreenhornet.net

Pride and Prejudice
The True Story of the Origin of the English Portable Barrel Piano
By Robert F. Penna, Ph.D.
ÒWhen the piano man arrives before your door there instantly gathers from the thin air a crowd of children, and when the music begins, off they go, up and down the smooth pavement, dancing to the music,Ó a Washington bureau reporter of the Saint Paul, Minn., Globe wrote in the spring of 1892.1
Yet, an opposite opinion of the joy caused by street pianos was recorded in an edition of The Speaker on May 21, 1892. The author claims, ÒIf West-End residents close their windows and would fain, if they could, close their ears, at the first chirrup that announces the arrival of the street piano.Ó2
Often confused with a barrel organ, the barrel piano (also called a Òroller pianoÓ or Òstreet pianoÓ) is a fore.runner of the modern player piano. Unlike the pneumatic player piano, a barrel piano is usually powered by turning a hand crank and controlled by a pinned cylinder which resembles a biscuit roller. The hammer velocity is constant in a barrel piano; the only operator control is the cranking speed, which determines the music speed.3
Usually carried on oneÕs back, or mounted on wheels, and sometimes placed upon a cart, barrel pianos were popular with street musicians, who sought novel instruments that were highly portable. Basically, a portable player piano, the street version played prefab popular tunes, such as polkas, quadrilles, waltzes and show songs. One important feature of the street piano Òwas its loud tone to be heard above street sounds.Ó4
Yet in England in the second half of the 19th century, the barrel organ was outlawed while the barrel piano was permitted. Why? Both mechanical instruments were very similar. Both used a pinned cylinder to record tunes. Both employed similar mechanisms. Both plied the streets garnering coins. And both were played by turning a crank. Obviously, there were underly.ing reasons for the banishment of one and the acceptance of the other. To get at the truth, we must explore the history of the time.

In 1863, an English Member of Parliament named Thomas Bass led a crusade against street musicians and grinder instruments. Supported by editorials in The Times of England and Punch magazine, the movement led to the establishment of the Act for the Better Regulation of Street Music in the Metropolitan Police District (July 1864) which restricted the play.ing of barrel organs. No mention was made of barrel pianos. Bass and his supportersÕ primary target were the itinerant Italian immigrants and their instruments which were primarily barrel organs. Bass and his supporters believed that the street barrel piano was the invention and product of an English family from Bristol named Hicks. Because they believed the barrel piano to be of English origin, they did not want to eliminate its presence from the streets of London.
It is reasonable to assume that the driving force for this enactment was the prejudice against Italian immi.grants. Convinced that if one took away the barrel organ, which was the primary means of employment for many Italian immigrants, they would be dissuaded from settling in London. It was this bigotry which doomed the barrel organ in the city. In contrast, because of the erroneous belief that the barrel pianoÕs origins came from England, the street piano was allowed to survive and thrive.

Recent research has shown that the street piano was actually first developed in Italy, not in England. In 2009, Antonio Latanza published his findings in Il Piano a Cilindro which provides documentation that the earliest accounts of street pianos derive from an Italian origin. He cites surviving examples of the instrument. One of the earliest is dated to around 1810 and was manufactured by Pietro Volonte of Como, Italy. According to Latanza, Òthe piano is contained in a much simpler and plainer case than the later, so-called Hicks style pianos, but it is demonstrably the same basic design.Ó Other examples that predate HicksÕs work are also cited in Latan.zaÕs book.5
The earliest surviving examples of street barrel pianos manufactured by Hickes of Bristol come from the 1830s. There were three generations of Hicks involved in the building of musical instruments. Peter Hicks, the first generation of instrument builders, died before 1812. His two sons, John and Joseph, were involved in building musical instruments as recorded in Oct. 12, 1812, in the Register Book of Burgesses in Bristol as Òmusical instrument makers.Ó From 1816 through 1831, Joseph HicksÕs name appears in BristolÕs trade directories as Òinstrument maker or organ builder.Ó According to Nicholas Nourse, ÒThe entry remained the same for 15 yearsÑ15 years without the mention of a piano. Joseph Hicks of Bristol was, first and foremost, an organ builder, not the maker – or inventor of the street barrel piano.Ó6
The first evidence of the Hicks familyÕs involvement in piano making comes from 1832 when Joseph Hicks is registered in the MathewÕs Bristol trade directory as a piano maker and tuner. According to the research carried out by Nourse, the earliest date attributable to a Hicks street piano is sometime in the 1830s. Certainly, well before the model manufactured by Volonte in Como in 1810.
Nourse writes that research, Òindi.cates that BristolÕs (and BritainÕs) first portable street pianos were not made

Left and right sides of an unrestored barrel piano, identified only as a cased roller barrel piano in the George Hicks style.
in the early years of the nineteenth century but in the late 1830s and early 1840s.Ó It is most likely that they copied barrel pianos brought to England by Italian immigrants and modified the exterior of the cases with their own artistic style.7
The Hicks family began to leave Bristol in the mid 1840s. Joseph Hicks senior died in 1844. His son George moved to the Clerkenwell district of London (17 Chapel Street) shortly after. A few years later, John Hicks junior was discovered to be working in Clerkenwell where the 1861 British Census lists him as a ÒBarrel Organ & Piano Maker.Ó The question arises as to why members of the Hicks family would leave their prosperous business location in Bristol and resettle in a depressed area in London.
The Clerkenwell district was well known as the major location of Italian immigrant instrument grinders. One source claims that by 1850, nearly 2,000 Italian immigrants had settled in London alone. These Italian immigrant organ grinders lived in the most appalling conditions. Clerkenwell had become a poor run-down neighborhood. Many of the wooden tumble-down buildings had been turned into basic boarding houses, most of which were squalid and unhygienic with no running water. Miserable, damp, overcrowded, rife with disease, infested with rats, the unwary immigrant became a virtual slave to unscrupulous padrones (bosses).8
The answer to why the Hicks family moved seems to be that they wanted to be nearer to their clientele (i.e., Italian immigrants) who would use their products. Nourse writes, ÒThe Hicks familyÕs sudden departure from Bristol seems certain to be related to the senior JosephÕs demise. The importance of Clerkenwell to the itinerant Italian street musician is clear and, from HicksÕs point of view, it was the obvious place to go.Ó Also at that time, several competitors (Taylor and also Distin) began making barrel

Top and back sides of an unrestored barrel piano, identified only as a cased roller barrel piano in the George Hicks style.
pianos in Bristol perhaps shrinking the HicksÕ share of the market.9
The Hicks familyÕs involvement in street barrel pianos did not last long after their departure from Bristol. A few English firms continued to make street instruments but by the end of the century, the trade was Òexclusively carried on in London, entirely in the hands of Italians.Ó10

FOOTNOTES

1.
Weeks, L. ÒStrange Stories Surrounding Street Pianos,Ó NPR History Department, July 8, 2015. https://www.npr.org/sec.tions/npr-history-dept/2015/07/08/420837852/strange-sto.ries-surrounding-street-pianos

2.
Definition of Street Piano, Merriam-Webster. https://www. merriam-webster.com/dictionary/street%20piano

3.
Rhodes, R. ÒPlayer Pianos, Part I: Introduction & Manual-ly-Powered Pianos, Ó Player-Care, http://www.player-care.com/ explains.html

4.
ÒBarrel Piano,Ó Wikipedia. https://en.wikipedia.org/wiki/Bar.rel_piano

5.
Latanza, Antonio. Il Piano a Cilandro, Aracne: Rome, Italy 2009.

6.
Nourse, Nicholas. ÒMusical Migrations: The Origins of the Por.table Street Barrel Organ.Ó The Galpin Society Journal, vol. 67, 2014, page 53.

7.
Nourse. op. cit., page 54

8.
Penna, Robert. ÒJoy and Suffering: The Organ Grinders of London and Manchester,Ó The Music Box, Musical Box Society of Great Britain. Autumn 2020.

9.
Nourse. op. cit., page 56

10.
Nourse. op. cit., page 57

Automated organ plays 639 year concert
By Russell Kasselman

Can an automated organ stay in tune and continuously play for hundreds of years without human interaction? The John Cage As Slow As Possible project in Halberstadt, Germany, aims to find out.
The organ started playing a composition by John Cage on
Sept. 5, 2000, and is projected to finish playing the last note
sometime in the year 2640. The 639-year duration was chosen because the start date for the perfomance was 639 years after the
first church organ was built by Nicolas Faber.
CageÕs score is eight pages long and organists who have played it by hand spent as long as 24 straight hours playing each note as slowly as possible. Cage turned 89 years old on the day the organ played its first note and waited 17 months for the first tone change. Each note plays continuously until the next is sounded. Hundreds of people showed up to hear a note change in 2020.
As collectors of instruments that are often more than 100 years old, we are all well aware that an instrument built more than a century before can be restored and tuned back to its original sound. We can hear the same notes that the makers heard on the day that the disc or cylinder box left its place of manufacture. We can imagine our ancestors gathered in their living room with oil lamps burning as they listened to compositions from Bach or Brahms, marveling at the innovation of having music in their home without a person manipulating the instrument.
The As Slow As Possible project, however, takes the concept of a long-lasting instrument to the next level as many genera.tions will have passed by the time the organ is done playing this one piece of music.
Halberstadt is a town of 43,800 inhabitants (in 2015) in the German state of Saxony-Anhalt, and the capital of the district of Harz. The concert is being performed in St. Burchardi, one of the oldest churches of the city. Built around 1050, it once functioned as a convent. It was partially destroyed in the Thirty YearsÕ War (1618-1648). Rebuilt in 1711, it was used as a barn, hovel, distillery and a sty.
The projectÕs website states:

ÒSome visitors only see a whimsical indoor cemetery with music due to the dated donor plaques installed in the church. Others discover traces of more than 639 years of history on the walls, recognize the graphic notation of the few tones in the sound sculpture and hear a highly difficult and iridescent sound in the room. Some have the feeling of experiencing a piece of eternity. The leisure and gentle serenity with which many listeners absorb the inimitable sounds often has some.thing meditative about it.Ó
According to the projectÕs website, if the church is still stand.ing and the organ still playing on Sept. 4, 2640, when the last on visitors who come to view the organ and listen to the notes. note is projected to finish, the structure will have experienced a
peaceful period in human history longer than any other. ÒIn addition, most visitors are fascinated by the philo-Another section of the projectÕs website discusses the impact sophical-optimistic approach to time and the future. In a

present where many people rush from appointment to appointment until they are exhausted, i.e. there is literally no time, a project is started whose duration roughly corresponds to the total construction time of Cologne Cathedral. Sounds that last for months or years convey a sense of timelessness or that time has stopped. The continuum of time and history seems to have been blown open without any clocks being shot at. With Walter Benjamin, one could speak of a present that is not in transition, but in which time stands still and has come to a standstill.Ó
The next tone change is scheduled to happen Feb. 5, 2024. A chart of all tones and the dates they are anticipated to play is on Page 45.
The organ was built specifically for the
performance. It is in the churchÕs right transept, with the bellows in the left tran.sept powered by an electric wind turbine that was intended for a much larger organ. Acrylic glass encases it to reduce the volume.
The project is supported by a private foundation, which is equipped with minimal capital and is managed purely on a voluntary basis, and it lives primarily from the willingness of Cage enthusiasts, private sponsors and the many visitors to donate.If you wish to visit the church and hear the organ yourself, the address is:

Burchardikirche Am Kloster 1 38820 Halberstadt, Germany
The phone to contact project organizers is: +49(0)3941.621620, or email is info@aslsp.org.
The organizationÕs website is at aslsp.org and it features the current.ly-playing tone.

Impulse Action Notes Date Chord length
1 Begin none Sept. 5, 2001
2 Sound G , B, G445 Feb. 5, 2003 518 d
3 Sound E, E34 Jul. 5, 2004 516 d
4 Release G , B44 Jul. 5, 2005 365 d
5 Sound A, C, F455 Jan. 5, 2006 184 d
6 Release E, E34 May 5, 2006 120 d
7 Sound C, A44 July 5, 2008 792 d
8 Release C4 Nov. 5, 2008 123 d
9 Sound D, E45 Feb. 5, 2009 92 d
10 Release E5 Jul. 5, 2010 515 d
11 Release D, G45 Feb. 5, 2011 215 d
12 Sound C (16Õ), D (16Õ)44 Aug. 5, 2011 181 d
Release A 4
13 Release A, C, F455 Jul. 5, 2012 335 d
14 Sound D , A , E445 Oct. 5, 2013 457 d
15 Sound G , E34 Sept. 5, 2020 2,527 d
16 Release G 3 Feb. 5, 2022 518 d
17 Sound D4 Feb. 5, 2024 730 d
18 Sound A4 Aug. 5, 2026 912 d
19 Release E4 Oct. 5, 2027 426 d
20 Sound G3 Apr. 5, 2028 183 d
21 Release D4 Aug. 5, 2028 122 d
22 Release A4 Mar. 5, 2030 577 d
23 Release D , E45 Sept. 5, 2030 184 d
24 Release G3 May 5, 2033 973 d
25 Sound B3 Dec. 5, 2033 214 d
26 Sound F, D34 Aug. 5, 2034 243 d
27 Release F, D34 Sept. 5, 2034 31 d
28 Release B3 Oct. 5, 2034 30 d
29 Sound D 5 Jun. 5, 2035 243 d
30 Sound A (16Õ)2 Sept. 5, 2037 823 d
Release D 5
31 Sound A , A45 Mar. 5, 2038 181 d
32 Release A 5 Jul. 5, 2038 122 d
33 Release A 4 May 5, 2039 304 d

Impulse Action Notes Date Chord length
34 Sound D, A44 Dec. 5, 2039 214 d
35 Release D, A44 Apr. 5, 2040 122 d
36 Sound D , B33 Jan. 5, 2041 275 d
37 Release D , B33 Mar. 5, 2042 424 d
38 Release A (16Õ)2 Nov. 5, 2043 610 d
39 Sound A, D34 Jul. 5, 2044 243 d
40 Sound E4 Mar. 5, 2045 243 d
Release A 4
41 Sound B, C, A455 Mar. 5, 2046 365 d
42 Release C (16Õ), B, C, A4455 Oct. 5, 2047 579 d
43 Sound C (16Õ)3 Feb. 5, 2049 489 d
44 Sound D , A44 Apr. 5, 2050 424 d
45 Release A, D, E344 Feb. 5, 2051 306 d
46 Release D , A44 Nov. 5, 2051 273 d
47 Sound E , B33 May 5, 2053 547 d
48 Release C (16Õ)3 Nov. 5, 2054 549 d
49 Release E , B33 Jul. 5, 2056 608 d
50 Sound B 4 Aug. 5, 2057 396 d
51 Sound A (16Õ)2 May 5, 2058 273 d
52 Release A (16Õ)2 Nov.r 5, 2059 549 d
53 Sound G , C, D455 Apr. 5, 2060 152 d
54 Release G , C, D455 Jun. 5, 2060 61 d
55 Sound E4 Nov. 5, 2060 153 d
Release B 4
56 Sound B, C, E , C4556 Feb. 5, 2061 92 d
57 Release C, E , C556 Apr. 5, 2061 59 d
58 Sound D4 Sept. 5, 2061 153 d
Release E4
59 Sound A , D , F344 Aug. 5, 2062 334 d
60 Release A , F34 Feb. 5, 2064 549 d
61 Sound A, A34 Jan. 5, 2067 1,065 d
Release D 4
62 Release D4 Jun. 5, 2067 151 d
63 Release A, A24 Jul. 5, 2068 396 d
64 Release D (16Õ)4 Mar. 5, 2071 973 d
65 Release B4 Jul. 5, 2071 122 d

Source: https://en.wikipedia.org/wiki/As_Slow_as_Possible
John Cage in 1988. Source Wikimedia.
Southern California Chapter
Chapter chair: Robin Biggins Reporter: Robin Biggins Photographer: Lowell Boehland
Jun. 18, 2022 Ñ San Diego, CA
It was such a pleasure to revisit the wonderful collection of mechanical music in the beautiful home of Brent Hoag. The completely rebuilt home takes advantage of a stunning view of San Diego, CA, and there are so many interesting items that Brent has collected from around the world it is hard to take it all in.
As usual, the meeting started with a catered lunch prepared by Sonia Johnson and Brent, and then we had a short busi.ness meeting to encourage members to attend the MBSI Annual Meeting in San Francisco, CA.
It was such a delight to have our dear friend Mike Ames attend after a period of health issues and the loss of his wife, Marilyn.
The afternoon was then spent on a grand tour by Brent so we could hear many of his musical boxes and how he acquired them. There were early sectional comb and key-wind boxes up through orchestral formats with bells and organ sections, all with features not normally seen. There was also a stunning collection of Reuge boxes, including an automaton, and a huge box with 15 interchangeable cylinders that was produced to commem.orate the bicentennial of the musical box, and named ÒAntoine Favre.Ó
Because of the travel distance and the
heavy traffic, some members had to leave
early and were not included in the group photo. As usual, Lowell did a wonderful job of photography.

Brent demonstrates a hand carved key-wind box with a clock.

Rita along with Roger De Weese admire a fancy BrŽmond Orchestra box.
ÒPetit OrchestreÓ by BrŽmond with sep.arate organ controls for reeds and flutes. See tune sheet 282, Serial Number 13846 Made in 1872.

A five-note sectional comb with seven teeth at the treble end. Jerome Kaliser and Rita listen to Brent talk about his Mills Violano.

Four combs. First two, sublime-harmo.nie, then mandoline and piccolo. Made by John Manger, Geneva.

Mike Ames entertains our members with tales of history.

Hosts Sonia Johnson and Brent Hoag.

A beautiful Francois Lecoultre ÒMusique ˆ 4 OuverturesÓ cyl.inder music box.

Brent shows a beautiful hand-carved musical box by BrŽmond.

This is the Reuge ÒAntoine FavreÓ musical box. It was made in 1996 as a bicentennial tribute to Antoine Favre who is credited with inventing the musical box. It is one of a limited edition of 99 pieces.

Brent displays an intricately carved multi-ball from China made of elephant ivory, circa 1850, with 18 more carved balls inside.

A partial group photo. Some attendees departed early to beat traffic on their long trips home.

Robin Biggins conducts the chapter business meeting. An excellent lunch was enjoyed by all.

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
Chapter Chair: Ken Gordon Reporters: Donna and Gene Borrelli Photographers: Gene Borrelli, Knowles Little and Richard Hack
May 29, 2022 Ð Potomac, MD
The National Capital Chapter held its 24th Annual Monkey Organ Grind and Music Box Demonstration at the Tavern in the Chesapeake and Ohio Canal National Historic Park in Potomac, MD. Fourteen members attended, many in period dress to showcase their monkey organs, music boxes and other musical treasures. Due to COVID closures and member availability we were not able to confirm the meeting until three weeks before the event. In the end we had a great turnout of members and visitors.
Jack and Mildred Hardman brought their Raffin street organ. Dick Hack brought his Arthur Prinsen organ and set up at the entrance to the tavern.

Ken Gordon tries out the GEM roller organ with Paul Senger. Ginny Little entertains visitors at the kidÕs table.

Knowles Little demonstrates his 15.-inch Regina disc music Paul Senger demonstrates the John Smith organ for a group box for an interested visitor. of young visitors.

Mildred and Jack Hardman play their Raffin organ at the tavern.

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

Travis Hanna, DickÕs grandson, did most of the cranking and had large groups of visitors throughout the day. Paul Senger explained the nuances of his John Smith 20 note Busker organ that he personally built. Visitors got to play the organ and received official organ grinder certificates. Paul also brought along several smaller organs for visitors to play and hear music as it was played 100 years ago. Joe Orens treated visitors to music on his Tanz.bŠr accordion. Ginny and Brian Little manned the kids table with lots of hands-on mechanical music toys and Knowles demonstrated a disc music box. Ken Gordon and Richard Simpson worked at all the tables demonstrating instruments and explaining our hobby. Many of the visitors were given the opportunity to play the organs, and soon realized that it is a lot of work to play a monkey organ.
Pete Peterson, the Supervisory Park Ranger was pleased with the visitor interaction and invited us for next year which would be our 25th.
Thanks to everybody who came Sunday to display our hobby.

Richard Simpson and Gene Borrelli ready to answer questions from the crowd.
In order for anything

A Lasting Legacy
once alive to have meaning, its effect must remain alive in eternity in some way
Ð Ernest Becker, Philosopher

The Musical Box Society International Throughout its history, MBSI has fostered an interest in and preservation of is a 501(c)(3) nonproÞt organization. automatic musical instruments. Your gift to the Endowment Fund will All donations to the Endowment support programs that will help future generations appreciate these Fund are tax deductible. achievements of human creative genius. Visit www.mbsi.org to learn more. A gift of any size is welcome.

Golden Gate Chapter
Chapter Chair: Jonathan Hoyt Reporter: David Corkrum Photographer: Rob Thomas
May 15, 2022 ÑÊMenlo Park, CA
On Sunday, May 15, the Golden Gate Chapter held its second meeting of the year at the home of Judy and Bob Caletti. The chapter was joined by the Founding Chapter of the Auto.matic Musical Instrument CollectorsÕ Association (AMICA). Approximately 25-30 members attended. Our hosts provided a main course of pasta and meatballs with pesto and red sauce. The attendees augmented this with an assortment of salads, side dishes and desserts.
The members were entertained by a large assortment of instruments in the CalettisÕ collection including a Seeburg H located in their bedroom. I once asked Judy how she slept with Bob playing this instrument at all hours. She stated she slept just fine. Other instruments included a Symphonion Eroica disc box, a Cremona K orches.trion, a 15. inch Regina Changer in an art glass case with a clock in the pediment and a Knabe Ampico Grand in an art case.
In BobÕs workshop, he demonstrated the newest addition to his collection of tools; a Wazer waterjet cutting machine capable of cutting metal or any other material using a focused high-velocity water jet containing abrasive particles.
Our good friend, and former MBSI member, John Haskey brought some items for sale from the estate of the late Dr. John Field. John informed us that more items would be available in the future.
Although no business meeting was held, the chairs of the various commit.tees involved with the upcoming annual meeting met to discuss some of the final items that needed to be settled. The committees will meet

Bob Caletti demonstrates his three-disc Eroica music box. Bob Caletti plays a Regina bell chime mechanism he restored.

Lyle Merithew and Bob Caletti listen to a floor-model Mira disc music box. Bob Caletti playing the Seeburg H.

Marc Williams, Jared DiBartolomeo, Fred Deal and Bob Caletti listening to the Knabe Ampico grand.

Fred Deal, Lyle Merithew and Bob Caletti watching the Wazer Water Jet Machine at work.
Jonathan Hoyt with a 27-inch Regina changer.
The Wazer Water Jet Machine with lid open to display the cut.ting block and machinery.
Jonathan Hoyt shows off a cylinder undergoing restoration in the workshop.
again in July to discuss any last-minute items. It was a beautiful day in Menlo Park, CA, and this reporter

A Symphonion Lyra 33a with clock undergoing restoration in felt that everyone had a great time. The annual meeting will the workshop. be just as much fun if not more!

Kim Pontius Ñ 1940Ð2022
By Hope Rider
I sadly report that one of the MidwestÕs
finest piano technicians, Kim Pontius,
passed away Jun. 10, 2022.
KimÕs wife, Ruth, passed away several years earlier. The couple raised three sons in Hartford City, IN. They enjoyed many grandchildren. KimÕs working career was spent at 3M. Ruth was a nurse in the local schools and worked for a local physician.
Kim joined the United States Navy in 1959 and served until 1963, where he earned the Good Conduct Medal and was stationed on the USS Goodrich in the Mediterranean.
Kim tuned pianos and built band organs in his immaculate home workshop. He hand-painted his creations. Also, to his credit, were two JP Seeburg automatic pianos, combined into one fine unit.
Kim had a love for music at an early age and began taking piano and accordion lessons from Beulah Miller, his next door neighbor. He and Ruth would enjoy play.ing in the accordion band here in town. Because of his love of music, he used his
G.I. Bill to acquire an education in piano tuning and repair. He was known to many as the ÒPiano Man.Ó Kim was still tuning and repairing pianos when he could. After tuning someoneÕs piano, he enjoyed sharing his talents with a song or two to complete the job. Through the years, he branched off from tuning and repairing to player piano, reed organ, and band organ rebuilding, taking those items back to their original playing condition. He loved

the challenge of working on just about any kind of musical instrument someone would bring him.
He was an avid railroad enthusiast and enjoyed anything to do with trains. Kim was a member of Blackford Baptist Temple, Blackford County Historical Society, the Carousel Organ Association of America, and a former member of the First Baptist Church in Montpelier.
Kim and Ruth will be missed, not only by their family, but by their many friends in Hartford City and by many automatic music collectors as well.
ÑAdditional information for this article was found at legacy.com/us/ obituaries/hartfordcitynewstimes/name/ kim-pontius-obituary?id=35223663

Our Condolences
MBSI has learned that the following member has passed away:
Aline Kadlec of Springfield, MO, passed away in February 2022.

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.

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

A New Custom Hardwood Music Box
Give a gift that shows your thoughtfulness, a gift that continually renews fond memories of you
$100 Discount with code MBSI at checkout for any Custom Music Box at www.EspeciallyWallaWalla.com

Fine Art & Antique Consignments

The highest level of customer service plus private, professional and confidential transactions.

Bob Caletti

Specializing in Antique Music Box Restorations ¥ Buy ¥ Sell
605 Wallea Dr. Menlo Park, CA 94025 (650) 325-3898
www.musicboxrestorations.com info@musicboxrestorations.com

Add a photo to your ad!
You know the old saying, ÒA photo is worth 1,000 words!Ó For $30 you can add a photo to your ad in the Mart.
A photo makes your ad stand out on the page and quickly draws a readerÕs interest in the item.

Email your advertisement with photo to editor@mbsi.org or call (253) 228-1634.

¥
Large or Small

¥
Cobs or Paper Roll or Disc Player

¥
Playing or Project Pieces

¥
Over 1,000 cobs! Send for list!

Nancy Fratti Music Boxes -PO Box 400 Canastota NY 13032 USA -315-684-9977 musicbox@frontiernet.net

THE MART
CLASSIFIED ADS
¥
47¢ per word

¥
ALL CAPS, italicized and bold words: 60¢ each.

¥
Minimum Charge: $11 per ad.

¥
Limit: One ad in each category

¥
Format: See ads for style

¥
Restrictions: Ads are strictly limited to mechanical musical instruments and related items and services

¥
MBSI memberÕs name must appear in ad

¥
Non-members may advertise at the rates listed plus a 10% surcharge

PLEASE NOTE:
The first two words (or more at your choice) and the memberÕs name will be printed in all caps/bold and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
MBSI Advertising Statement
It is to be hereby understood that the placing of advertisements by members of the Society in this publication does not constitute nor shall be deemed to constitute any endorsement or approval of the busi.ness practices of advertisers. The Musical Box Society International accepts no liability in connection with any business dealings between members and such advertisers.
It is to be further understood that members are to rely on their own investigation and opinion regarding the reputation and integrity of advertisers in conducting such busi.ness dealings with said advertisers.

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
Photos are only $30 extra per issue.
Email editor@mbsi.org or
call (253) 228-1634 for more details.

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
SUBMIT ADS TO:
MBSI Ads
130 Coral Court
Pismo Beach, CA 93449
(253) 228-1634
Email: editor@mbsi.org

Advertise in The Mart
Have spare parts or extra rolls tak.ing up space where you should be installing your next music box? Get the word out by advertising in The Mart, an effective advertising tool at an inexpensive price. Email edi.tor@mbsi.org or call (253) 228-1634

REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110, www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING.
40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE -The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
ALL ADS MUST BE PREPAID
We accept VISA/MC and Paypal.
ADVERTISING DEADLINES:
The 1st day of each even month: Feb., Apr., Jun, Aug., Oct. and Dec.
Display ads may be submitted camera-ready, as PDF files, or with text and instructions. File submission guidelines available on request.
Errors attributable to Mechanical Music, and of a significant nature, will be corrected in the following issue without charge, upon notification.
Display Advertisers
3………. Renaissance Antiques 58…….. MBSGB 58…….. American Treasure Tour 59…….. Porter Music Box Company 60…….. EspeciallyWallaWalla.com 60…….. Reeder Pianos 60…….. Cottone Auctions 60…….. Music Box Restorations 61…….. Nancy Fratti Music Boxes 67…….. Marty Persky Music Boxes 68…….. Auction Team Breker

Advertise in The Mart

Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors in The Mart, an effec.tive advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. Or, go to www.mbsi.org and place your ad online!
Name Phone Email Text of ad
ORDER EXTRA COPIES
The 2020-2021 Directory of Members, Museums and Dealers is only $10 for members. (International shipping is extra)
Call MBSI Administrator Jacque Beeman at
(417) 886-8839 or send a check to: Musical Box Society International P.O. Box 10196 Springfield, MO 65808-0196

Add a photo to your ad!

A photo makes your ad stand out on the page and quickly draws a readerÕs interest in the item. Email your advertisement with photo to editor@mbsi.org or call (253) 228-1634 for more details. Place your ad online at www.mbsi.org
OFFICERS, TRUSTEES & COMMITTEES of the MUSICAL BOX SOCIETY INTERNATIONAL¨

OFFICERS COMMITTEES Membership Committee Nominating Committee
Chair, TBD Dan Wilson, Chair
President Audit

David Corkrum, President Tom Kuehn, Immediate Past Pres.
David Corkrum Edward Cooley, Chair, Trustee Richard Dutton, Trustee Bob Caletti, Golden Gate, Trustee 5826 Roberts Avenue Dave Calendine, Trustee Mary Ellen Myers, Trustee, Mary Ellen Myers, Trustee, Oakland, CA 94605 Matt Jaro, Vice President Southeast Southeast
musikwerke@att.net

Endowment Committee Robin Biggins, Southern California Jonathan Hoyt, Golden Gate Edward Kozak, Treasurer, Chair Judy Caletti, Golden Gate Robin Biggins, Southern California Vice President Edward Cooley, Trustee Gary Goldsmith, Snowbelt Aaron Muller, Lake Michigan Matthew Jaro Dave Calendine, Trustee Julie Morlock, Southeast
Publications Committee

24219 Clematis Dr B Bronson Rob Pollock, Mid-America Bob Caletti, Chair, Trustee Gaithersburg, MD 20882 Wayne Wolf Florie Hirsch, National Capital Richard Dutton, Trustee mjaro@verizon.net Dan Wilson, Piedmont
Executive Committee Steve Boehck
Gerald Yorioka, Northwest IntÕl
David Corkrum, Chair, President Christian Eric
Recording Secretary TBD, East Coast
Matthew Jaro, Vice President Kathleen Eric
Linda Birkitt TBD, Lake Michigan
Tom Kuehn, Immediate Past Pres.
PO Box 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
Oct. 4, 2022 Zoom tour of Jim KrachtÕs collection music boxes Online Southeast Chapter
Nov. 11-13, 2022 Joint Southeast Chapter and COAA meeting Dahlonega, GA Craig Darlak
Aug 29-Sept 3, 2023 MBSI Annual Meeting St. Paul, MN Snowbelt Chapter

Send in your information by Oct. 1, 2022, for the November/December 2022 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 $10 to Gary Goldsmith 17160 – 245th Avenue Big Lake, MN 55309
Southeast

Chair: Wayne Myers (407) 333-9095 Dues $5 to Bob Yates 1973 Crestview Way Unit 147 Naples, FL 34119
Museum Donations Sally Craig 2720 Old Orchard Road Lancaster, PA 17601 Phone (717) 295-9188 rosebud441@juno.com
MBSI website Rick Swaney 4302 209th Avenue NE Sammamish, WA 98074 Phone (425) 836-3586 r_swaney@msn.com
Web Secretary Knowles Little 9109 Scott Dr. Rockville, MD 20850 Phone (301) 762-6253 kglittle@verizon.net
CHAPTERS
East Coast
Chair: Elise Low (203) 457-9888 Dues $5 to Roger Wiegand 281 Concord Road Wayland, MA 01778 or pay via PayPal, send to treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Jonathan Hoyt jenjenhoyt@yahoo.com Dues $5 to Dave Corkrum 5826 Roberts Ave. Oakland, CA 94605
Japan
Chair: Naoki Shibata 81-72986-1169 naotabibito396amb@salsa.ocn.ne.jp Treasurer: Makiko Watanabe makikomakiko62@yahoo.co.jp
Lake Michigan
Chair: 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: Ray Dickey (713) 467-0349 Dues $10 to Diane Caudill 4585 Felder Road Washington, TX 77880

Copyright 2022 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X

MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments

DISPLAY ADVERTISING DIMENSIONS & PER ISSUE COSTS
Dimensions 1 issue 2-3 issues 4-6 issues
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $247
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43
Non-members pay a 10% surcharge on the above rates
Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount

QUARTER PAGE 3.5Ó x 4.5Ó EIGHTH PAGE 3.5Ó x 2.125Ó

HALF PAGE HORIZONTAL 7.25Ó x 4.5Ó

CLASSIFIED ADS

¥ 47¢ per word
¥
ALL CAPS, italicized and bold words: 60¢ each.

¥
Minimum Charge: $11.

¥
Limit: One ad in each category

Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 63, No. 1 January/February 2017

¥
Format: See ads for style

¥
Restrictions: Ads are strictly limited to mechanical musi.cal instruments and related items and services

PRODUCTION SCHEDULE

ISSUE NAME ADS DUE DELIVERED ON
January/February December 1 January 1
March/April February 1 March 1
May/June April 1 May 1
July/August June 1 July 1
September/October August 1 September 1
November/December October 1 November 1

CIRCULATION
PRINTING & ARTWORK SPECIFICATIONS
Mechanical Music is mailed to more than 1,500 members of the Musical Mechanical Music is printed on 70 lb gloss Email files to: Box Society International six (6) times paper, with a 100 lb gloss cover, sad-mbsi@irondogmedia.com per year. dle-stitched. Trim size is 8.25Ó x 10.75Ó. USPS or Fed Ex to: Artwork is accepted in the following for-Iron Dog Media, LLC
ALL ADS MUST

mats: PDF, PSD, AI, EPS, TIF. All images 130 Coral Court
BE PREPAID

and colors should be CMYK or Grayscale Pismo Beach, CA 93449
The Musical Box Society International
and all fonts should be embedded or
accepts VISA, Mastercard and online

converted to outlines. Images should be a
payments via PayPal.
minimum of 300 dpi resolution.

Contact MBSI Publisher Russell Kasselman at (253) 228-1634 or editor@mbsi.org
The Spectacular Mechanical Music Collection of Carol Veome & the late Larry Dupon

Polyphon Regina Style 35 Regina Upright Seeburg G Steinway OR 6Õ6Ó Art Case 24Ó Mikado Clock & Art Glass Style 67 Rookwood Orchestrion Reeder/Leedy Restoration

3 Disc Eroica Regina 20 .Ó Drum Table Rococo 26Ó Stella Empress 18 .Ó

B. A. Bremond Orchestra Box Nicole Freres Desk 206 Teeth Paillard Sublime Harmony Piccolo 42 Airs on 7 Cylinders 20 Overtures & 8 Airs on 7 Cyls. 36 Airs on 6 Cylinders
Call Marty Persky 847-675-6144 or email Marty@Mechmusic.com for further information on these and other fine instruments.
ÒKlingsorÓ resonance gramophone, Krebs & Klenk, Hanau, c. 1910 Estimate: 4.500 Ð 5.000 ÷ / 4,550 Ð 5,060 US$
2-Inch scale working model of a Burrell traction engine Estimate: 4.000 Ð 5.000 ÷ / 4,045 Ð 5,060 US$
Mechanical picture of a feline dancing lesson, c. 1890 Estimate: 600 Ð 800 ÷ / 605 Ð 810 US$ Musical manivelle carousel automaton, c. 1890 Estimate: 600 Ð 800 ÷ / 605 Ð 810 US$
WorldÕs Leading Specialist Auction:

ÈMechanical MusicÇ ÈFairground AttractionsÇ
16 + 17 September 2022 5 November 2022

Walking elephant automaton by Gaston Decamps, c. 1930, Estimate: 600 Ð 800 ÷ / 605 Ð 810 US$
Left-handed barrel organ by Wilhelm Bruder Sne, c. 1920 Estimate: 3.000 Ð 4.000 ÷ / 3,035 Ð 4,045 US$

Reginaphone Model 113 E.M.G. Mark Xa gramophone and Table Grand gramophone, c. 1930 musical box, c. 1910 Estimate: 4.000 Ð 6.000 ÷ /Estimate: 4.500 Ð 6.000 ÷ / 4,045 Ð 6,070 US$ 4,555 Ð 6,070 US$
Interchangeable harpe-piccolo musical box, Franois Conchon, c. 1880
Globus strength tester, Jentzsch & Meers, Leipzig, c. 1930 Estimate: 7.000 Ð 9.000 ÷ / 7,085 Ð 9,110 US$
Estimate: 500 Ð 700 ÷ / 505 Ð 710 US$

Visible bells musical box by Nicole Frres, c. 1885 Estimate: 2.500 Ð 3.500 ÷ / 2,530 Ð 3,540 US$

Orpheus mechanical piano,
Symphonion Style 130 disc musical box with bells,
Musikwerke Ludwig & Co., Leipzig, c. 1900
Symphonion Musikwerke, Lepzig, c. 1900
Estimate: 2.000 Ð 3.000 ÷ / 2,020 Ð 3,035 US$
Estimate: 7.000 Ð 8.000 ÷ / 7,080 Ð 8,100 US$
Éand many more!

For more information and large colour photographs of some more of the upcoming Highlights please visit our website at: www.Breker.com / New Highlights and youtube.com/auctionteambreker Fully-illustrated bilingual (Engl.-German) COLOUR Catalogue available against prepayment only:
Euro 28.Ð (Europe) or elsewhere Euro 39.Ð (approx. US$ 45.Ð / Overseas)
. Consignments are welcome at any time!
Edison ÒFiresideÓ Phonograph Model A on table, c. 1905 English Mutoscope with reel, c. 1930 Estimate: 1.300 Ð 1.800 ÷ / Estimate: 2.000 Ð 3.000 ÷ / Ð The Specialists in ÈTechnical AntiquesÇ Ð 1,315 Ð 1,820 US$ 2,020 Ð 3,035 US$ P. O. Box 50 11 19, 50971 Koeln/Germany á Tel.: +49 / 2236 / 38 43 40 á Fax: +49 / 2236 / 38 43 430 Otto-Hahn-Str. 10, 50997 Koeln (Godorf)/Germany e-mail: Auction@Breker.com á www.breker.com á Business Hours: Tue Ð Fri 9 am Ð 5 pm
PLEASE FEEL FREE TO CONTACT OUR INTERNATIONAL REPRESENTATIVES: Japan: Murakami Taizou, Tel./Fax (06) 68 45 86 28 * murakami@ops.dti.ne.jp á China: Jiang Feng, Tel. 138 620 620 75 * jiangfengde@gmail.com Hong Kong, Taiwan, Singapore: Alex Shih-Chieh Lin, (HK), Tel. (+852) 94 90 41 13 * alexsclin@gmail.com England: Tel. +49 (0) 176 991 40593 * AuctionTeamBrekerUK@outlook.de á France: Pierre J. Bickart, Tel. (01) 43 33 86 71 * AuctionTeamKoln@aol.com Russia: Maksim Suravegin, Tel. +7 903 558 02 50 * Maksim-ATB.ru@gmx.net U.S.A.: Andrew Truman, Tel. (207) 485 8343 * AndrewAuctionTeamBreker@gmail.com