Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 65, No. 3 May/June 2019
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Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 65, No. 3 May/June 2019
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 The article will not be published with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 Directory
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 2019. The Musical Box Society International,
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 Museum Committee
Report
9 Nominating Committee
Report
54 In Memoriam
Features
12 Nickel Notes
by Matt Jaro
23 Replacing a missing
winding handle
28 The Electric banjos
CHAPTER
REPORTS
40 Southeast
43 Sunbelt
45 Golden Gate
48 Southern California
51 Southern California
On the Cover
A small portion of Chuck LevyÕs
collection of automata, recently
demonstrated at a Southern Califor-
nia Chapter meeting. Page 48.
Raffin Organ Repair
Charles Hildebrant walks us
through his repair of a Raffin Organ
take up roll. Page 18.
MBSI has replanted 55 trees so far as part
of the Print ReLeaf program.
May/June 2019 MECHANICAL MUSIC 3
The World of Mechanical Music The World of Mechanical Music
Copy this page, and give it to a potential new member. Spread the word about MBSI.
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fascinating hobby! It combines all the appeals of
art, history, craftsmanship, and music all into one.
Automatic music doesnÕt just sit there; it is ever
willing to perform for those who care to hear it. Play an
automatic music machine in a room full of people and all
else will stop as the machine enraptures the audience with
the sparkling melodies of yesteryear!
A ÒMusic BoxÓ is any sort of automatic music instrument
that plays music via the plucking of teeth on a tuned steel
comb through various mechanisms; musical automata;
orchestrions; player and reproducing pianos and organs;
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.
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Join online: www.mbsi.org/join-mbsi
Member Benefits
Six magazines annually Ñ Mechanical Music plus the
Directory of Members, Museums, and Dealers (published
every two years). Membership also entitles you to participate
in the Annual Meeting and to join regional chapters.
New members receive a welcome letter, a Goods & Supplies
Order Form, Directory of Members, Museums, and
Dealers, and a list of the regional chapters.
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 the scholarly journal, Mechanical
Music, which also contains advertising space for members
who wish to buy, sell, and restore mechanical musical
instruments and related items; the Directory of Members,
Museums, and Dealers.
The only requirements for membership are an interest in
automatic music machines and the desire to share information
about them. And youÕll take pride in knowing you
are contributing to the preservation of these marvelous
examples of bygone craftsmanship.
More Information:
Phone/Fax: (417) 886-8839
Email: jbeeman.mbsi@att.net
4 MECHANICAL MUSIC May/June 2019
By Clay Witt
MBSI President
Your trustees and I have just completed
the third of the four MBSI
board meetings that I will have had
the honor to preside over during my
two-year term as your president. It
was a productive meeting, held in
Naples, FL, in conjunction with a
Southeast Chapter meeting. We try
to hold meetings in conjunction with
chapter meetings so that our trustees
get to know our members and find out
about all the exciting things going on
in different chapters. Our hosts were
gracious and made the time enjoyable.
As you will see from the meeting
minutes that will be published in the
next edition of Mechanical Music,
there was one particularly troubling
issue to deal with concerning our
Japanese International Chapter.
Some individuals managed to put
themselves into leadership positions
in JIC in violation of chapter and MBSI
bylaws and improperly use MBSIÕs
name and logo and chapter resources
to steer JIC members into a breakaway
group, which they control, leaving JIC
effectively rudderless. Some difficult
steps have become necessary to
accomplish it, but your trustees and I
wish to assure our members in Japan
who are loyal to MBSI and honor the
long history of the JIC that we honor
them and will be working to get a
newly constituted JIC back on track
so that our strong association may
continue in a new form. We will keep
you posted as things move forward.
The rest of this message will be
a bit of a potpourri. In my message
in the January/February edition of
Mechanical Music (Vol. 66, No. 1) this
year, I mentioned books called ÒThe
Directory of Classical ThemesÓ and
ÒThe Directory of Tunes and Musical
Themes,Ó both by Denys Parsons, that
are helpful resources when attempting
to identify music box tunes
where a tune sheet is missing. MBSI
member Niko Wiegman has newly
called my attention to the website
musipedia.org. The site describes
itself as being Ò[i]nspired by, but not
affiliated with Wikipedia, . . . building a
searchable, editable, and expandable
collection of tunes, melodies, and
musical themes.Ó ÒMusipedia uses the
ÔMelodyhoundÕ melody search engine.
You can find and identify a tune even
if the melody is all you know. You can
play it on a piano keyboard, whistle it
to the computer, simply tap the rhythm
on the computer keyboard or use the
Parsons code.Ó If youÕve looked at the
Parsons books you will be familiar
with Òthe Parsons code,Ó and if you
havenÕt, Musipedia explains it. This is
a handy site you may want to add to
your favorites in your web browser.
In the Òeverything old is new againÓ
department I recently ran across
information about a new wrist watch
that features an exposed sur plateau
music box movement mounted on
its dial, the Ulysse Nardin ÒStranger.Ó
One variant plays ÒStrangers in the
NightÓ (thus the model name) and
another plays a familiar tune from
VivaldiÕs ÒFour Seasons.Ó You can find
videos about them from the maker by
Googling Òmusic box watch.Ó These
were issued in limited editions of 99
that are likely already sold out and are
wildly beyond my personal budget,
but they are interesting to see and
hear nonetheless.
Finally, in the interest of transparency,
I report recent decisions by
our Executive Committee here. As
you may know, MBSIÕs board voted
at its fall 2018 meeting to discontinue
the by-invitation-only PresidentÕs
Reception at the annual meeting and
replace it with a welcoming event
for all attending the conference. The
welcoming event will be held on the
first night of the meeting. The 2019
budget had allocated $2,500 for the
PresidentÕs Reception. The committee
voted in February to make those
funds available to our 2019 annual
meeting team to help defray the cost
of an opening night welcoming buffet
dinner. We thought this fair on a onetime
basis as the change came while
our National Capital Chapter was
already deep into planning the 2019
annual meeting.
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
MBSI MEMBERSHIP DRIVE
EACH ONE/REACH ONE NEW MEMBER
MBSI is always interested in increasing its membership and is pleased to offer new members a $15
discount off their rst year’s membership. You are considered a new member if you have not been a
member in the past three years. This discount is also available on our website, www.mbsi.org.
Current MBSI members who sponsor a new member will receive a $5 discount off their next year’s
MBSI membership renewal for each sponsorship. Attach a copy of the discount voucher below to a
copy of the membership application form on Page 4 of this issue of Mechanical Music. Place your
name as ÒsponsorÓ on the application form.
Please make copies of these forms as needed and send the completed forms with checks to the MBSI
administrator at the address listed below.
.
.
..
¨.
(INTERNATIONAL)
ORGANIZED IN 1949
DEVOTED TO ALL MECHANICAL MUSICAL INSTRUMENTS
.
.
..
¨.
(INTERNATIONAL)
ORGANIZED IN 1949
DEVOTED TO ALL MECHANICAL MUSICAL INSTRUMENTS
Musical Box Society International
P.O. Box 10196
Springeld, MO 65808-0196
Phone/Fax: (417) 886-8839
Musical Box Society International
P.O. Box 10196
Springeld, MO 65808-0196
Phone/Fax: (417) 886-8839
Dues Voucher Ð$15
New U.S. members may join MBSI for one year at $45 (instead
of $60); Canadians $55 (instead of $70; and, other International
members at $60 (instead of $75). This certicate must accom-
pany payment and a copy of the completed membership
application from page 4 of this issue of Mechanical Music.
New Member Name(s):
Expires: 01/01/2020
Authorized by MBSI Administrator
NEW MEMBER
GIFT CERTIFICATE
New members are those who have never been members of MBSI
or those who have not been members for three years prior to
submission of this voucher.
New members are those who have never
been members of MBSI or those who have
not been members for three years prior to
submission of this certicate.
Gift Membership Name
Address, City, State, ZIP
Phone Email
Sponsor
SPECIAL OFFER: Purchase one or more rst-year MBSI gift
memberships at $45 each U.S., $55 Canadian, or $60 other International
and you will receive $5 off your next year’s MBSI membership
renewal for each “New Member” gift.
Please mail this form together with your check made payable to ÒMBSIÓ to the MBSI Administrator at the address listed
above. Memberships are $45 for U.S. residents, $55 for Canadian residents, and $60 for other International residents.
EditorÕs Notes EditorÕs Notes
By Russell Kasselman
MBSI Editor/Publisher
Welcome to another fantastic issue
of Mechanical Music. The following
pages are chock full of a wide variety
of content IÕm quite sure you wonÕt
want to miss.
Starting from the back, we have two
chapter reports from the Southern
California Chapter, one from the
Golden Gate Chapter, another from
the Sunbelt Chapter and one from the
Southeast Chapter as well. Wonderful
photos of your fellow MBSI members
and some fabulous collections are
included with each report, so say a
big thank you to the reporters and
photographers who captured the
moments and let us share in the joy of
gatherings like these.
Master restorer and frequent contributor
Robin Biggins is back again
with a bit of show and tell focused on
a Òsur plateauÓ box he was fortunate
to work on recently. The intricacy of
the movement and case carving is
certainly fascinating to see.
Our recurring feature called ÒThe
HuntÓ is written by Al Zamba who
shares the story of a cylinder box in
his collection that has a trail of ownership
documented right back to the
original purchaser. Pretty neat, if you
ask me.
Wayne Finger brings us a different
kind of historical perspective with
an article on electric banjo players.
He reveals some interesting notes on
the early development of the stringed
music machines that might just leave
you wondering what could have been
if events had just shifted ever so
slightly in different direction.
Restorer Bill Wineburgh then shows
us how he crafted a new brass winding
handle to replace one that went
missing on a BrŽmond cylinder box.
His step-by-step instructions make it
seem so easy, you might just forget
what a master craftsman he is (that
is until you try it yourself and realize
that, yep, things like this are best left
to the experts.)
Charles Hildebrant takes on a different
sort of repair adventure when his
wifeÕs Raffin Organ develops a problem
with the take-up roll mechanism.
Trial and error, plus some good advice
from the manufacturers of a tough
epoxy help to get the organ back into
playing shape again.
Rounding out the features for this
issue is a tour through Don TeachÕs
collection in Louisiana conducted
by Matt Jaro in his regular Nickel
Notes column. The sheer number of
machines that have passed through
DonÕs hands is almost unbelievable
and the story of his mechanical music
journey is quite the interesting tale.
In the front of the book, we have
some society news to cover with Sally
Craig providing information about the
Museum CommitteeÕs activities. In
addition, the Nominating Committee
has put forth its slate of candidates
to become officers and trustees for
the society. Each nominee has a brief
statement to help you get to know
them before you vote at the 2019 MBSI
Annual Meeting in Rockville, MD.
Speaking of the annual meeting…
DonÕt forget to fill out your registration
packet (included with this issue) and
turn it in so you donÕt miss a minute of
what is sure to be a fantastic gathering
featuring great tours and amazing
collections of mechanical music.
Lastly, a note for those of you who
may know Barry Johnson, long-time
MBSI member, Golden Gate Chapter
member and disc maker. Barry is
recovering from a fall and would
appreciate any cards that anyone
wants to send him.
Please send to his home address:
1305 Hoover St., Menlo Park, CA
94025.
Welcome new members!
February 2019
Paul Simon
Hamilton, Ontario
Martin Zhu
Lorton, VA
Michael & Jessie Gunderson
Pleasanton, CA
Sponsor: David Corkrum
James Kutzner
Annandale, MN
Sponsor: Mike Merrick
Frank Corder
Pascagoula, MS
Sponsor: Kelly Teel
Bruce Janu Sam & Cynthia Rupe
Cary, IL Helotes, TX
Sponsor: Aaron Muller Joe & Suzzanne Kozma
Rich McClure Hemet, CA
Auburn, CA Sponsor: Don Caine
Kenneth Koontz
March 2019 West Hollywood, CA
Sponsor: Don CaineKenneth & Betty Lundgren
Pat StubbsBloomingdale, IL
Seal Beach, CASharon Luster
Sponsor: Robin BigginsDayton, OH
Louis SmithWilliam Rhodes & James Jabile
Sterling, ILNew York, NY
Sponsor: Stephen Burrell Sponsor: Don Caine
Kyle RodeNicole Flam
Lake Zurich, ILWaite Park, MN
Sponsor: Nancy Van Broekhoven
May/June 2019 MECHANICAL MUSIC 7
Museum Committee Report Museum Committee Report
By Sally Craig
Museum Committee Chair
As of this date no new donations or
acquisitions of musical instruments
have been recorded since last yearÕs
annual meeting. All existing items are
entered to inventory and updated information
was sent to Russell Kasselman
for inclusion in the asset database,
which is available to members via the
MBSI website. All instruments and
ephemera are still in the same locations
as noted in the database.
One year ago, the MBSI president
and I met with Musical Instrument
Museum (MIM) and renegotiated a
contract loan of our instruments presently
there. This contract will need to
be revisited again in March 2020.
One member of our committee,
John Bryant, has resigned for health
reasons. This committee has received
good guidance and information from
him, and many thanks are sent for all
of his help. As of this report, I will be
requesting a new Museum Committee
member to join from any MBSI chapter.
There is no need for the new member
to be in the area of the museum, but
a willingness to help with suggestions
and decisions is needed to move the
Museum Committee forward.
Emery Prior provided the report
below with information about the
Ohio operation.
A disc inventory was prepared for
Polyphon musical box model 44-D
on exhibit at the Case-Barlow Farm
House, Hudson, OH. The discs currently
being stored with the music box
include:
¥ LoveÕs Dream After the Ball
¥ HohenFriedberg
¥ Tara ra Bommdefra
¥ Halmka
¥ Can Nacht Canagua Noel
¥ Ann eanket alle
¥ Bayrischer
¥ Berliner Luft
¥ Nohae ???
¥ Sobra Las Olas
¥ Wenn ein Herz da hast gef undon
¥ DasLleil
¥ Srherbelberg Waltzer
¥ After the Ball
Please note: some disc descriptions
may have errors due to illegibility.
We also inspected the Polyphon
music box and determined it to be
in good running condition and well
cared for.
Barbara Warner demonstrated the MBSI Polyphon music box at a tea party con-
ducted at the Case Barlow Farm in Ohio.
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
8 MECHANICAL MUSIC May/June 2019
Nominating Committee Report Nominating Committee Report
Trustee Bio – Matt Jaro
first encountered mechanical
music when I was about 8 years old. I
grew up in Southern California where
I would visit KnottÕs Berry Farm and
later Disneyland. These parks had
an assortment of nickelodeons and
orchestrions. I was totally fascinated
with both the machines and the music,
which was like the music in cartoons
and Laurel and Hardy movies. I bought
all the recordings of nickelodeons
available. I especially liked the record
ÒQuarterlodeons,Ó which featured the
collection of Jim Hamilton. I never
realized that you could actually BUY
the machines, nor did I know about
organizations like MBSI.
I earned a degree in mathematics
from California State University at Los
Angeles and married my wife, Benita
(Beni). Beni and I moved to the Washington,
D.C., area when I got hired by
the U.S. Bureau of the Census. I later
earned a masterÕs degree from George
Washington University in computer
science. In 1989 I started a software
business, which I sold in 2002 so that I
could retire. We still live in the Washington,
D.C., area today.
My first nickelodeon was a Nelson-
Wiggen 4X machine I bought in
1992, right after I learned people actually
collected them. It was also in 1992
that I discovered MBSI. I went to the
annual meeting at Tysons Corner, VA,
and was in heaven talking to various
members. IÕve been a member of this
organization ever since. In November
2009, I started writing a column for
the Automatic Musical Instrument
CollectorsÕ Association (AMICA). IÕve
continued the column ever since and
am now submitting those columns
with updated information to be published
in the MBSI journal (Mechanical
Music). I was able to meet many people
through this writing activity. IÕve
even received literary awards from
both AMICA and MBSI.
I am currently serving as chair of
the National Capital Chapter and IÕm
chairing of the 2019 MBSI Annual
Meeting (the 70th), to be held in Rockville,
MD. I am also a member of the
Meetings Committee.
Since obtaining my original Nelson-
Wiggen machine, I have acquired
a Wurlitzer 153 Band Organ, a Seeburg
K nickelodeon with xylophone, a
Seeburg K nickelodeon with pipes, a
Western Electric Mascot, a Seeburg G
orchestrion, a Seeburg H orchestrion
and a Chickering Ampico piano. Dick
Hack and I have implemented a MIDI
system for the Seeburg H and IÕve
been building up a large number of
files with Glenn Thomas so that we
can play a large variety of music.
One of my other hobbies is record
collecting (both classical and the
music from the 1920s). Since the
records are getting harder to find, I
play them on modern equipment to
minimize wear and maximize sound
quality. I built a 35mm and 16mm film
theater in our house and now Beni and
I also have a fairly large film collection.
For the last few years, IÕve been
taking serious classical piano lessons.
In my time collecting, IÕve gathered
quite a large number of rolls for my
machines. For example, I have close
to 1,900 style A rolls.
MBSI has been very important in
my life, and I believe the organization
is critical for keeping the music
and instruments alive for future
The Nominating Committee
has submitted its slate of officers
and trustees to be approved for
confirmation at the 2019 MBSI
annual meeting. As outlined in the
bylaws under Article SVI, Section
4, a brief biography and photograph
of each qualified candidate
shall be published in the journal
at least 90 days prior to the annual
meeting at which the election will
occur.
The following is excerpted from
the minutes of the mid-year trustees
meeting which will appear in
the July/August issue of Mechanical
Music.
Slate of Officers:
¥ President: Tom Kuehn to
serve a two-year term.
¥ Vice President: David
Corkrum to serve his first
one-year term.
Trustees:
¥ David Corkrum to serve his
first four-year term.
¥ Matt Jaro to serve his first
four-year term.
¥ Robert Caletti to serve his
first four-year term.
¥ Treasurer: Ed Kozak to serve
another one-year term.
¥ Recording Secretary:
Linda Birkitt to serve her first
one-year term.
All nominees have confirmed
that they are willing to accept
these positions.
generations. I have made many close
friends in MBSI, and I feel that it is
important to give something back to
the organization. It is indeed an honor
to be nominated for the position of
trustee.
May/June 2019 MECHANICAL MUSIC 9
Nominating Committee Report Nominating Committee Report
Trustee Bio – Bob Caletti
It all started when I got interested
in my grandfatherÕs Peerless Nickelodeon
that came out of a bar he
bought in 1913. He owned the bar
from 1913 until prohibition in 1919
and then he converted the bar into to a
soda fountain. At that point he moved
the piano upstairs where they lived
and my father and his sister leaned
how to play the piano on that Peerless.
When my grandfather moved to
Menlo Park, CA, he took the piano
with him. At that point, it didnÕt work
anymore, but I was fascinated by it
anyway. My father brought our family
to SutroÕs in San Francisco, CA, to
see all of the wonderful mechanical
music machines they had, and low
and behold, they had a Peerless Style
D just like ours. After hearing it play, I
knew I wanted to get my grandfatherÕs
Peerless to play again. Some of the
parts from the roll playing mechanism
that was mounted on the back of the Bob Caletti in his workshop.
piano had been thrown away because
they prevented the piano from going about Ray Sou. Ray had lots of A them, first for myself, and then for
up against the wall. I wanted to find rolls and convinced me to convert the others. I also started collecting pianos
out what those parts looked like so Peerless to play A rolls by installing a and orchestrions as well. The rest is
we could make replicas. We made roll frame in the rear where the other history.
another trip to SutroÕs to take a pic-mechanism was. When it was done I I am now very involved with MBSI.
ture of the roll playing mechanism was able to hear the piano play again. Judy and I chaired the 2000 MBSI
they had and were able to make the A couple of years later our family Annual Meeting in San Jose, CA, and
parts that were missing from the went to Columbia, CA, to teach our we helped a lot on the 2012 MBSI
pictures. At that point I attempted to kids a little bit about California his-Annual Meeting in Redwood City, CA.
rebuild the playing pneumatics. When tory. We went to an old gold country I have served as Publication Commit-
I got it all back together, I discovered town and visited a general store there. tee Chair for about the last five years
that the original rolls were damaged It turned out that they had two Polyand
have been attending the national
on the edges and they wouldnÕt track phon music boxes. My wife, Judy, and MBSI meetings regularly in addition
properly. At that point I gave up on I had never seen music boxes like that to sitting in on several mid-term meet-
it. About 20 years later, however, I before and we fell in love with them. ings. I have a bachelorÕs and masterÕs
discovered the Musical Box Society We especially liked the 195/8-inch degree in mechanical engineering
International and from there was able upright Polyphon and bought it. Now and I love anything mechanical. I am
to find help in getting the pneumatics I was hooked on the hobby and started also a hands-on person and who loves
restored. In the process, I also heard collecting music boxes and restoring machining and woodworking.
10 MECHANICAL MUSIC May/June 2019
Nominating Committee Report Nominating Committee Report
Trustee Bio – David Corkrum
My name is David W. Corkrum and
IÕve been nominated to be a trustee
and also vice president of the Musical
Box Society International. Many of
you may already know me, as I have
served as the recording secretary for
the society for the past 14 years.
I joined MBSI in 1976 after purchasing
my first music box, a 14.-inch
Symphonion, which I found in an
antique store in Oklahoma City, OK.
Since joining, I have attended every
annual meeting since 1978 except
for one held in Indianapolis, IN,
and the second meeting ever held in
the United Kingdom. In 2004, while
attending a mid-year trustees meeting,
then president Ralph Schack approved
of the many suggestions I had for
membership and appointed me to be
Membership Committee chair along
with Nick LeRescu. I served in that
capacity until Carla Weimer became
president. It was then that I took over
the position of recording secretary.
I had planned to step down after
the 2020 annual meeting, but current
MBSI Vice President Tom Kuehn, who
will soon become president, asked if
I would be his vice president. Since I
had already agreed to be nominated
for trustee, I accepted.
This will a new experience for me,
although I have served as vice president
and president of another, but
smaller, organization. I hope that my
service to the society will be of benefit
to all of you.
Recording Secretary – Linda Birkitt
My love of music developed early in
life. After dinner my father would play
music on his record player after we
were tucked in bed for the night. His
musical tastes ranged from classical to
big bands to opera and even jazz and
contemporary. Classical was always,
hands down, his favorite.
At age 6 I took up piano and ballet
where classical music was part of the
milieu. Although I preferred ballet to
piano lessons, classical music and big
bands music was part of the study of
ballet. Music continued to be a part
of my life as I continued the study of
ballet through undergraduate school
and even into professional ballet.
As an aside, my husband, John, was
also interested in music. While in high
school, he studied violin, piccolo and
flute. He auditioned for flute at the Los
Angeles Philharmonic. He was offered
third chair flute position, but because
he did not get first chair, he joined the
U.S. Marine Corps. Go figure.
Fast forward to my adult years
where family and work consumed my
life. John and I had joined MBSI, but
we had no time to attend meetings.
Once our children left the nest, we had
more time for the wonderful world of
MBSI meetings. We participated in
them for about a year and then were
asked to become co-chairs of the
Southern California Chapter.
MBSI became a highlight in our list
of things to do. We fearlessly led our
chapter for four wonderful years. I
remember well Gloria Schack telling
me when we became co-chairs it
would become a wonderful part of my
life. She told me I would never meet
better people than those in MBSI. She
was spot on correct.
Presently I am serving as recording
secretary for the Southern California
Chapter. When Judy Caletti asked if I
would consider becoming Recording
Secretary for the national MBSI
organization, I was happy to accept
her request. And so begins a new
adventure.
May/June 2019 MECHANICAL MUSIC 11
Nickel Notes
By Matthew Jaro
About six years ago, my wife and
I took a road trip to Texas. We visited
Alan Bies and Steve Boehck in
Houston. On our way back home to
Maryland, we visited Don Teach in
Shreveport, LA. Don has been an influential
figure in the nickelodeon world
for many years, and it is my pleasure
to feature him in this exciting episode
of Nickel Notes. Don has been restoring
instruments, machining parts and
acting as technical guru for solutions
to arcane problems. He always has
time to talk to people about any musical
topic despite being extremely busy
with his many restoration projects.
Don has been married to Adrian for
more than 36 years and they have a
daughter, Taylor, who is 20. AdrianÕs
brother introduced them to each
other. Don owned a music store in
Shreveport, but has since retired from
the music business.
Early Years
Don got started on his lifetime interest
in mechanical music when he was
a pre-teen. His father brought home
a player piano from the local music
store for the weekend. He worked as a
piano salesman and thought it would
be fun to have a player piano for a
weekend party. Needless to say, Don
was smitten. Several years later, DonÕs
father started his own music store
which was merged with the second
oldest music store in Louisiana. There
was an old Kimball player piano on the
second floor of the downtown store
that needed to be restored. It was on
that piano that Don first learned about
the inner workings at the age of 12.
Don also worked on regular pianos
from that time until he went to college.
Don enjoyed college, but the most
Don Teach proudly wearing a Seeburg
Piano Company shirt.
fun was just off campus at a piano restoration
shop in Monroe, LA, run by a
man that had worked for Steinway in
Germany and then moved to America
when the company shifted its operations.
The man told Don that after
repairing pianos for Steinway dealers
in the south, his car broke down on
the way back to New York, so he just
stayed in Monroe and set up shop.
The Hathaway and Bowers catalogs
and others had plenty of nickelodeons
and orchestrions for a poor college kid
to admire. Don did manage to buy a
Wurlitzer Pianino from Hathaway and
Bowers and a Seeburg Junior from
Wallace McPeak. The Seeburg needed
a complete restoration as it was one of
the pianos found in a barn by Wyatte
Pitman that is pictured in the Encyclopedia
of Musical Instruments (Page
660). In the encyclopedia, Bowers
says that nearly two dozen Western
Electric and Seeburg coin pianos
were found in Òmoldering sadnessÓ in
a damp barn in Georgia. It was DonÕs
first piano to need a new soundboard,
back post, etc. After the restoration, it
was sold to Frank Adams.
Don was busy trying to restore
another piano with the money from
his first sale when Tom Fretty stepped
into the picture. He convinced Don to
spend his summer working for him in
Iowa at his museum. Don reminisces
about how ÒgreenÓ he was and not
wise to the business world of trading
pianos at all. Tom Fretty owned TomÕs
mechanical Music Wonderland in
Manly, IA. He did a lot of buying and
selling of instruments.
In 1999, Don wrote the following in
the Mechanical Music Digest.
Tom Fretty, of Manly, Iowa, was
more of a dealer. He auctioned off
the bulk of the museum 20 years ago
and I think he still goes to band organ
rallies and travels the country buying
and selling. The official name was
Mechanical Music Wonderland.
If anyone ever visited the museum
when it was open then it was a treat,
as he had most of the popular Wurlitzer
band organs and many pianos.
The inventory was always changing.
His Coinola CO is now in a
private collection in Illinois. The
collection was maintained for years
by Tom Wurderman.
In 2001 another auction was
held. The Globe-Gazette newspaper
reported:
Stuffed into three storage buildings
are carnival rides of all kinds
12 MECHANICAL MUSIC May/June 2019
A Seeburg K with flute pipes that came from Rapid City, SD. DonÕs Seeburg H was obtained from a collector in Pennsylvania.
including red, yellow and blue
wooden boats that floated around a
wading pool, a peanut machine and
pedal-cars. The collection represents
whatÕs left of FrettyÕs once massive
conglomeration of stores, museum
and old-time park known as TomÕs
Mechanical Music Wonderland and
TomÕs Country Market built at the
intersection of U.S. Highway 65 and
Iowa Highway 9 in Manly.
Nickelodeons on Parade
After working with Fretty, Don went
to work in the musical instrument
manufacturing division of C.B.S., Inc.,
of New York. Don says that was where
his real education started. He worked
for the Leslie speaker division. He was
supposed to travel his territory and
sell Leslie speakers to music stores.
He tried to do that, but somehow
managed to find piano collectors
whenever he could. He found collectors
that he never knew existed at a
time when nickelodeon piano prices
had nowhere to go but up! Don would
rent a trailer and bring pianos home.
He had 80 nickelodeons pass through
his hands during that period and also
a lot of player grands. Don gave Ken
Long (an avid collector of reproducing
pianos in Dallas, TX) a lead on one of
the pianos he came across 30 years
ago, and Ken recently had success in
acquiring it.
Don was able to visit many piano
technicians and see their workmanship.
It was during this period that
Don realized that some of the work he
had seen was much better than what
he had been taught. He also realized
that he knew nothing about how to
actually make the parts that went into
these pianos. Over the past 40 years
Don spent more time learning the art
of making parts. He is proud to say
that almost every major collection
may not have any of his work but they
all have his parts in them. It was Bob
Gilson who actually got Don started
making parts. After a visit with Bob,
Don enrolled in a machine shop class
to further his interest in metal working
almost 30 years ago. In the past 30
years Don has made many hard to find
metal parts for his friends.
The Collection
DonÕs collection includes almost 40
American-made nickelodeon pianos.
It has changed over the years but
there has always been the Seeburg
KT in the collection that Don got from
Tom Fretty in the mid 1970s. Today
that Seeburg KT is accompanied by
another Seeburg K with flute pipes
from Rapid City, SD. There are several
other Seeburgs in the collection
May/June 2019 MECHANICAL MUSIC 13
including a Seeburg G that came
from Ed Freyer and a Seeburg H from
an antique phonograph collector in
Pennsylvania.
Don always wanted a sample of
the different A roll pianos not only
because they were more affordable,
but because he loves the A roll
sound. This meant that the collection
had to have one piano with pipes and
one with xylophone. His Cremona
G came from the Houston auction in
the Astrodome in the mid 1970s and
his Seeburg E with xylophone came
from fellow AMICA member Richard
Groman who owns Keystone Music
Rolls. The E still had a DC motor in it
that ran off batteries which was original
to that piano. His other Seeburg
E with violin pipes came from Art
Reblitz who found it in a basement. In
addition to the Cremona G, Don has
a Cremona K obtained from a South
Texas antique dealer.
Don bought a Wurlitzer CX about 18
years ago and feels that it is really a
great sounding piano. The APP rolls
vary widely in music and with Bob
GilsonÕs help Don was able to have
100 rolls recut for collectors. They
discovered the Wurlitzer was capable
of playing some really great music
and so they had Art Reblitz arrange
five rolls for the APP roll recutting
project. Now, Don has a Wurlitzer C
and a BX in addition to the CX.
Don has a Nelson Wiggen Style 6
obtained from the Hanning and White
collection. He got the Style 6 and a
Link C in a trade with Tom Fretty
some years ago. DonÕs wife was out of
town so he thought she would never
notice those two pianos added into
the warehouse. He was wrong, but she
liked the Link C. He still has both pianos.
Don says that he is lucky because
his wife typically doesnÕt say anything
about the pianos. After a piano comes
home she starts to become attached
and says donÕt sell that.
Older Machines in the Collection
Don has a couple of pianos in his
collection that he has had since his college
days. One is the Seeburg KT with
xylophone and the other is a Coinola
CX from the late Noble Stidham. Don
never finished the restoration of the
DonÕs Cremona G that came from an auction in the Houston, TX, Astrodome.
DonÕs Cremona K that was obtained from a south Texas antiques dealer.
Coinola CX since other work always
seemed to come into the shop. Don
really wanted it finished and sent it to
another shop while he was working as
a traveling salesman. They restrung it
and refinished it. That restorer gave
up on the piano action. Don then took
it to another technician that did some
very nice work but never finished it.
It still needs work. It seems someone
elseÕs piano always needed more
attention than his own. As of this
writing DonÕs hopes are high that he
will finally get back to that Coinola.
14 MECHANICAL MUSIC May/June 2019
A closeup of the Wurlitzer CX roll-mechanism
where Don can play any of the
100 A rolls he had recut.
He has had several Coinola Pianos in
his shop and still thinks they are one
of the most musical of all the American-
made nickelodeons.
The Seeburg KT from DonÕs college
days is still playing after 40 years. The
Seeburg K in his living room came
from a car museum at the foot of
Mt. Rushmore. It was playing when
he bought it and it still plays well. It
has flute pipes and the three dancing
girls in the art glass. It was missing
the coin chute and knobs on the side
of the case. He had an original coin
chute so he made a wooden pattern
of it and had one cast. It is the early
cast chute. The later Seeburgs used
a chute made of stamped brass. The
K got Don started making parts for
others. That cast coin chute he was
missing was also missing on several
other Seeburgs and his reproduction
was good enough so that no one could
tell he made it. He then started trying
to make the stamped coin chute. It
took him several years and lots of help
from Bob Gilson, but Don finally made
some.
DonÕs Knabe Ampico grand was in
a vacant house in Shreveport. The
neighborhood went from nice to notso-
nice. Several other dealers were
DonÕs Coinola X, post restoration, looks like it just came out of the factory.
after it, but Don bought it a couple of
years out of college. He refinished and
restrung the piano on weekends when
he could make it home. Ray Becklund
did the player parts for him. He did
some beautiful work but, unfortunately,
he has since passed away. Don
also has a Mason and Hamlin Ampico
B and a Steinway Duo-Art with a Spanish
case. (See Page 16 for photos.)
New Acquisitions
Don recalls the acquisition of two
Nelson Wiggen pianos (a 5-X and a
4-X). Several people had expressed an
interest in owning these pianos and
he told them where they were located
and that they should call the owner to
see if they were for sale. None of these
bothered to call and check on them.
After a month it began to bother him
to the point that he called the owners
himself and bought them. Now Don
is glad he did so because it gave him
something else to do now that he is
retired!
The 5X is pretty nice and seems
complete. It was rebuilt (not totally
restored) probably 20 years ago. The
Two of the new acquisitions, a Nelson &
Wiggen 4X and 5X.
cloth is starting to harden unfortunately
so it barely plays. The 4X is
an almost identical machine but the
case is shorter. This 4X came from
an auction and was partially eaten
May/June 2019 MECHANICAL MUSIC 15
A Steinway Duo-Art in a fine Spanish Art Case on the floor of
DonÕs music store.
A Steinway D Concert Grand, that will be returned to its original
Duo-Art configuration after a restoration. DonÕs Knabe Ampico A in a fine Louis XV art case.
by termites. Don would love to know
its actual history. It is a complete
machine that appears to have had a lot
of work done on the player portion.
Don is sure it was a playing machine
in the 1970s judging by the addition of
a tambourine. The story goes that the
man he bought it from was taking it
home and parts of the soundboard just
flew off the piano. Termites had eaten
the soundboard and a little portion of
the case. Don really looks forward to
restoring this machine because the
restoration of a piano that has been
neglected (like this one) provides a
real sense of accomplishment.
American Pickers
Don was on an episode of the
Television show ÒAmerican Pickers.Ó
The episode was first aired in January
2016. It has been aired over 100 times
now, making it the most popular of
all the shows. The pickers were only
interested in DonÕs arcade machines.
In the episode, they bought three
items (which is a ÒformulaÓ for the
show), however, after filming, the
pickers bought every arcade machine,
but they bought nothing in the way of
mechanical music machines.
Steinway 9 Foot Concert Grand
Duo-Art Piano
Don wrote the following in the
Mechanical Music Digest in October,
2012:
I am a piano dealer that buys and
sells used pianos for a living.
Simply put, I have to put money
into finding, moving and storing a
piano until I can sell it at a profit.
Sometimes I do well and sometimes
not.
This weekend one of the brokers
that finds pianos for me and many
others came across a Steinway D
grand at what I believe to be a bargain
price. Gutted players and even
those with parts are usually passed
on by piano dealers as there is no
market for them to the usual piano
dealer. The broker sent out an email
at eight-fifteen Sunday morning to
almost two hundred dealers with an
offer to sell a Steinway D that could
easily be fitted with standard legs and
made into a nice rental piano.
His pictures showed the big piano
as a normal Steinway grand with
double legs and the music rack pulled
forward to cover the area where a
spool box is on a Duo-Art player. He
admitted it was an ex-player with a
rebuilt Steinway action, having been
16 MECHANICAL MUSIC May/June 2019
restrung in the past.
My heart and mind went crazy
with different thoughts as to what
to do with such an offer before me.
I waited an hour and then hit the
email with a ÒI will take itÓ response!
He had bids from several other buyers
during the hour I was thinking about
it so now I had to outbid them to buy
the piano. Since I have done business
before with this seller I was able to
make a deal.
A few hours later I was now the
owner of a 9-foot-plus gutted Steinway
grand and totally lost as to what
I was going to do with such a piano.
One of the other buyers was going
to cut it down and make it a straight
piano.
Now the million dollar question:
who has spare Duo-Art parts that will
possibly fit this piano? I know the
stack must be custom-built.
The player system originally had
two pumps — one was a fifteen-inch
pump and the other was a seven-
teen-inch pump. Other information
would be appreciated or, if you want
to buy a really large, heavy piano,
then contact me.
Don has since found a buyer for the
piano who will restore it as a player.
Don was too busy at the time in
relocating his music store to consider
doing the work himself.
Don Teach can be reached at music-
guy@nwla.com
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 2013 issue of The AMICA
Bulletin.
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
DonÕs collection is vast, and includes this Wurltizer 600 Jukebox.
May/June 2019 MECHANICAL MUSIC 17
An adventure
repairing the
take-up roll drive
on a Raffin crank
organ
Article and photos by Charles Hildebrant
My wife Barbara has a very nice Raffin 20/31 crank organ
with a great sound. At a recent organ rally the organ just
stopped playing. This organ uses paper rolls for its source
of music. The paper leaves the source roll and is pulled
through the organ by the take-up roll. Back at the shop I
removed the top of the organ and soon discovered what
was wrong. The take-up roll is driven by a small hexagonal
shaft that comes from the drive clutch. This hex shaft is
18 MECHANICAL MUSIC May/June 2019
inserted in the center of the take-up roll axle. The axle is
small, approximately three-eighths inches plus or minus in
diameter. (Photos 1 and 2 opposite page.)
When you cranked the organ, the hex shaft turned but
the take-up roll axle didnÕt. Whatever had bonded the two
together had failed.
To get at that area of the organ, you need to remove two
items. First you remove the large organ pipe that is on the
top of the chamber. (Photo 2)
To remove the pipe there is a screw on the outside of
the case on each side. Then you must turn the organ on its
back and you will see a rectangular access opening to be
able to reach in with bent needle nosed pliers to carefully
wiggle out the rubber air tube that feeds the large pipe.
(Photos 3, 4, and 5 above).
Notice the brass nipple out at the end of the rubber hose.
Do not attempt to remove the hose from the pipe or the
nipples from the hose. They seem to be glued on.
Next remove the clutch lever assembly, including the
clutch (photos 6 and 7 above). With these items out of
the way I was able to see what was happening inside the
take-up roll axle (Photo 8).
I am a fairly good machinist. If I had wanted to telescope
a hexagonal drive shaft inside of a round axle, I would have
drilled a small center ÒpilotÓ hole into the axle and then
pressed a hexagonal broach into the hole. This would have
May/June 2019 MECHANICAL MUSIC 19
given me an indestructible hex channel for the hex shaft to
slide in and out of. Further, due to the torque requirements
of turning the whole take-up roll, I would have made the
depth of the center hex hole a minimum of one inch deep.
This, however, is not what was done. A a center hole
(round of course) was drilled into the axle. Next a short
brass hex shaped tube was loosely slid into the hole in the
axle. A small amount of epoxy was coated on the brass hex
tube with the thought that this would anchor the hex tube
to the take-up roll axle.
Five things made this fail:
1) The hex tube was only one half inch long. This normally
could never have enough surface area to transmit the
required torque
using epoxy only
on the side surfaces
(photo 9).
2) It turns out
that the take-up
roll axle is aluminum.
I would
choose steel over aluminum for an axle, on a strength issue.
Beyond that, epoxy adhesives adhere very poorly to aluminum
oxide. Aluminum is a wonderful metal of many uses.
Epoxy adhesives will stick very well to pure aluminum.
You can take a piece of aluminum and sand the outer oxide
coating off of it and the epoxy works. However aluminum
will start to react with the air immediately, and within
20 minutes a new oxide coating will be starting to form.
When the axle was drilled, during production, it exposed
the true aluminum. But then the axle was probably made
ahead of time to the organ construction and sat around for
hours, days, or perhaps even weeks, and the inner surface
re-oxidized.
When I took out the brass hex tube there were small
amounts of old
epoxy still clinging
to it. But there was
no epoxy at all left
inside the aluminum
axle (photo 10).
3) The brass hex
tube was defeated in
two ways:
One way was
discussed a moment
ago Ð it was too
short. There simply
was not enough
surface area for the small amount of epoxy to pass on the
rotational torque.
The second way it was defeated was also an oxide coating.
Brass will oxidize very quickly when exposed to the
air. When I removed the epoxy from the surface of the hex
tube, the brass under the epoxy was thoroughly oxidized. A
bit later in this article I will discuss how it is recommended
to have brass interact with epoxy. For the moment please
recognize that epoxy does not adhere well to oxidized brass.
4) The epoxy that was used is commonly available in
Europe. It is a fast setting epoxy with medium strength.
It seems obvious that it was overwhelmed by the torque
requirements.
5) When you are using epoxy to transmit rotational
torque, you must throughly roughen both surfaces. There
cannot be smooth surfaces on either part. Both the brass
hex tube and the aluminum axle hole were smooth.
Epoxy has another weakness. This I cannot say is a
contributing factor in this case, but it is worth mentioning.
This weakness is that epoxy is intolerant to any form of oil
or grease. Fingerprints are a number one offender when
small parts are worked with. The part must be thoroughly
degreased. The best way to do this is by spraying it with
automotive brake parts cleaner. This almost immediately
will remove oil films, and leave no residue. Once the part is
clean it must never be touched with bare hands, or laid on
to any surface that is oily.
The solution to the problem
The take-up roll axle is very difficult to remove from the
organ. So I cannot replace it with a new better axle. I am
forced to work with what I am given.
I was faced with five problems to solve:
1) I must increase the surface area of the brass hex tube
to get a bigger epoxy bond.
2) I must clean the inner surface of the axle hole of the
aluminum oxide coating.
3) I must cause both the inner axle surface and the brass
hex tube surface to be highly abraded so that the epoxy can
grip it for better torque transfer.
4) A new stronger epoxy must be used to reconstruct the
bond between the hex tube and the axle.
5) I must add a new shape to the brass insert that will
give the epoxy a much stronger structural surface to pass
on the required torque.
I chose to deal with item one and five first: Increasing the
surface area.
I used a long length ÒaircraftÓ drill to deepen the hole in
the aluminum axle by about a quarter inch plus a bit.
I took a length of one quarter inch diameter brass rod
and put it into a dividing head mounted on the milling
machine. I milled a
hexagonal end on
the rod that will fit
tightly into the rear
end of the brass hex
tube. (Photo 11)
I then milled a
ÒspadeÓ end in back
onto the hex shape.
This was to stick
out from rear of the
hex tubing to both
increase surface area and to add a big surface for the epoxy
to lock on to for torque transmission. (Photos 12 and 13,
facing page.)
After inserting the new ÒbigÓ end into the hex tube, I
20 MECHANICAL MUSIC May/June 2019
cleaned it thoroughly, applied a flux and soldered the two
together.
This really solved another problem that I had not mentioned
before. The original assemblers were haunted by
the fact that both ends of the hex tube were open. Because
of this they couldnÕt just fill the axle hole with epoxy and
then shove the brass hex tube in. The hex tube would have
become filled with epoxy. So they tried to just dab epoxy on
the surfaces and hoped that there was enough to do the job.
With the back end of the hex tube now closed, it allowed
me to really pack the new epoxy into the axle hole. Then
push the closed end of the hex tube in, and the hex tube
with its new ÒspadeÓ end would be totally bathed tightly
with epoxy.
The inside of the hex tube was the exact size of a 5mm
metric Allen wrench. I just placed the hex tube on the end
of the Allen wrench and used that as a holder and guide as I
pressed the tube in place. The Allen wrench, being in place,
also kept the hex tube from getting any epoxy inside of it,
as the surplus epoxy squeezed out of the axle hole.
Now to item 4: A new stronger epoxy.
I use many different kinds of epoxy on a frequent basis.
But with the demand for super performance out of a little
surface area I knew that I was out of my depth.
There is an old saying: ÒItÕs not what you know, itÕs who
you knowÓ. Well, in this case I really knew who I was
going to call upon. I have known a most amazing man for
many years. His knowledge of many things, and especially
mechanical music things, is awe inspiring. In this case his
family had manufactured epoxy adhesives for generations.
This is Jack Hardman from Virginia.
I contacted Jack and gave him the whole picture of what
I was facing. He was nice enough to take the time to give
me a menu of what I must do and not do. Here are some of
his recommendations:
When visual appearance is not critical, the surfaces
should be scratched or at least sanded (in one direction
only) to remove the inherent slippery smoothness of the
surfaces, to increase the surface area, and to allow a mild
mechanical locking function.
The base metals must be absolutely clean and free from
any cutting oils, finger prints, lunch, snacks, or dried coffee
spills. (This man has a sense of humor!)
The epoxy compound must be very very thoroughly
mixed, minimizing the entrainment of air. ThatÕs hard to do.
For the application in question, a long working life of the
mixed material is preferred so as to allow time for thorough
mixing and to let the little air bubbles to break, releasing
the entrained air before application of the adhesive to the
parts being bonded.
Fast setting compounds should be avoided whenever
possible. They are a compromise, and are necessarily made
for general purpose use at the sacrifice of any particularly
important characteristic, such as adhesion.
When two pieces are to be joined by telescopic sliding
of the one into the other, then the user must plan to insure
that sufficient mixed epoxy will remain in the gap between
the two surfaces to make a complete bond.
Make sure that you break off the tip of your mixer stick
before you use it to apply the epoxy. There will always be
some tiny amount of unmixed product remaining on the
stick. Using a new stick to apply the product would be
better.
Jack was nice enough to suggest products by several
makers. The one I chose was by 3M: Scotch-Weld #2216
B/A.
This turned out to be an amazing product. I contacted
the Industrial Tech services of 3M and found some really
helpful people out there. They not only guided me as to
the correct product but gave some direction as to my exact
use. It turns out that brass is a particularly difficult product
to bond with epoxy unless you do some special things.
As I previously mentioned: remove all oils and especially
fingerprints. Handle with clean, new, rubber gloves. Take
the brass item after it has been degreased, and sand blast
it to a rough, abrasive finish. Degrease it again, let it dry.
Then spray it with a light misty coating of lacquer! This is
important to keep the clean brass from oxidizing when the
epoxy contacts it.
Epoxies made for consumers (household use) are quick
setting (with a short open working time-usually 15 minutes,
or so) and can easily be identified by the fact that they are
May/June 2019 MECHANICAL MUSIC 21
most often mixed on a 1 to 1 mix ratio.
The industrial strength epoxies are very different. The
Scotch-Weld 2216 is mixed on ratio of 2 parts of base and
3 parts of accelerator, and it has a 90 minute open working
time! It has really impressive strength: 3200 pounds per
square inch. After you have applied it, its cure time is (are
you ready for this) Seven (7) days.
The last item #3: Abrasion.
Our last item is to clean the oxides off the inner surface
of the aluminum axle, and to seriously roughen its surface.
This operation had to wait until the moment before I
was ready to mix and install the new epoxy. Otherwise the
raw aluminum would start to re-oxidize. By using a very
abrasive wire brush in a power shaft tool I really took care
of the oxide. Then I took a very sharp angled scratch awl
and went back and forth inside the hole in the axle, on all
of its surfaces. It really was solidly, deeply, scratched up!
Last step before you mix the epoxy is to really seal
everything off inside the organ. Cover the nylon gear
and the four pins with painters masking tape — including
totally over the hole in the axle. After you have completely
covered everything in the area with tape then you carefully
puncture the tape over the axle hole. Use old washcloths
or such to totally mask the complete area that would be
exposed to a spill of the epoxy as you move it through the
organ to the axle.
Turn the organ on itÕs back so that the nylon gear and
open axle hole is looking at the sky. Leave it in that position
until the epoxy it totally cured. Mix the epoxy and fill the
axle hole about one half full. Press the new brass hex tube
into place.
Clean up the mess, and hide the organ for seven days for
the epoxy to cure.
I confess, it was certainly on my mind for that weekÕs
time. When I finally got the organ out to reassemble itÕs
parts, the first thing I did was stick a 5 mm Allen wrench
in the brass sleeve and made sure it was strong and solid.
It was great.
I can confidently say that it took longer to write this
article than it did to finally do the repair.
Now the last step
Call for the organist:
Hooray!!
Charles and Barbara Hildebrant own a nursery in northwestern
New Jersey that has been in the family since 1740. They also have
a complete machine shop and sawmill whose products keep a diverse
mechanical music collection repaired and running.
A Lasting Legacy In order for anything
once alive to have
meaning, its effect
must remain alive in
eternity in some way
Ð Ernest Becker, Philosopher
Throughout its history, MBSI has fostered an interest in and
preservation of automatic musical instruments. Your gift to the The Musical Box Society International
Endowment Fund will support programs that will help future is a 501(c)(3) non-profit organization.
All donations to the Endowment
generations appreciate these achievements of manÕs creative
Fund are tax deductible.
genius. Visit www.mbsi.org to learn more.
A gift of any size is welcome.
22 MECHANICAL MUSIC May/June 2019
A Shop Story
The Case of the
Missing Winding Handle
Article and Photos By Bill Wineburgh
How does a winding lever go missing?
I sometimes scratch my head
thinking about the situations, the
homes, the attics or basements, and
all of the people who might have handled
a music box over the last 100-plus
years. Six years ago, I found my hand
on my head again when a beautiful
six-bell BrŽmond cylinder box came
into my shop for repairs missing its
winding handle.
A winding handle is held in place
by a steel pin, pressure fit through
the spring barrel arbor. If this pin
becomes loose, it can drop out of its
hole and allow the winding handle to
come loose and eventually to come off
the end of the spring arbor. Normally
the pieces of the handle can be found
in the bottom of the music box case,
but this appeared to not be a normal
situation.
In place of a winding handle (get
ready to cringe) there was a socket
wrench. How inventive of someone.
A socket wrench is a six-sided tool
meant for bolts having a six-sided
(hexagonal) head. The spring arbor
end of the spring barrel on a Swiss
cylinder box is a four-sided (square)
arbor that sticks out on the left-hand
side of the spring barrel. My worst
fear was that the square arbor had
been stripped by using the hexagonal
socket.
In order to keep the remaining parts
in place, several washers had been
May/June 2019 MECHANICAL MUSIC 23
added in the winding handle space
so the spring arbor was untouched.
As you can see (Photo 1) the ratchet
wheel was pretty well stripped from
the socket wrenchÕs use. This could
be replaced with an appropriate size
ratchet wheel available from a well-
known parts supplier for music boxes.
After removing the washers, inspection
of the winding arbor showed that
it was not damaged by the Òrepair.Ó
(Photo 2)
At this point some restorers would
go to their junk cabinet and look for a
winding handle to replace the missing cylindrical insert with a squared open-
handle on this music box. Not having ing onto which it is mounted on the
the luxury of such a junk cabinet, I set spring barrel arbor. It is a specialized a piece of quarter-inch thick shaped
out to make a new handle. This article piece of brass, unique to the size of brass with holes to accept the brass
will describe that task. both the spring barrel arbor and to a washer, a finger pull, a ratchet pawl, a
Now, I am not talking about a simple hole in the winding handle. pawl spring and a steel pin to keep the
handle. This type of music box has a The winding handle will consist of handle up in the music box case.
Step 1
Manufacture the handle blank.
Brass, shaped to size, polished.
Photo 1: The winding handle as found
with washers holding parts in place.
Photo 2: The undamaged winding arbor.
Step 1 – Lever blank.
Step 2
Manufacture a finger pull. Brass bar
stock, turned on a lathe with a dowel
end to fit into a small hole in the winding
handle. Drill a hole in the handle
blank sized for the finger pull.
Step 2a – Knob.
Step 2b – Lever blank with parts.
24 MECHANICAL MUSIC May/June 2019
Step 3
Manufacture a washer. Brass bar
stock, cylindrical, with a shaped collar
and a square hole sized to be placed
over the spring barrel arbor. Drill and
file a square hole sized to fit the spring
barrel arbor. Drill a hole in the handle
blank sized for the washer.
Step 3a – Washer bar stock.
Step 3b – Turning the washer..
Step 3c – Washer turned. Step 3d – Washer with square hole.
Step 3e – Washer completed. Step 3f – Washer with lever.
May/June 2019 MECHANICAL MUSIC 25
Step 4
Drill and thread a hole for the
ratchet pawl
Step 4 – Lever marked for drilling.
Step 5
Drill and thread a small hole for the
ratchet pawl spring
Step 6
Drill and thread a hole and cut and
thread a steel post to the bottom of the
winding handle to keep the winding
handle off the bottom of the case and
easier to reach.
Step 5 – Showing the winding lever inside.
Step 6a – Showing the winding lever
outside.
Step 6b – Winding lever mounted on winding
arbor.
26 MECHANICAL MUSIC May/June 2019
Step 7
Polish all parts, assemble and mount.
Step 7 – Winding lever and arbor
mounted and complete.
The fully-reassembled and restored music box.
The winding handle was just one musical box with additional cleaning
step in restoring this lovely musical and polishing now looks as much like
box. It was challenging and time con-it did when it was made and it should
suming, but well worth the effort as the be good for another hundred years.
May/June 2019 MECHANICAL MUSIC 27
The Electric Banjos
By Dr. G. Wayne Finger
Most early self-playing instruments
used pneumatics to control moving
mechanical parts. Some of their earliest
automatic prototypes, however,
were completely electric. The builders
used electricity to operate motors and
solenoids to move the mechanisms
that played the instrument. One of the
most notable examples of an electrically-
operated instrument is the Mills
Violano, which has mesmerized many
of us for years. Electricity operates
solenoids which finger the violin
strings and operates a motor which
turns the bows. Henry Sandell patented
an early version of the Violano
in 1905. Some of us have seen or heard
a Tel-Electric piano, which uses electromagnets
to play the piano action by
reading music from brass music rolls.
These were introduced about 1907.
While this might be interesting, it
might be considered fascinating that
years before even the Violano and
the Tel-Electric some inventors and
manufacturers were using electricity
instead of pneumatics to provide
the motive force for playing musical
instruments. Some electrical systems
even included expression. In 1897,
10 years before Tel-Electric, The
Pianophone Company was operating
a showroom for sales of their electrically-
operated piano. By 1899 they
were also offering an electric banjo.
There was also a prototype electric,
self-playing banjo from another individual
as early as 1892.
These instruments were electrical
wonders. Most buildings were not yet
equipped with electrical service. The
electricity available was unreliable
as voltage and type (AC/DC) varied
by location and time of day. Batteries
were still in their infancy. Even so,
these innovative inventors developed
Figure 1 Ð Drawing from Willard H. GilmanÕs patent for an electrically operated
stringed musical instrument.
28 MECHANICAL MUSIC May/June 2019
outstanding self-playing instruments
based on a sound approach. Like electric
cars of 1899, they may have just
been too far ahead of their time.
Patents And Inventors
Patent Number 488,520 (Application
1892, Granted 1892) In 1892, Willard H.
Gilman patented an ÒElectrically Operated
Stringed Musical InstrumentÓ for
operating a Òbanjo, mandolin, guitar,
harp or other similarly stringed instrument.Ó
(Figure 1) The device used
electromagnets to pull down fingers
from beside the fret board to press on
the strings. It also used electromagnets
to advance star wheels to pick
the strings.
Over the next several years, Gil-
man went on to invent more banjo
improvements. As described in Rick
CrandallÕs excellent paper, ÒThe
Encore Automatic Banjo,Ó Gilman
became associated with the American
Automatic Banjo Company, which
eventually manufactured the Encore
(pneumatic) banjo. Crandall has
researched the EncoreÕs documents
and found this quote from Charles B.
Kendall, a principal of the company:
ÒThe first automatic banjo was
constructed upon the electro-magnetic
system, but the magnets then
used were of the telegraphic type,
too jerky and noisy to be practicable.
Furthermore, the only electric current
available was taken from the street
lighting lines at 110 volts, which
caused so much sparking upon the
perforated paper music as to sometimes
burn them up and endanger
the premises. At that time the then
existing storage batteries were out of
the question.Ó
It appears that the difficulties with
GilmanÕs first electric banjo were
that the electromagnets were not
powerful or quiet enough to operate a
musical instrument and that the availability
of electricity was problematic.
Therefore, GilmanÕs banjo changed to
become a pneumatic instrument Ð the
fabulous Encore banjo. (Figure 2)
In 1903, Kendall desired to change
the Encore from the pneumatic system
Figure 2 Ð The Encore Banjo.
back to electromagnetic. In David
BowersÕ book, the ÒEncyclopedia of
Automatic Musical Instruments,Ó page
398, Kendall is quoted:
ÒThe pneumatic system did not continue
as satisfactory as was expected,
on account of its complications and
the many troubles arising therefrom
É and because of the unavoidable
necessity of using street light electric
current for a motive power. The result
has been universal dissatisfaction
and complaint among the agents ÉÓ
Kendall became convinced that the
electrical system was superior to the
pneumatic system for the Encore.
He proposed the Encore banjo be
manufactured in the future as an electrical
banjo with improvements over
the earlier prototype. His reasoning
included:
ÒÉThe banjo requires only 46 small
magnets É and therefore could use
only 4 volts and 1 ampere to operate
it, as compared with 110 v and .85
amperes to operate the present pneumatic
banjo. É The advantages to be
gained in adopting the electro-magnetic
system are many and valuable,
such as the use of primary and storage
batteries, thus permitting the location
of the banjo everywhere; reducing the
cost of construction by at least 25%;
the cost of maintenance to be no more
than one-third of the requirements of
the present system; the elimination
of 90% of all the troubles that cannot
be avoided in the pneumatic system,
as well as opportunities for affording
more tunes and many points of
expression that are impossible with
the present systemÉ.Ó
According to Bowers, concepts for
electromagnetic operation for the
Encore continued to the end of Encore
production. More prototypes were
developed, but the electromechanical
banjo never was manufactured.
Patent Number 490,538 (Application
1892, Granted 1893) Another early
inventor of remote playing musical
instruments using electricity was
Anacleto Montanelli. In 1893, Montanelli
patented an ÒElectrical Musical
InstrumentÓ where someone playing
a ÒmandolinÉ guitar, zither or banjoÓ
could simultaneously play the same
notes on a piano. In this innovation,
he used the banjo to remotely control
an electromagnetic piano. His system
worked by applying voltage to
the strings. As a string was pressed
down onto the fret board, the string
completed an electrical circuit against
the metal fret. This allowed the connection
to play another instrument
using electromagnets, such as a piano.
Therefore someone playing notes on
a banjo could simultaneously play the
same notes on a piano, or any other
instrument so equipped.
Although not a self playing banjo,
MontanelliÕs system would allow the
live recording of banjo music onto
punched or marked paper.
Patent Number 692248 (Application
1899, Granted 1902) In 1899, George
Howlett Davis applied for a patent
for an electrically-operated ÒStringed
Musical Instrument.Ó (Figures 3 and
4, Page 30) Specifically described
in the patent is a self-playing banjo.
May/June 2019 MECHANICAL MUSIC 29
Figure 3 Ð An image from George Howlet DavisÕ patent application for an electrical-
ly-operated stringed musical instrument.
The patent seems to be in response
to the Encore banjo because it labels
existing banjos as Òunnecessarily
complicated.Ó The patent describes
reliability improvements and greater
power density with electricity.
In an interesting approach, the neck
of the banjo is made from channel
iron. The entire length of the strings
are stretched along the channel iron,
which provides more reliable tuning,
as compared to wood.
DavisÕ design provides for fret rods
extending through the fret board
which are pulled down by electromagnets
to fret the strings. The movement
of the fret rod as it is pulled down,
also actuates the picker for that string.
This is all accomplished in a single
action. The design includes a solenoid
operated banjo mute directly under
the bridge to provide for pianissimo
effects.
Overall, it seems that Davis
embraced GilmanÕs original electrical
approach to banjo operation as a way
to improve and simplify the pneumatic
system of the Encore. By 1899,
Howlett Davis had the benefit of several
years of electrical manufacturing
experience. Earlier in the decade he
patented and started manufacturing
an electrically-operated, self-playing
piano. He named his self-playing
electric piano, ÒThe Pianophone.Ó He
named this new stringed instrument
ÒThe Banjophone.Ó
As an exact reverse of MontanelliÕs
patent, Davis described in his patent
that his automatic banjo could play
from a piano outfitted with contacts
under the keys (in addition to being
played from a paper roll). It is probable
that he envisioned the Banjophone
to play with several additional instruments,
including a solenoid operated
piano.
Possible Manufacturer
The Pianophone Company (Manufacturer
of the Banjophone)
The Electric Self Playing Piano
Company was incorporated in August
1895 with capital of $100,000. Three
years later, The Pianophone Company
was incorporated in 1898 under the
laws of West Virginia. Howlett Davis
was a principal in both organizations.
The Pianophone Company formed
with $300,000 capital to manufacture
solenoid operated pianos.
In 1901, The Music Trade Review
reported that the principals of The
Figure 4 Ð Another image from George
Howlet DavisÕ patent application for an
electrically-operated stringed musical
instrument.
Figure 5 Ð Thomas EdisonÕs list of
ÒThings Doing and Things to be Done.
Pianophone Company included W.
E. Gilmore, general manager of the
Edison Manufacturing Company.
The Pianophone was then being
30 MECHANICAL MUSIC May/June 2019
manufactured at the Edison Laboratory
in Orange, NJ. (It is interesting to
note that on Thomas EdisonÕs list of
ÒThings Doing and Things to be DoneÓ
dated Jan. 3, 1888, there is an entry for
ÒElectrical PianoÓ (Figure 5). Perhaps
Edison involved his manufacturing
company with Pianophone in order
to gain their technical knowledge or
technical personnel.
In 1903, after continued technical
improvements, the United States
government selected the Pianophone
to be exhibited in the musical department
of the U. S. Patent Office at the
Louisiana Purchase Exposition (St
Louis WorldÕs Fair).
As late as 1905, the company was
still active. A 1905 issue of The Music
Trade Review (Vol 41, Issue 13, page
86):
ÒGEO. H. DAVIS BACK FROM
EUROPE. Ô Geo. Howlett Davis, the
well-known inventor, has returned
from his sojourn in England. While
abroad the Pianophone Co., Ltd., was
organized, with ample capital, for the
purpose of manufacturing and selling
the Pianophone in Great Britain
and the colonies. We understand the
mechanism of the Pianophone will be
manufactured in this country, and
the parts assembled in England. A
number of important developments
in connection with the Pianophone
are pending.Ó
The Banjophone
An 1899 issue of The Music Trade
Review (Vol 28, Issue 10, page 39)
describes (and hypes) the Banjophone
(Figure 6):
ÒGEO. HOWLETT DAVISÕ LATEST
INVENTION PIANOPHONE GROWING
IN POPULARITY.
There is activity at the factory of
the Pianophone Co., 46-8 E. Houston
street. É.. Mr. Davis is never content
to rest upon the laurels which he
has achieved; he is an inventor, and
is always happy when developing
electrical appliances along new and
original lines. His latest invention is
the Banjophone, which is a wonderful
invention, combining a self-playing
banjo and orchestral attachment. The
Figure 6 – The Banjophone as pictured in
Music Trades Review Vol. 28, Issue 10.
banjo is built entirely of metal, and is
warranted for a long period of years.
It dispenses with wind power and
utilizes electricity alone. It strikes
each note by one electric magnet and
by extremely simple and endurable
construction. It is manufactured
with and without the orchestral
attachment. The illustration gives
one a very complete idea of the
Banjophone with the orchestra. For
saloons and public places it is a most
desirable accessory, and as a nickelin-
the-slot machine will become a
decided favorite.
The Banjophone employs music
placed upon small neat wooden spools
which can be changed instantly. There
is a receptacle in the bottom of the
case for the storing of music. The ease
with which these rolls can be changed
is a decided advantage in favor of the
Banjophone. There is no question but
that there will be a great number of
this wonderful invention sold, as it
is a decided money maker, and every
man who has a public place where it
can be used will be impressed with its
money making capacity.Ó
The Banjophone is described in
greater detail in the December 23,
1899 issue of the Electrical World and
Engineer, page 983:
ÒThe mechanism for the playing of
the banjo is somewhat different to that
used for the piano. Behind the neck of
the instrument, which stands upright
in a cabinet, are four parallel vertical
rows of solenoids, eleven in each row,
or forty-four in all, there being forty-
four notes on the banjo. The axes of
the solenoids are at right angles to the
neck of the banjo. To the core of each
solenoid is attached a wire rod which
passes through the neck, the end of
the rod being flattened and bent at
right angles over but normally clear
of the string underneath. These finger
pieces Òfret Ò the instrument.
When a current passes through a
solenoid the core is drawn in and the
finger presses down upon the string.
When this occurs another action takes
place simultaneously, i. e., the picking
of the string and the sounding
of the note. Parallel with the neck of
the banjo are four steel rods which
lie close to the cores of the vertical
rows of solenoids. Down each rod at
points corresponding with the levels
of the different solenoids is a pin, and
from the core of the solenoid projects
a similar pin. When the solenoid
is energized, the pin on the moving
core engages that on the vertical rod
and turns the latter on its axis. At the
lower end of the rod is a projecting
finger which ÒpicksÓ the string when
the shaft is thus turned. All four
rods are alike, and it is evident that
the operation of the solenoids frets
the string and strikes or picks it at
the same time. The solenoids are
controlled in precisely the same manner
as the magnets are in the piano
attachment. In the case of the piano
it is claimed that the mechanism can
be so controlled as to perform with
unexcelled technique and accuracy of
tempo any musical composition ever
written.
Banjos are made with an orches
trion attachment, including snare
drum, cymbals and triangle, all of
May/June 2019 MECHANICAL MUSIC 31
which are operated by means of elec
tromagnets and solenoids.
É.. These devices are the inven
tion of Mr. G. Howlett Davis, who is
president and general manager of the
Pianophone Company.Ó
DavisÕ electric banjo was hyped
and promoted by The Pianophone
Company. This company conducted
manufacturing of solenoid based
instruments for several years. If you
believe their press, they made lots
of Banjos, too. However, after 1901,
when Edison became involved with
the concern, there is little mention of
the Banjophone. Maybe they manufactured
and sold some, maybe not.
Closing Thoughts
Does anything remain of these electric
banjos?
There donÕt seem to be any surviving
examples of either GilmanÕs or DavisÕ
electric banjos.
GilmanÕs electric banjo was changed
into the wonderful Encore pneumatic
banjo which has survived until today.
Are any of the early Encore banjos
actually reworked or modified electric
banjos?
If so, is there evidence of modifications
or leftover electrical equipment
still inside the case? Are any electrical
prototype examples or photographs
yet to be found?
Was DavisÕ Banjophone ever really
manufactured, or was it just Òhype?Ó
Are there any old banjos with channel
iron fret boards? (It is doubtful anyone
would have saved one to play by
hand Ð they would be too heavy!)
What about the music? Do any
original banjo rolls have markings that
indicate an electric banjo origin?
Maybe there are some artifacts
waiting to be found in a warehouse
or someoneÕs collection. Perhaps the
readers of this article may discover
a lost piece of one of these early
instruments. Keep your eye out for
something. It could be that you will
discover a missing link in our automatic
music history!
Summary
The earliest self-playing banjos
were conceived as electromechanical
instruments. The inventors understood
the simplicity, reliability and
opportunity for expression with use
of electromechanical systems.
The erratic power grid and limited
understanding of electrical design
before 1900, however, prevented
implementation of their approach. The
world would have to wait a few more
years, until the Mills Violano Virtuoso,
for an outstanding electromechanical
instrument.
An example of an Encore Banjo at
American Treasure Tour in Pennsylvania.
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?
The Hunt
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. forward to hearing from you.
Editing help is available if you have a story, but you Email your story to editor Russell Kasselman at
are not sure how to organize it or present it. We look editor@mbsi.org.
32 MECHANICAL MUSIC May/June 2019
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Devoted to All Automatic Musical Instruments
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Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
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3D printing to the rescue
A Regina disc box plays
again using plastic parts.
Article and Photos by Spiel Uhr
Like a mechanical watch, a music
box is a delicate device and the restoration
of it requires special skills,
techniques, tools, and processes.
However, the advances of technologies
may have lowered the Òbarriers to
entryÓ for a beginner restorer by making
things more available and more
affordable. As a new collector and a
dilettante restorer, IÕm now sharing
my restoration experience in a less
traditional fashion Ð 3D printed parts.
With this new tool, I have made three
broken boxes playable again. The
total material cost is less than $100.
Listen to my story and see whether
you would smile or frown.
On the first Sunday of February
2018, I followed one of my friends to
MichaanÕs annex auction in Alameda,
CA. It was my first time there, and
also first time in any auction event.
The preview was held in a former
hangar building where airplanes were
repaired. Two thousand items filled
the big room and were placed on long
benches organized in aisles. As we
browsed, I saw a wooden box of 20
inches x 20 inches x 10 inches with
five metal disks. I was first concerned
with the wide ray flecks and identified
it as an Òoak box.Ó As soon as I saw the
punched holes on metal disks and the
comb of teeth I knew it was a music
box. I had learned a little about music
boxes in a trip to Japan with my wife
last year, when we visited the music
box museum in Arashiyama, Kyoto.
The museum guide left us with a
fantastic impression, sharing his professional
knowledge via an informed
presentation, and, more importantly,
his passion for mechanical music.
OK, but back to California. The auction
would be held on the following
The gear as purchased. Note bent and mangled cogs on the gear.
Tuesday and Wednesday, and I was not
able to attend. So, I wrote down $150
as an absentee bid. I donÕt remember
how I came up with that number,
maybe from my friendÕs advice. At the
time, I knew nothing about the value
or price of music boxes and had absolutely
no idea of how difficult it could
be to repair one. I didnÕt examine
the item well either; because I didnÕt
know what to check or what makes it
complete. But I did notice one of the
teeth was broken and the movement
(now that I know how to call it) was
disassembled and parts were loose. It
looked like a box of scrap metal sold
by the pound, and I was very ambitious
as a total beginner. So, I filled the
absentee bid form and left.
On Tuesday and Wednesday,
checked the realized prices on the
auction companyÕs website, but
nothing was released until Thursday
morning. ThatÕs when I saw it was
sold at $156. It was disappointing.
No one likes to be the runner-up in
an auction, and I could have won it
for just $6 more. But then, at noon, to
34 MECHANICAL MUSIC May/June 2019
The lid of the music box in question.
The Regina music box with disc in place.
movement outside the box for winding
and then put it back. Clearly this
was tedious, but the good thing was
the broken gear only affected winding.
It was able to play properly after an
awkward winding.
A natural solution to my problem
might be to locate and purchase a
replacement gear. I tried to search
online with the dimensions and
teeth number, but wasnÕt able to find
any commercial off-the-shelf parts.
I searched for bespoke parts and
talked to machine shops
my surprise, the auction house called
me and said I won. My first response
was ÒOh, the winner didnÕt pay,Ó but I
soon found out the hammer price was
$130 and realized price included a 20
percent premium. I was happy and
rushed to get it.
When I got back, I examined it more
carefully. Top and bottom
wood pieces were present.
The brass bed-plate
was laying in the box. The
movement was detached.
The screws and winding
crank were rolling freely
in the box. But it seemed
to be complete, except
for a non-critical screw
to hold a corner of a
wooden piece. I started to play with
my new toy by winding the movement,
which doesnÕt sound like a good idea
and could be very dangerous as I
know now. Winding the mainspring
without making sure everything is in
place could damage the movement,
especially when the endless screw is
missing. But luckily, the movement
was functioning properly and the
rotating spring barrel moved itself
slowly forward on the table. Cleaning,
re-assembly, and adjustment, I
thought, should be relatively easy.
The real problem was the winding
gear concentric to the spring barrel.
ItÕs a brass gear of 70 mm in diameter,
with 72 teeth, driven by a pinion gear
I hadnÕt ever done any 3D printing and I
similarly hadnÕt ever done any music box
restoration I figured, why not learn to do
them both at the same time?
rotated by the winding crank. Most of
the 72 teeth were bent and some were
broken. So, during winding, whenever
the broken part reached the pinion,
the cogs slipped and I wasnÕt able
to wind it any more. A workaround
was to remove the big gear, rotate it
fast-forward and skip the broken part.
This process had to be repeated for
every revolution and I had to take the
who quoted me hundreds
of dollars at least, plus
they told me they are not
willing to make just one. I
found videos on YouTube
about how to cut your
own gear, but I donÕt own
a lathe. I could have asked
the music box society for
help, and I appreciate the
art done by experts, but at the time I
didnÕt know that MBSI existed. The
only remaining option seemed to me
to be 3D printing a new part. I wasnÕt
sure whether it was going to work at
all, but since I hadnÕt ever done any
3D printing and I similarly hadnÕt ever
done any music box restoration I
figured, why not learn to do them both
at the same time? So, I borrowed a
May/June 2019 MECHANICAL MUSIC 35
Using the calipers to make measurements for a new gear.
Comparing the new versus the old gears to determine whether the plastic part would fit and also serve the intended purpose.
caliper from my mechanical engineer
friends and started the measuring.
When I got the numbers collected, I
created a model in www.tinkercad.
com, which is free software from
Adobe. The tool is easy to learn and I
received some training in architecture
school, but it still took me more than
one hour to build the model. I didnÕt
want to buy a 3D printer and just
wanted to try things really quick, so I
had to find online 3D printing services.
I uploaded my model, got quotes for
different materials, and compared
the prices from different sites. Brass
and stainless steel printing were
priced more than $100. I tried to cut
away non-load-bearing material to
reduce the weight and save the cost,
but I found that less material doesnÕt
make the printing any cheaper. So, I
decided to try the cheapest material
(Polyamide) for a prototype to test my
measuring and tolerance. The process
is Selective Laser Sintering (SLS),
which uses a laser as the power source
to sinter powdered material, aiming
the laser automatically at points in
space defined by a 3D model, binding
the material together to create a solid
structure. The cost was $20 plus $15
for shipping from Belgium.
The drawing made using www.tinkercad.
com, a free software by Adobe.
I had to wait for two weeks after
ordering. In the meantime, I found
a Regina repair manual and other
mechanical music literature and I
learned more about how things work.
When I received the gear in the mail I
was pleasantly surprised. The plastic
gear looked like an exact replica of
the original and the teeth engaged
perfectly. I installed it and wound the
spring slowly and carefully, lest an
abrupt move break the cogs. It worked
wonderfully. The prototype was strong
enough and fitted well, and I didnÕt
need a metal one. The 3D printed part
is just beyond my expectation. It has
36 MECHANICAL MUSIC May/June 2019
The top photo shows the original gear installed, while the lower photo shows the replacement gear in place.
New part installed and disc playing.
been running for 10 months now and
has never failed. The good thing about
it is that plastic parts are relatively soft
and donÕt damage other brass or steel
parts; and if it breaks, I can afford to
print another one.
Of course, 3D printing is not always
practical or even feasible for every
part. It is not the best way to fix a broken
tooth or tip, but 3D printing does
provide a new perspective to look at
things, especially when you need a
quick prototype before the final repair.
A YouTube video showing my
music box playing is available at
https://youtu.be/y27hzCwFZDg. MBSI
experts told me the box was made
Testing to see that the new gear would match up to the drive wheel.. before 1894.
May/June 2019 MECHANICAL MUSIC 37
The Hunt
Column Graphic by Mary Clegg
Story and Photo By Al Zamba
The Hunt
Column Graphic by Mary Clegg
Story and Photo By Al Zamba
The ÒJelloÓ Box
I have been a collector
and member of the Musical
Box Society International
for many years. I consider it
rare to find, or see, in most
collections, a musical box
that can be traced to its
original owners. Therefore
I present the case of a rare
24.-inch interchangeable
cylinder box with a matching
table made by Mermod
Freres.
This box was purchased
several years ago from the
John and Jessie Woodward
home in Rochester, NY.
John was the grandson
of Orater Woodward, the
founder of Genesse Pure
Food Co. in LeRoy, NY,
who built the Jello empire.
Orater bought the rights
to Jello from Pearl Wait in
1899 for $450. In 1923, sales
were so good the company
name was changed to the Jello Corporation.
By 1925, Orater and his wife,
Cora, were deceased and the new
generation was running the business.
At that time, they decided to sell the
business to Postum Cereal for $67 million.
Postum became General Foods
and later merged with Kraft.
In 2005, John WoodwardÕs wife,
Jessie, sold the box from her estate
sale at her home in Rochester, NY. It is
carved mahogany with five cylinders,
some of which play patriotic airs.
Knowing the story of this box is one
of the many reasons we love this box
and itÕs why we affectionately call it
ÒThe Jello Box.Ó
Sources:
¥ Jell-O, A Biography by Carolyn Wyman
¥ Jell-O Girls, A Family History by Allie
Rowbottom
Acknowledgments:
¥ Martin Roenigk
¥ Craig Smith
38 MECHANICAL MUSIC May/June 2019
A Charming Snuff Box
With sur-plateau music
By Robin Biggins
ItÕs not often we get the privilege of
examining small, high-quality artifacts
that contain mechanical music, particularly
items made about 100 years ago
when the music was produced using
a programmed flat disc with pins that
pluck the tuned steel teeth of a comb.
This style of musical mechanism is
referred to as a ÒSur-PlateauÓ movement,
which distinguishes it from the
more common cylinder movements
that were developed in the same
period. This construction enabled
mechanical music to be fitted to small,
thin items, such as pocket watches.
There are a number of descriptive articles
in past Mechanical Music journals
if you search for Òsur plateau.Ó The
term, translated to English, means Òon
a platformÓ or Òon a plate.Ó
This beautifully carved bone case
only has a small separate space underneath
for a musical movement. The
case is only 66mm x 32.5mm x 22.5mm
high. The beautiful lid hinge is an integral
part of the case. The mainspring
is wound by a male key, which helps
to reduce the overall height of the
movement.
The bedplate for the movement is
59.5mm x 19.6mm, so it is mounted on
a thin bottom cover plate to protect
it from any snuff getting into the
movement.
The platform is only 16.4mm in
diameter, just a tiny bit larger than a
U.S. dime! It is pinned on both the top
and bottom, and there are nine comb
teeth playing on the top and eight
playing on the bottom, for a total of
17. The music is quite recognizable
but the tune is unknown. A train of
gears regulates the speed. As you can
see from the photos, the individually
fixed comb teeth have a very complicated
shape and must have been very
difficult to make and tune. Equally
The lid of the carved bone case features a buck and a doe on the run.
The Òsur plateauÓ musical movement inside the box.
The inside of the case has a small space
under the ÒbottomÓ for the musical
movement.
The key that winds the musical move-
ment is quite small.
difficult must have been the programming
and pinning the plate on both
sides. In the Music Box (Musical Box
Society of Great Britain journal) there
is a wonderful article by Geoffrey
Mayson (V10B3 page 108) describing
the procedure to re-pin a damaged
plate, and that did not include having
to program the pin positions. When
we consider the early equipment and
the precision of the workmanship
when this machine was made, it is
truly remarkable.
May/June 2019 MECHANICAL MUSIC 39
Southeast Chapter
Chair: Jack Hostetler
Reporter: Margery Sanford
Photographer: Howard Sanford
Apr. 5-6, 2019 Ð Naples, FL
The Southeast Chapter held its
spring meeting Apr. 5-6 in Naples, FL.
A total of 67 members gathered for
the festivities. The fun began Friday
evening at the two side-by-side homes
of the fabulous Steve Brittain. He, and
our favorite videographer, Dale Koehn,
had set out delicious desserts for all
to enjoy. The super-size exhibit room
contained four reproducing pianos,
one Ampico upright, a three-manual
Wurlitzer theater pipe organ and other
small instruments all in a spacious
area with a separate room for pipes.
Steve played almost continuously for
everyoneÕs enjoyment.
Saturday morning began with a
short business meeting at which a
useful discussion was held about the
chapterÕs national convention plans
for 2021. To our delight, Mark Yaffe
and Craig Darlak were designated
co-chairmen. Together, they came
up with some wonderful ideas. They
certainly earned the groupÕs vote of
confidence.
Two workshops followed. The first
was a video presentation of Diane and
Bob YatesÕ collection of 19 rare organettes,
the highlight being the Pipetta,
only two of which are known to be
in existence. Bill Edgerton followed
with an amazing and complicated
description of his manufacturing process
for 63 copies of the KT Special
created over three years. It was hard
to believe, but all the parts of the new
machines could be interchanged with
the original models.
Next up was Ron Bopp. He regaled
the audience with his presentation of
shell collecting in Florida. He brought
along some fascinating samples. An
added attraction, Norman Bauer
showed a monkey organ purchased
from Bernie WeiserÕs widow Fran.
Bill Edgerton demonstrates construc-
tion of the KT Special.
The organ features a handsome case
embellished by a highly crafted exterior.
Several members contributed
helpful hints about the features and
history of the instrument.
Lunch was followed by three
wonderful open houses. ItÕs always a
treat to tour the home of Bill Griffin
Steve Brittain plays his Wurlitzer Theater Organ.
Pam and Joel Jancko pause for a photo
with Steve Brittain
and Norm Dolder. Their collection of
clocks, musical machines and orchids
are not to be missed Ð especially the
clock that only needs winding once
per year. A plerodienique music box
in mint condition was seen by us for
the first time and what a fantastic
interchangeable cylinder box it is.
Bill Edgerton and his DeCap dance hall organ. The Gavioli organ in Bill EdgertonÕs collection.
Overview of Bill EdgertonÕs musical warehouse. Bill Edgerton feeds book music into one of his organs.
Jarda Dvorak with one of his barrel organs. Bill Griffin and his Plerodienique music box.
May/June 2019 MECHANICAL MUSIC 41
Norm Dolder is an orchid specialist.
Bill Edgerton also opened his venue
to the group. His collection is kept
in an up-scale warehouse containing
five impressive fairground organs, a
Gavioli, a Bruder Bros, a Limonaire, a
Gasparini and a large Decap. His self-
made KT Special organ was featured.
The highlight was a rare, massive
1876 Dufner Barrel orchestrion that
is one of only three known Dufner
instruments. It will soon be seen at the
Morris Museum in New Jersey.
The third open house was held by
Jarda Dvorak. Attendees gasped at the
hugely varied and beautiful collection
of European clocks, some musical.
Also, there were barrel organs, paintings
and swords.
A catered dinner was provided in
the hotel followed by a wonderful
magic lantern presentation by the
incomparable Diane and Bill Yates,
ably assisted by Maria and B. Bronson.
This hilarious show stopper was
described by our own trustee, Mary
Ellen Myers, as Òthe adventures and
mis-adventuresÓ of the ever-popular
One of Norm DolderÕs spectacular orchids.
A magic lantern show was narrated by Bob and Diane Yates with assistance from
B. and Maria Bronson.
major collectors, Pam and Joel Labor Day in the Rockville, MD, area
Jancko. and our next chapter meeting in Plan-
Members are now looking forward tation, FL, Oct. 25-27 being planned by
to the 2019 MBSI Annual Meeting over Pam Jancko and John Leuenberger.
42 MECHANICAL MUSIC May/June 2019
Sunbelt Chapter
Chair: Ray Dickey
Reporter: Diane Caudill
Photographer: Diane Caudill
Feb. 2019 Ð Houston, TX
The Sunbelt Chapter held a February
business meeting at the home
of Chairman Ray Dickey to discuss
visions for the future of the chapter
and to plan additional meetings.
Ray called the meeting to order, and
discussions about a Spring/Summer
meeting in the Brenham area and a
Fall meeting in the Dallas area took
shape.
After the business meeting, members
were awed by the DickeyÕs
fabulous collections of music boxes,
ivory figures, and beautiful antiques.
A King Cake to celebrate Mardi Gras
added to the festivities along with
various snacks and drinks.
Despite the lack of Mardi Gras beads
and a parade, the festivities came
close to equaling the New Orleans
experience, simply because the music
was better.
Almost every room of the Dickey home
holds beautiful treasures, including
music boxes, barrel organs, and ivory
pieces.
Ray Dickey plays his gorgeous 15.-inch drum case Porter music box as other
members catch up on events that have taken place since the Christmas party.
Ray Dickey plays the 22-inch Emerald Polyphon with bells for Andy and Frances
Ware who drove in from Boerne, TX.
Diane Caudill, Steve Boehck, and Alan Bies discuss how to
get more members involved.
Sandra and Phil Smith, Larry Caudill, and Nancy Dickey enjoy
snacks in one of the sitting areas.
Mike Evans and Larry Caudill enjoy Ray DickeyÕs information
about his miniature boxes.
Wayne Holton cuts into the
Mardi Gras King cake to the Sandra Smith appreciates
delight of Jennifer Lehman. the three-singing bird box. Phil Smith admires the 24-inch Lochmann with tubular bells.
44 MECHANICAL MUSIC May/June 2019
Golden Gate Chapter
Chair: Jonathan Hoyt
Reporter: Jenny Hoyt
Photographer: Rob Thomas, AMICA
Feb. 10, 2019 – Oakland, CA
Members of the Golden Gate Chapter
gathered for our first meeting of
the year on Feb. 10, at the home of
David Corkrum. More than 20 people
attended, including several members
of the San Francisco Chapter of the
Automatic Musical Instrument CollectorsÕ
Association (AMICA). The
meeting itself was lovely, but the real
story is in highlighting our host and
his collection.
DavidÕs home is a beauty, located
in a neighborhood of Oakland, CA,
known as Mills Gardens which was
established around 1925.
Visiting DavidÕs home is like visiting
the home of a dear friend. You feel
welcome from the first step in the
door, find a spot on his cozy sofa, and
take in the smell of something amazing
cooking in the kitchen. There are
music boxes in both the living room
and formal dining rooms, looking
beautiful and asking to be played. If
youÕve been to DavidÕs home, then you
know these things to be true! It was
a terrific meeting place to spend a
February afternoon with friends.
ÒI love music boxes and their history.
I love where I live, and I love all
of my good friends in the music box
industry. I cannot think of a better
hobby where people come to meet,
talk, share and express delight in the
same interests I have,Ó says David.
Readers likely know him well, as
he joined the society in 1976 and then
the local chapter in 1979. He also
serves the MBSI Board of Trustees as
the recording secretary, a job he has
held since 2006. Prior to that, he was
the membership committee co-chair
along with Nick LeRescu. In addition,
David has a reputation and many loyal
customers via his business, punching
new discs for music boxes. His work is
Meeting host David Corkrum preparing to play a record on his beautiful 1907 Regina
Style 39 with phonograph horn for guests.
Fellow disk-making master and local Chapter member Barry Johnson stops to flash
a smile before playing one of his own disks!
Mark Williams and Russ Kriegel looking over the upright
Polyphon in DavidÕs dining room.
Ken Snowden assists with dish duty after a great lunch.
Left to right, Lyle Merrithew, Chris Hopwood, Sandy Swirsky,
Ken Snowden and a guest enjoy a discussion surrounded by
Dave CorkrumÕs music box collection.
Russ Kriegel inspects a small disc player.
Dave Corkrum entertains Bob Caletti as Lyle Merithew (front) Jennifer and Jonathan Hoyt enjoy the look and sound of
and Chris Hopwood listen in. DavidÕs upright Polyphon.
46 MECHANICAL MUSIC May/June 2019
David Corkrum, left, talks with Marguerite and Marc Kaufman, Judy and Bob Caletti, Jonathan Hoyt, and Barry Johnson.
a labor of love which keeps him busy.
In fact, 2018 was his busiest year yet.
Despite the hard work and constant
demand, he enjoys it; especially when
a customer selects a tune he has never
produced, let alone heard.
David began his collection with
disk boxes. At first it was just Symphonions,
but later he purchased a
24.-inch Polyphon and found that
he really enjoyed the companyÕs
disc arrangements. From there,
he purchased other disc machines
simply because he liked the sound of
their music and is especially fond of
machines with bells. His 22 1/8-inch
Polyphon is among his most liked,
and is played often. It wasnÕt until
later that he started buying cylinder
machines. His first was a Paillard with
four changeable cylinders whose case
and mechanism are especially beautiful
to his eyes and ears. All in all, the
music repertoire, the mechanics, and
the interesting cases are what sustain
his interest.
He recalls, ÒI heard my first real
music box at a mom and pop jewelry
store near my apartment. It was a
20.-inch Regina in an oak case. The
owner stated it would cost about
$2,000 to purchase one. This was
1973 and I had just started working
as an air traffic controller. Obviously,
I could not afford this type of box but
I kept looking until I found one I could
afford.Ó The rest is history.
Speaking of history, DavidÕs collection
includes a Òpiece with a past.Ó
Then again, most musical boxes
are! This particular piece is his 22
1/8-inch Polyphon Bell Box Model 6,
mentioned earlier as one of his most
enjoyed. The machine was found in
what was formerly East Germany,
in a restaurant known as the Alpen
Rose. It was purchased by Paul-Heinz
Wirtz and restored by Klaus-Dieter
Reichardt. Considering the amount of
restoration required, David believes
the restaurant owned it for most of its
life. The purchase was found on eBay,
along with an Emerald Polyphon
table-top 22 1/8-inch disc box.
One guest questioned, ÒOut of such
a nice collection, which is your favorite
piece?Ó To which David responded,
ÒI am not sure if I have a favorite.
Many people have asked me this and
I usually tell them it is the one I am
listening to at the moment. They are
all great machines.Ó Agreed, indeed.
David is a natural at making his
guests feel at home. We were free
to enjoy our time together, whether
relaxing and chatting with friends, or
moving from box to box, playing and
admiring each instrument. Like many
members of the Society, hobbies and
collections span beyond mechanical
music. The same is true with David, as
his other hobby collection is orchids!
He has approximately 350 plants of
varying species which he has been
A view of the Regina Style 39 with no
record loaded.
collecting since 1977. Guests had
the opportunity to admire and learn
more about them. And as is typical,
the group circled the dining table
many times over, enjoying a variety of
homemade dishes and desserts. The
afternoon gathering concluded with a
business meeting whose primary topic
of conversation centered around the
upcoming 2020 Convention, and all of
the fun things the committee is planning.
It was a relaxing and enjoyable
time.
WeÕll close with this heartfelt sentiment
by David. ÒYou canÕt pick your
family,Ó he says. ÒBut you can pick
your friends, and the chapter members
are all my family.Ó To which we would
like to express our mutual affection.
Many thanks to Dave for welcoming
us into his home, and even more-so
for his continued service to the local
Chapter and Society. He is warmly and
genuinely appreciated.
May/June 2019 MECHANICAL MUSIC 47
Southern California Chapter
Chair: Robin Biggins
Reporter: Linda Birkitt
Photographer: Lowell Boehland
Feb. 10, 2019 Ð Santa Monica CA.
It is always a pleasure to attend
an MBSI meeting at the beautiful
beach-front home of Chuck and Lydia
Levy. It was however, unfortunate for
us all that Lydia was unable to join us
due to health issues.
This was a wonderful meeting with
approximately 55 members and guests
in attendance. Upon arrival we began
by enjoying a delightful luncheon.
The food, home and hospitality were
without equal, not to mention the
collection.
After lunch, the meeting was called
to order at 1:40 p.m. by Chapter Chair
Robin Biggins. Although Bob and
Diane Lloyd were not able to attend
the meeting, Diane reported for Bob,
our treasurer, that our chapter is
solvent. Robin reported that the next
meeting would be a double header
on Apr. 27 at the incredible homes of
Harold and Barbara Hastain and Paul
and Pam Morris, in Redlands, CA.
Numerous members attended this
meeting without their name badges so
temporary badges were used. We ask
that in the future all members please
remember their name badges for all
meetings. A suggestion is to leave the
badges in a car glove compartment so
they are readily available for meetings.
Members who do not have an MBSI
badge should let the chapter chair
know so new badges can be made.
The Southern California Chapter is
always looking for new venues for its
meetings. Please let the chapter chair
know if you are interested in hosting
an upcoming meeting. You do not
need to have an extensive collection
to host a meeting. It is the love of
music and the camaraderie which
helps make meetings such a success.
During the business meeting,
Joel Feldman informed everyone of
Meeting host Chuck Levy demonstrates an automaton called ÒLittle Titch.Ó
Robin Biggins conducts the business meeting in the living room filled with contem-
porary art and comfortable couches.
Chapter members with the beach and Pacific ocean in the
background.
Some of the wonderful automata in the display cases.
A fantastic automaton acrobat that does handstands on one
arm while lifting a chair.
an event happening in his Antique
Automobile Collectors club. Kent
BrownieÕs collection of antique cars,
antique radios and small musical
boxes and telephones was featured
The beautiful Cambodian dancer automaton with friends.
Chuck Levy demonstrates the harpist and conjurer automa-
tons, each finely detailed and in stunning condition.
at the event. Kent bought much of the
collection from Art Asner in Cerritos,
CA. This event was held Mar. 30.
Frank Nix, representing the Automatic
Musical Instrument CollectorsÕ
Association (AMICA), shared an invitation
to upcoming open houses and
the convention in Seattle, WA, that
will happen from Jul. 2-7, 2019.
After the business meeting, Chuck
May/June 2019 MECHANICAL MUSIC 49
One of the display cases in the Levy home that features a wonderful collection of automata.
Levy shared some of the history of his
current home. In the 1920s and 1930s
the residence was part of HollywoodÕs
Gold Coast. His neighbors were
Louis B. Mayer, Jack Warner, Harry
Warner, Sam Goldwyn and David O.
Selznick. Mayer was a German Jew
who emigrated to the United States
leaving behind a large family. He recognized
early the threat Hitler posed
and brought his entire family Gonsa
Mischpoka (someone without a trade
or regular means of livelihood) to this
country. In those days an immigrant
could not gain admission to the United
States unless he had a job. Mayer was
the CEO of Metro Goldwyn Mayer,
commonly known as MGM. Mayer put
all his family on the payroll of MGM
causing the local wags to claim MGM
stood for MayerÕs Gonsa Mischpoka!
Levy quipped that the ÒGold Coast of
Santa MonicaÓ has now become ÒThe
PeopleÕs Republic of Santa Monica.Ó
The beach property lines on the Gold
Coast used to fluctuate twice daily
with the tides, as was dictated by the
Treaty of Guadalupe Hildago, which
was the peace treaty that concluded
the Mexican American War of 18461848.
That has now changed.
Chuck further expanded on collecting
automata. Automata comes from
the Greek Òto move.Ó The value of
automata depends on age, condition
of the piece, condition of the costume,
the number of movements and rarity.
With respect to the Cambodian Dancer,
the King of Cambodia visited France
in 1915 with an entourage of Cambodian
dancers. Gaston Decamps most
likely created the Cambodian Dancer.
There are two such automaton dancers
known in the world with the other
one being sold for $400,000. The
dancers, however, dance to Western
style music and not Cambodian music.
Several automata were brought to the
meeting and shown by our members
as a show-and-tell. Additionally, we
Chuck Levy and Robin Biggins demon-
strate ÒThe WriterÓ automaton for the
gathered group of chapter members.
were able to hear the Levy mechanical
music, which included a Mills Violano,
a ÒrevolverÓ musical box, a 27-inch
Regina changer and other large cylinder
boxes.
Many of the pieces of ChuckÕs collection
were demonstrated by Robin
Biggins and Don Henry, as well as
Chuck Levy. A grand time was had by
all during this interesting and informative
meeting.
50 MECHANICAL MUSIC May/June 2019
Southern California Chapter
MBSI and AMICA members pose for a group photo outside Frank NixÕs ÒMusik Haus.Ó
Chair: Robin Biggins
Reporter: Linda Birkitt
Photographer: Lowell Boehland
Dec. 8-9, 2018 Ð Woodland Hills, CA
This meeting was a combined
Christmas meeting with MBSI and the
Automatic Musical Instrument CollectorsÕ
Association (AMICA) at the
lovely home of Frank Nix. There were
more than 60 members in attendance.
Frank had prepared a bountiful buffet
for our groups. In addition to the
luncheon, Frank generously opened
up his homes to the members of MBSI
and AMICA for an afternoon of upbeat
music.
Additionally, he had decorated the
rooms appropriate to the season.
Frank with his family enjoying the Fratti organ.
Guests enjoyed the double and single Violanos programmed
to play in concert. Frank with Rosanna and Bill Harris in the band organ room.
Frank Nix explains the inner workings of Guests listen to a song from the Banjo Dieter Brehm (L) translates a German
an orchestrian to onlookers. Orchestra. disc tune title for Robin Biggins.
The Musik Haus holds an impressive display of large and small instruments all ready to play for visitors.
52 MECHANICAL MUSIC May/June 2019
The beautiful Hupfeld orchestrion definitely makes an impres-Robin Biggins leads the business meeting for MBSI members
sion on guests. in the covered patio area.
A partial view of the quiet musical box room. Meeting host Frank Nix with his monkey and band organs.
The Hupfeld and Duwyn orchestrions,
and the double and single Mills
ViolanoÕs were popular instruments as
demonstrated by the number of people
who congregated around them. Most
of the instruments are now operated
by the MIDI system, to present a wide
selection of music.
The automaton monkeys and
miniature miners were a delight to
the children, young and old. The
large upstairs music box collection is
always a delight to experience, with so
many unusual cylinder and disc boxes.
The quiet room was a perfect place to
hear them and really appreciate all the
different makes and styles.
The business meeting was conducted
by Robin Biggins, and the
current officers were re-elected for
2019. Our treasurer, Bob Lloyd, was
not able to attend but we are solvent,
and many members have already paid
their 2019 dues.
Some of our members could not
attend on Saturday so Frank graciously
opened his home on Sunday,
as well, so everyone could enjoy the
music.
The combined music aficionado
groups are fortunate to have Frank as
such a generous host, and we all thank
him for his hospitality.
May/June 2019 MECHANICAL MUSIC 53
In Memoriam In Memoriam
Deanna Roth Ð Oct 12, 1939 to Mar. 3, 2019
By Frank Nix
A little more than 30 years ago, I was
taking a machine shop course at Pierce
College. My instructor recommended
a course in construction math taught
by Fred Roth, DeannaÕs husband. I
liked the course and my wife, Shirley,
coached me through with flash cards.
Later on, we got to know Fred and
Deanna when he asked me to have
the Southern California Band Organs
come out to Cal Lutheran University
and play at the FatherÕs Day car show
that they organized.
Shirley and I and the RothÕs became
good friends. They shared the same
passion for music machines that we
did. They would come over to our
music meetings and then became
members of MBSI. They always invited
us over to their New YearÕs Eve Party.
Fred built a 1920s themed movie
theater with a carved oak bar where
we enjoyed watching old movies. The
RothÕs put together one of the finest
collections of 1950s American sports
cars. Deanna worked right alongside
Fred and their son Chris to complete
the restoration and showing of these
beautiful cars.
Fred and Deanna decided to acquire
a violano and sought our help in looking.
Deanna called and asked Shirley
and I to travel to Arizona with them to
check out a collection that included a
violano. It was a fun trip. Fred would
always be kidding me and we gave
each other trouble along the way.
After seeing the collection, we agreed
that most of what we saw needed too
much work. We made bids on four or
five machines, but werenÕt successful.
Fred kept looking and found a
beautiful quarter-sawn oak case
violano in the Midwest. He had Terry
Haughawout pick it up and do some
repairs. Unfortunately, it was turning
winter and the machine couldnÕt be
shipped until spring. Fred got sick and
went to the hospital for an operation.
He never fully healed and had further
complications which eventually took
his life in 2015. This was a difficult
time for Deanna as only one year
before she had lost their daughter Lisa
to cancer.
Deanna, undeterred, found a way
to get that violano shipped from
Ohio and I helped her get it working.
It filled the hallways of their home
with wonderful music which kept
FredÕs dream alive. After Fred passed,
Deanna kept active in her hobbies as
well as volunteering at the Thousand
Oaks, CA, senior center. She was an
extremely intelligent woman who was
also an educator. After several years
as an elementary school teacher she
took over as a principal of Weathers-
field and then Meadows Elementary
in Thousand Oaks. She was able to
improve these schools so much that
she was called to Sacramento, CA, to
receive the stateÕs highest award in
education.
Two years ago, my wonderful wife,
Shirley, passed away from a very
aggressive and painful form of cancer.
Losing Shirley really hurt as I thought
we had many more years together.
Deanna called me right after and said
the nicest thing as she knew the pain
of losing someone so close. She said
she just wanted to give me a hug. We
used to see each other for lunch when
she would come to Woodland Hills,
CA, for appointments.
In November, Deanna had a stroke
that left her temporarily with limited
memory and physically incapacitated.
She worked hard to get back to normal
and was able to come to a February
MBSI meeting at Chuck and Lydia
LevyÕs home in Santa Monica, CA,
54 MECHANICAL MUSIC May/June 2019
with her son Chris. We had a lovely
day watching the automatons and
enjoying the collection.
Tragically, only a couple weeks
later, Deanna experienced another
seizure and shortly afterward was in
hospice care.
Her son Chris and grandson Randy
stayed with her along with the care
givers. They played music from the
machines over her final days with
the hope she could still hear while in
the coma. Chris invited relatives and
close friends including me to come
over to sit with her and to say last
goodbyes.
Deanna passed away on Sunday,
Mar. 3, with her loving family by her
side. Just like my Shirley, she was
a wonderful lady who was loved by
everyone that knew her. She will be
missed.
Rest in peace our dear sweet
Deanna, someday we will all be
together again.
THE AMAZING BILL ÔROGERÕ DICKENSON COLLECTION
JULY 20 & 21, 2019
25820 7TH ST. WEST ¥ ZIMMERMAN, MINNESOTA, 55398
DAY 1 Ð9AM: COLLECTOR CARS- VINTAGE MOTORCYCLES- PARTS- MEMORABILIA
DAY 2 Ð 9:30AM: PLAYER PIANOS, MUSICAL BOXES, SLOT MACHINES- COLLECTIBLES
PREVIEW JULY 19, 2019: 10AM-7:30PM- MUSIC-FOOD
VanDerBrink Auctions is pleased to bring you the
Amazing Bill ÒRogerÓ Dickenson Collections. Bill was a
CARS: Rare 1916 Woods Mobilette, 1906 REO, 1914 Saxon, 1920 Overland,
1935 Auburn Model 851 Phaeton, 1907 International Hi-Wheeler, 1907
COLLECTOR CARS ¥ VINTAGE MOTORCYCLES ¥ BRASS ERA PARTS ¥ MUSIC BOXES ¥ COLLECTIBLES & MORE!
For more auctions, inventory,
pictures, and more visit:
www.vanderbrinkauctions.com
Yvette VanDerBrink Auctioneer
MN 67-73
507-673-2517 or 605-201-7005
xture around Anoka and Elk River, MN, with his Bus
Service. He would quietly help people and more than
willing to charter school kids to their events. Bill carried
his fatherÕs love of music with an amazing musical box
and player piano collection, and many more collectibles.
When he retired, he further expanded his love of Brass
Era vehicles and going to swap meets and auctions to
build his collection. Everything will be sold to the
highest bidder onsite and with online bidding. You wonÕt
want to miss this amazing auction!
Jackson Roadster, 1909 McIntrye Pickup, 1910 Metz, 1915 Metz, 1914
Trumble Roadster, 1907 Schacht Roadster, 1906 Kiblinger High Wheeler,
1906 Sears Model H, 1912 Buick Roadster, and MORE!
VINTAGE MOTORCYCLES: Huge amount of Brass Era Parts & More! Lamps,
Garnishes, Sheet Metal, and more!
PLAYER PIANOS, MUSICAL BOXES, SLOT MACHINES: My Little
StockBroker Slot Machine, Shooting games, Strength machines, Toys, music
boxes, player pianos, and MANY MORE COLLECTIBLES TO BE FOUND!
THE BILL ÒROGERÓ DICKENSON ESTATE
May/June 2019 MECHANICAL MUSIC 55
The Castle Collection
Saturday, 1. June 2019, 15.00Fidlerstrasse 4, CH-8272 Ermatingen/TGSwitzerland
In Memoriam Erich Traber
30+ Fairground & Monkey Organs
Weber Grandezza & Unika
Vienna Pipe Organ ca. 1820
with 10 Cylinders
89 key Waldkirch Gavio
Vienna Pipe Organ
ca. 1820 with 18 Cylinders
Auction 80% without Reserve
20+ Rare Music Boxes / 250 Lots
5 Gewecke Cylinders
ioli with 17 Cases of Music
33 Key Trumpet Organ Large 75 Key Organ with 2 Barrels
Catalogue, Videos, Online-Bidding,
starts 15. April
www.SwissAuctionCompany.com
Tel.: +41 71 3700305, Fax: +41 71 3700307
70th Annual Meeting
August 27 – 30, 2019
Hilton Washington, DC/Rockville Hotel
Rockville, Maryland
National Capital Chapter, Hosts
REGISTRATION FORMS ARE IN THIS JOURNAL ISSUE.
Questions? Contact Jan Bender, Registrar jbzn5063@cox.net 703-430-9566
American Popular MusicAmerican Mechanical Music
& It all began with…
RAGTIME..24
.
ä
E X
OE
BenÕs Player Piano Service
Repair and restoration of air powered mechanical music
devices of all description.
Player pianos
Reproduing pianos
Dance organs
Fairground organs
Nickelodeon pianos
Original historically
Correct techniques
And materials used
Throughout in the
Rebuilding process.
Benjamin R Gottfried
464 Dugan Road, Richfield Springs NY 13439
Bensplayerservice.com 315-858-2164
SAMPLE Restorations, LLC.
Joe Smith
Email: mbsi@irondogmedia.com to place your ad here!
This could be your ad right here!
Chet Ramsay
Antiques
Complete Restoration
Services Available.
Specializing in Music Boxes
Ð Ð
Bought ¥ Sold ¥ Repaired
¥ Outside Horn Phonographs
¥ Music Boxes
Come visit our Victorian
showroom and workshop
East Fallowfield Twp.
2460 Strasburg Road
Coatesville, PA 19320
2 miles south of Coatesville
610-384-0514
Showroom open by appointment
Criterion Upright Double Comb
Music Box – $4,000-$6,000
French Interchangable Cylinder
Music Box – $3,000-$5,000
Regina Music Box – $1,500-$2,500
Upcoming at Auction – March 23, 2019
For more info about buying or selling at auction, please contact: Matt Cottone | 585-243-1000
cottoneauctions.com
COTTONE AUCTIONS
May/June 2019 MECHANICAL MUSIC 59
MUSICAL SNUFF BOX and CASE
WELTE STYLE 3 ORCHESTRION
MERMOD FRERES, 19 CYLINDERS
LOCHMANN
with bells
EMPRESS CONSOLE
The LifelongCollection of
Mechanical Music MachinesCherished byRalph and Gloria,
Now Available for Purchase
MUSICAL SNUFF BOX and CASE
WELTE STYLE 3 ORCHESTRION
MERMOD FRERES, 19 CYLINDERS
LOCHMANN
with bells
EMPRESS CONSOLE
The LifelongCollection of
Mechanical Music MachinesCherished byRalph and Gloria,
Now Available for Purchase
www.TheAmazingMusicalOddity.com
For more information, please contact Howie Schack
Phone: 817-994-4321 Email: musicalhowie@gmail.com
NEW IN STOCK!
Just in and not enough time to take photos!
É15 .Ó Regina phone with mahogany horn
É20 .Ó Criterion UprightÉGREAT sound!
ÉTwo 18 .Ó Mira consolesÉmy favorite!
ÉBell and Drum/Bell cylinder boxes
ÉFat 18 .Ó cylinder Bremond
ÉEarly Keywinds, one with exposed controls
ÉCapitol Cuff, coin drop ÒFÓÉthe BIG one, on
table with cuff storage below.
Émany 3/72 note Reuge in fancy cases
Éoriginal Base Cabinets for 15 .Ó machines
DISCS:
Over
9,500 discs in stock for various brands.
Email
me your needs!
JUST IN:
80+ 20
.Ó
Criterion Discs
BOOKS:
K.
McElhoneÕs ÒThe Disc
Musical
BoxÓ
Ð
only $59.95
Supplements: ÒThe Disc Musical
BoxÓ
-$51.00
ppd.
(US)
ÒThe Organette
Book -$45.50
ppd.
(US)
Both supplements for $90.00
ppd.
(US)
THE MART THE MART
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 MUSICAL
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. MECHANICAL
MUSIC PRESS-M, 70 Wild Ammonoosuc
Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
1928 WEBER 6Õ4Ó Duo Art Walnut Art Case
Louis XVI 80118 with original matching
bench. Finish in good condition, original ivory
keys, player restored 20 years ago but still
plays well. $8,500 Donald Huene, 7429 North
Valentine, Fresno CA 93711 (559) 431-1639,
yosemf@aol.com Contact: DONALD HUENE,
(559) 431-1639, yosemf@aol.com 7429 N
Valentine Ave Fresno, 93711-0643 United
States
AEOLIAN ORCHESTRELLE. Beautiful
restored walnut case with bench. 6 rolls.
Nelson Wiggins coin-op nickelodeon. Mills
Single Violano. Baciagalupo Barrel Operated
Monkey Organ. Several smaller music boxes.
Contact: BECKY SODERSTROM, (209) 6698709,
bannsode@gmail.com
O-ROLL ORCHESTION collection of 75 rolls.
Excellent condition. $2500. Contact: ROBERT
WERTH, 208-920-3453, werth2b@yahoo.
com Sandpoint, ID 83864
CHICKERING REPRODUCING AMPICO A,
1920s parlor grand 69-inches. Original ivory
keys. Restored 25 years ago. Plays but needs
servicing. Photos on request. SWISS STREET
BARREL ORGAN, hand crank, wood pipes, 10
songs. Plays but needs servicing. 25 inches x
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 business
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 business
dealings with said advertisers.
Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $246
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43
Add a 10% surcharge to the prices shown above if you are not a member of MBSI.
*Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount
SUBMIT ADS TO:
MBSI Ads
130 Coral Court
Pismo Beach, CA 93449
(253) 228-1634
Email: editor@mbsi.org
Add a photo to your ad!
Photos are only $30 extra per issue.
Email editor@mbsi.org or
call (253) 228-1634 for more details.
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.
62 MECHANICAL MUSIC May/June 2019
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 below and mail to MBSI at 130 Coral Court, Pismo Beach, CA
93449. Call (253) 228-1634 with questions.
Name Phone
JACK KANE, 713-726-6927, Luvstocook@
gmail.com Dallas, Texas 75224 United States
LOOKING TO BUY Grand Roller Organ
32-note cobs. Contact: DAVID COSMO, 845224-
6355, dave@cprdave.com
WANTED: ORIGINAL Wurlitzer APP changer
rolls. Marches and old favorites. Contact:
DON KROENLEIN, (217) 620-8650, fbac@
one-eleven.net
SERVICES
REPRODUCTION POLYPHON discs; Catalogs
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 Pennsylvania
Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM.
On the Web: www.musicboxrepaircenter.com
24 inches x 13 inches. DON WRIGHT (918)
630-9029, clwright37@gmail.com
CREMONA STYLE G w/flute pipes, 1914
model restored in 2002. Recently serviced
by D.C. Ramey Piano Company, now ready
for a new home. Prairie Style colonial case
of quarter cut oak. Three art glass panels
and two art lamps decorate the facade and
illuminate while playing. Piano has unique
Marquette mandolin attachment, featuring 32
flute pipes. It is truly a delight to both ears and
eyes. Includes ten ÒAÓ rolls. Contact: DAVID
RAMEY, 708-602-3961, dcramey@dcramey.
com, https://dcramey.com/cremonag.html.
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.
WANTED
EMPTY 27Ó REGINA case (upright, single
play, not a changer). Also looking for bell
Òshut-offÓ levers for 22Ó Polyphon (barbell)
and needing 22Ó Polyphon discs. Contact:
Email
Text of ad
Display Advertisers
2 Renaissance Antiques
55 VanDerBrink Auctions
56 Swiss Auction Company
57 Swiss Auction Company
58 National Capital Chapter
59 BenÕs Player Piano Service
59 Chet Ramsay Antiques
59 Cottone Auctions
59 Bob Caletti Music Box
Restorations
60 Schack Collection
61 Nancy Fratti Music Boxes
66 Marty Persky
67 Morphy Auctions
68 Auction Team Breker
May/June 2019 MECHANICAL MUSIC 63
OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL¨
OFFICERS
President
Clay Witt
820 Del Rio Way Unit 303
Merritt Island, FL 32953
floridaclay@floridaclay.net
Vice President
Tom Kuehn
4 Williams Woods
Mahtomedi, MN 55115
kuehn001@umn.edu
Recording Secretary
David Corkrum
5826 Roberts Avenue
Oakland, CA 94605
musikwerke@att.net
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
kozak@seldenfox.com
TRUSTEES
Judy Caletti
Ed Cooley
Sally Craig
Wayne Finger
Tom Kuehn
Mary Ellen Myers
Mary Pollock
Clay Witt
MBSI FUNDS
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Mary Pollock, Trustee
G.Wayne Finger, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair
Mary Pollock, Trustee
B Bronson
Executive Committee
Clay Witt, Chair, President
Tom Kuehn, Vice President
Mary Pollock, Trustee
Judy Caletti, Immediate Past Pres.
Sally Craig, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Wayne Wolf, Vice Chair
Tom Kuehn, Vice President
Judy Caletti, Trustee
Peter Both
B Bronson
Marketing Committee
Rob Pollock, Chair
G.Wayne Finger, Trustee
Bob Smith
Meetings Committee
Tom Kuehn, Chair, Vice President
Mary Pollock, Trustee
Don Henry
Matt Jaro
Cotton Morlock
Rich Poppe
Membership Committee
Rob Pollock, Chair
Judy Caletti, Trustee,
Immediate Past President
Linda Birkitt, Southern California
Membership Committee
(cont.)
Tom Chase, Snowbelt
Glen Crater, East Coast
Mary Grace, Sunbelt
Florie Hirsch, National Capital
Julie Hughes, Golden Gate
Julie Morlock, Southeast
Dale Stewart, Mid-America
Dan Wilson, Piedmont
Gerald Yorioka, Northwest IntÕl
TBD, Great Lakes
TBD, Japanese IntÕl
Museum Committee
Sally Craig, Chair, Trustee
Ken Envall, Southern California
Julian Grace, Sunbelt
Wayne Myers, Southeast
Museum Sub-Committees
Ohio Operations
Emery Prior
Nominating Committee
Dan Wilson, Chairman
Judy Caletti, Trustee
Mary Pollock, Trustee
Johnathan Hoyt
Judy Miller
Dale Tyvand
Bill Wineburgh
Publications Committee
Bob Caletti, Chair
Tom Kuehn, Vice President
Steve Boehck
Dave Corkrum
Christian Eric
Kathleen Eric
Terry Smythe
Publications
Sub-Committee
Website Committee
Rick Swaney, Chair
Julian Grace
B Bronson
Don Henry
Knowles Little, Web Secretary
Special Exhibits Committee
Wayne Myers, Chair
David Corkrum, Golden Gate
Robert Ebert, Mid-America
Jack Hostetler, Southeast
Judy Miller, Piedmont
Mary Ellen Myers, Southeast
Rick Swaney, Northwest IntÕl
SPECIAL ACTIVITIES
Publications Back Issues:
Jacque Beeman
Regina Certificates:
Bob Yates
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Members can donate to these funds at any time.
Send donations to: General Fund (unrestricted)
MBSI Administrator, Endowment Fund (promotes the purposes of MBSI, restricted)
PO Box 10196, Ralph Heintz Publications Fund (special literary projects)
Springfield, MO 65808-0196. Museum Fund (supports museum operations)
All manuscripts will be subject to editorial review. Committee and the Editorial Staff. are considered to be the authorÕs personal opinion.
Articles submitted for publication may be edited The article will not be published with significant The author may be asked to substantiate his/her
or rejected at the discretion of the Publications changes without the authorÕs approval. All articles statements.
64 MECHANICAL MUSIC May/June 2019
CALENDAR OF EVENTS
Date Event Location Sponsor
May 19, 2019 Golden Gate Chapter Meeting Menlo Park, CA Bob and Judy Caletti
May 26, 2019 National Capital Chapter C& O Canal Organ Grind and
Music Box Demonstration
Potomac, MD Paul Senger
Jun. 29-30, 2019 National Capital Chapter and COAA joint organ rally Reinholds, PA Sally Craig
Aug. 18, 2019 Golden Gate Chapter Meeting Belmont, CA Richard and Julie Hughes
Aug 27-31, 2019 2019 MBSI Annual Meeting Rockville, MD National Capital Chapter
Nov. 17, 2019 Golden Gate Chapter Meeting Morgan Hill, CA Chris and Greg Hopwood
Please send dates for the Calendar of Events to Russell Kasselman (editor@mbsi.org)
CONTACTS
Administrator Jacque Beeman handles back issues (if available) $6;
damaged or issues not received, address changes, MBSI Directory
listing changes, credit card charge questions, book orders, status of your
membership, membership renewal, membership application, and MBSI
Membership Brochures.
P.O. Box 10196
Springfield, MO 65808-0196
Phone/Fax (417) 886-8839
jbeeman.mbsi@att.net
CHAPTERS
East Coast
Chair: Elise Low
(203) 457-9888
Dues $10 to Geoffrey Wilson
804 Appleton Way
Whippany, NJ 07981
Golden Gate
Chair: Jonathan Hoyt
(408) 214-9313
Dues $5 to Dave Corkrum
5826 Roberts Ave.
Oakland, CA 94605
Lake Michigan
Chair: Aaron Muller
(847) 962-2330
Dues $5 to James Huffer
7930 N. Kildare
Skokie, Illinois 60076
Mid-America
Chair: Rob Pollock
(937) 508-4984
Dues $10 to Harold Wade
4616 Boneta Road
Medina, OH 44256
National Capital
Chair: Matthew Jaro
(301) 482-2008
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
Chair: Vernon Gantt
(919) 264-2222
vgjr123@yahoo.com
Dues $10 to Vernon Gantt
PO Box 20238
Raleigh, NC 27619
Snowbelt
Chair: Tracy Tolzmann
(651) 674-5149
Dues $10 to Gary Goldsmith
17160 – 245th Avenue
Big Lake, MN 55309
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
Southeast
Chair: Jack Hostetler
(352) 633-1942
Dues $5 to Clay Witt
820 Del Rio Way Unit 203
Merritt Island, FL 32953
Southern California
Chair: Robin Biggins
(310) 377-1472
Dues $10 to Bob Lloyd
1201 Edgeview Drive
Cowan Hgts, CA 92705
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
Sunbelt
Chair: Ray Dickey
(713) 467-0349
Dues $10 to Diane Caudill
4585 Felder Road
Washington, TX 77880
Copyright 2018 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
May/June 2019 MECHANICAL MUSIC 65
MARTY PERSKY
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation
Spectacular Ruth 38
Popper Felix Mortier 84 key CafŽ Hupfeld Helios II/25 Welte 4 Concert
Wurlitzer 850A Wurlitzer BX with Wonderlight Bow Front Violano Niemuth 45-Key Bacigalupo
Visit www.Mechmusic.com for information on these and other fine instruments.
T:847-675-6144 Email: Marty@Mechmusic.com
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NOW ACCEPTING CONSIGNMENTS FOR 2019
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NOW ACCEPTING CONSIGNMENTS FOR 2019
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Éand many more!
Automaton Banjo Player
by Vichy, c. 1900
Estimate: 5.000 Ð 8.000 /
$ 5,650 Ð 9,000
Regina Style 33 Automatic Disc-
Changing Musical Box, c. 1900
Estimate: 22.000 Ð 25.000 /
$ 24,800 Ð 28,250
Swiss Station-type Musical Theatre, c. 1890
Estimate: 12.000 Ð 18.000 / $ 13,500 Ð 20,300
Orchestral Cylinder
Musical Box for the
Chinese Market, c. 1890
Estimate: 8.000 Ð 12.000 /
$ 9,000 Ð 13,500
Rock-Ola Tempo I Jukebox, 1959
Estimate: 7.000 Ð 9.000 / $ 7,900 Ð 10,100
ÔGirl on the TelephoneÕ Musical
Automaton by Renou, c. 1900
Estimate: 6.000 Ð 8.000 /
$ 6,800 Ð 9,000
Polyphon No. 2 Automatic
Disc-Changing Musical Box, c. 1900
Estimate: 20.000 Ð 25.000 /
$ 22,600 Ð 28,250
Silver and Enamel Singing Bird Box
Automaton, probably Flajoulot, Paris, c. 1930,
Estimate: 6.000 Ð 8.000 / $ 6,800 Ð 9,000
French Breguet-Pattern Singing Bird
Automaton Cigarette Case, c. 1955
Estimate: 4.000 Ð 6.000 / $ 4,500 Ð 6,800
Rare Five-Revolution Grand
Format Variations Musical Box
by Nicole Frres, c. 1862
Estimate: 15.000 Ð 20.000 / $ 16,950 Ð 22,800
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Fully-illustrated bilingual (Engl.-German) COLOUR Catalogue available against prepayment only:
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. Consignments for Future Auctions Always Welcome! .
150th Specialty Auction
ÈMechanical Music
InstrumentsÇ
18 May 2019
Harmonipan Barrel Organ
by Sabas Hock Sšhne,
Edenkoben, Rheinland-Pfalz
Estimate: 7.000 Ð 9.000 /
$ 7,900 Ð 10,100