Mechanical Music
Volume 69, No. 2 March/April 2023
Devoted to All Automatic Musical Instruments
Journal of the Musical Box Society International
Volume 69, No. 2 March/April 2023
5 PresidentÕs Message
7 EditorÕs Notes
50 In Memoriam
MBSI NEWS
On the Cover
Jamie Brewer shares his story of finding, fixing and enjoying an Empress disc musical box. Page 8.
Mechanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and musician all at the same time. Play an automatic musical instrument in a room full of people and all else will stop as the machine enraptures the audience with the sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.matically-played machine that produces melodic sound including discs and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instru.ments at once using vacuum and air pressure; player and reproducing pianos that use variable vacuum to strike piano wires; phonographs; and self-playing stringed, wind, and percussion instruments of any kind.
The Musical Box Society International, chartered by the New York State Board of Regents, is a nonprofit society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it now has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More information online at www.MBSI.org, or
Call: (417) 576-4280, or
Email: jbeeman.mbsi@att.net
By David Corkrum
MBSI President
By the time you read this the trust.ees will have concluded their mid-year meeting. Since the onset of the COVID pandemic, these meetings have been conducted utilizing the Zoom video chat program. Although it makes each meeting safer for everyone, I do miss holding these meetings in conjunction with a chapter meeting. It was always very entertaining for those of us who were not from the area to have a local chapter host their meeting at the hotel where the trustees were staying and then take us to member collections which we would probably never see during an annual meeting.
Our members have widely diver.gent collections. When I was the MBSI recording secretary, I found these visits really widened my scope of interest. I soon started to collect instruments I never thought I would. One instrument type that comes to mind is roller organs. At first, I looked at them as a cheap form of mechanical music but later found them to be quite interesting. A few months ago, I was scanning through previous journals while on the MBSI website and found an article on the Autophone reed organ. I own one of these but had never really looked at it that much. The article gave me so much more information than I could discern for myself. I now plan to use the article to help me examine the instrument I have more closely.
Looking back at this message, I find it has taken me down a whole differ.ent subject path than I had planned, which was to talk about the website and its associated archives. So now let me get back on track. There is so much information to be gleaned from our website. Articles from past years provide a reader with a wealth of information that would have taken them so much longer to obtain from multiple sources. For myself, I plan to spend time reading more of these archived articles. It is quite possible you may see an older article reprinted in one of our next issues. It will likely require a bit of updating and some color pictures, but you might find yourself learning something new. One part of the archives that I regret not seeing are the MBSI News Bulletins. They, too, had a lot of information contained within their pages. Perhaps someday they will be included.
Enjoy our website! It is there for our entertainment, enjoyment and education. Utilize it and gain more knowledge about the instruments that you collect.
I could not find a picture of myself with an instrument, so I chose this one. It is from May 1989 on a visit to Mariposa Grove in Yosemite. ThatÕs a giant sequoia I am leaning against.
41 Golden Gate
44 Southern California
47 National Capital
Tours of Europe often focus on the many street and dance organs found there, but Ron Bopp found quite a few other interesting things to see on his latest hop across the pond. Page 24.
MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
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editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums, and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offices.
Copyright 2023. The Musical Box Society Inter.national, all rights reserved. Mechanical Music cannot be copied, reproduced or transmitted in whole or in part in any form whatsoever without written consent of the Editor and the Executive Committee.
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Features
8 A ÒBombeÓ bulge restored
16 Measuring track shifts on musical box discs
24 Musical boxes of Europe seen on the Bumbling Bruder tour
37 The history of the Amer.ican Musical Instrument Company
Chapter Reports
MBSI has replanted 216 trees so far as part of the Print ReLeaf program.
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EditorÕs Notes
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By Russell Kasselman
MBSI Editor/Publisher
Included with this issue is a regis.tration form for the 2023 MBSI Annual Meeting to be held in St. Paul, MN, from Aug. 29ÐSept. 3 and hosted by the Snowbelt Chapter. Please take the time to read through the materials and make your plans to join fellow mechanical music enthusiasts on several fantastic tours as well as a number of enticing home visits where you will have chances to see member instruments up close and personal.
Members who regularly attend our annual society gatherings already know what a joy it can be to spend time socializing with others who enjoy the same hobby. You might connect with someone over the proper way to clean a musical box, or find yourself comparing notes on how to best repair some small damage to the case of your newly-acquired Regina disc music box. You might also just find yourself discovering a new place you want to vacation and spend a longer stretch of time exploring. The great part is, once you make friends with a few local chapter members youÕll have instant guides who can give you the low-down on the best place to get cheese curds. You might even get them to share the name of their favorite lake (there are only 10,000 or so in the state) for a bit of fishing.
The annual convention is also the place where MBSI conducts its official business meeting each year, so itÕs quite important for members to attend and vote on the budget and any proposed changes to the way the soci.ety operates. Hope to see you there!
Now, as to the rest of the content in this issue, big thanks go to all the authors who contributed. We have three chapter reports, a history of the American Musical Instrument Company, a report from the latest Bumbling Bruder Tour, a ÒBombeÓ restoration story and an innovative mathematical explanation of how music box disc projections can be photographed and mapped out to assist in the creation of a computerized MIDI file of the tune. I wonÕt pretend I understand how that all works, but I am thrilled to know that one of our members is working to advance the science of our hobby in a way that might help preserve music for later play on instruments you might own.
We are always looking for new authors, so get in touch if you have an idea for a story. IÕd love to hear from you.
Upcoming Deadlines
ADVERTISING
Advertisements for the May/June 2023 issue of Mechani.cal Music need to be submitted by Apr. 1, 2023.
Advertisements for the July/August 2023 issue of Mechanical Music need to be submitted by Jun. 1, 2023.
EDITORIAL
Articles and photos for the May/June 2023 issue of Mechanical Music should be submitted by Mar. 25, 2023.
Articles and photos for the July/August 2023 issue of Mechanical Music should be submitted by May 25, 2023.
Welcome new members!
December
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A Bombe Bulge Beauty
An art-case Empress finds new life during COVID shutdown
By Jamie Brewer
The 2020 ÒCOVID ShutdownÓ found me fine-tuning and refinishing my home model 34 Regina changer. This instrument had been refinished in the past. A running joke was that it had been dipped into a vat of polyurethane. The finish was crackling and turning a vile mud brown.
I found myself taking several breaks while tackling this refinishing challenge and during those periods of downtime I followed the action in several music-centric auctions. Randy Donley had a fine art-cased 18.-inch Empress listed in the 2020 fall auction that caught my eye.
I had never seen such a case style where the ÒBombe bulgeÓ was on the top. A few have surfaced with the widest Bombe section being in the middle of the case. I was hoping with the influx of new disc music box reference books there could be some light shed on these elusive case styles.
The best information I could find while doing research was in the ÒEncy.clopedia of Disc Music BoxesÓ by Q. David Bowers, which made mention of such an instrument but included no illustrations of the models titled ÒMira Grand 300Ó in a Chippendale style mahogany case and ÒMira Grand 302Ó in a Louis XIV case.
Circumstances worked in my favor, and I won the auction for the Empress. COVID travel restrictions in the Chicago, IL, area made a road trip to pick up the instrument from its location there impossible, so I had the music box shipped and delivered in late Novem.ber 2020.
I am always wary of buying some.thing just from catalogue descriptions. Wheeled into the house and unpacked, this instrument looked pretty much as I expected. After a check to ascertain the discs and crank were present, the movers headed out for their next delivery.
I slipped a disc on, gave the handle a few cranks and prepared to enjoy a beautiful song. ARRG!! Instead, the motor ran erratically, and the disc bucked and jammed through a revolution.
Pulling off the front motor board to inspect the motor I was horrified to see the governor bracket just about to fall off. The first thing to run through my mind was the passage from Flor.ence KingÕs book, ÒSouthern Ladies and Gentlemen,Ó where she delves in detail on the ÒUpton wombÉ.there it wasÉit was hanging on by a thread!Ó
There was that damn governor, Òhanging on by a thread!Ó Did it vibrate loose from all the moving around or did some handyman prepping this for auction never tighten it up? If that gover.nor had let loose with a disc in place, the combs could have been destroyed.
It took some tinkering to get the box to play halfway decently. The case was stunning and would clean up nicely, but the music box performance really disappointed me. I ended up moving the machine against the wall. Over time, the machine began to gather dust and evolved into a ÒRound-tuitÓ project.
Fast forward to May 2022. Company was over and I was demonstrating the Regina changer. It had been operating pretty much flawlessly for the past year since I completed the case refin.ishing and tuned up the mechanics. Winding up the mainspring for the disc lifting motor, I felt a snap and then had a free moving crank. The mainspring had given up the ghost.
The changer was torn apart for nearly two months before a new mainspring could be installed. This downtime with tools scattered all around inspired me to finally get seri.ous on the Empress restoration.
When doing an overhaul, the first place to look for problems is the jewel and pivot on the worm gear. The worm gear pivot was gummed up and cruddy. There was still a nice dome on the pivot end. It all just needed a good polishing up.
The jewel had a deep pit. When the oil gets dirty, that dirt can transform into an abrasive and act as a cutting agent. Using a piece of thick plate glass to ensure a flat surface, that jewel was polished down on Òwet and dryÓ paper, finishing up with a 2000 grit. The final polishing was done with diamantine powder and denatured alcohol on a hardwood block.
Even after a cleaning and lubrica.tion the discs were still jamming. First off, I discovered the center post was oversized, causing the disc to bind. Working the post down to the proper size with fine emery paper smoothed out the performance a bit.
A close inspection revealed three of the four disc rollers were not in the proper alignment to the disc. The roller supports have been in this location since the box was fabricated. Instead of the rollers supporting the disc on the very edge, they were riding in the drive holes. As the rollers wore down, this allowed the projections to catch on the roller supports. Moving these supports was not an option.
I checked with longtime friend Nancy Fratti to see if the new roll.ers she was selling might work as replacements. Nancy explained how the rollers she handled were more of Òdonut shapeÓ as Regina used. Nancy told me how some people have used tapered faucet washers as Mira roller replacements.
The beauty of the internet is you have access to so much information. I was unable to turn up a suitable roller/washer replacement in the .-inch size needed. With my brain fixated on plumbing washers, I checked my stash of spare plumbing parts. As luck would have it, I had a blister pack of flat .-inch washers on hand.
Using fine emery paper on my piece of plate glass, the sides of the three misaligned rollers were sanded flat. Then the side of the .-inch washers with the raised .-inch numbering was sanded smooth. These washers were centered and then super-glued to the rollers.
The result was like I waved a magic wand over this box. Those added flat washers extended the edge of the roller wheels. Finally, after 100-plus years, the roller wheels were in sync with the disc edge! What a difference in performance.
The next job was to straighten out the outermost projections on the discs that had bent up from catching on the roller supports. Mira projections are a whole different breed from the Regina Òcurls.Ó It took some time but I discovered the best way to restore a flattened projection was to carefully insert a scratch awl through the underside of the disk of the flattened projection. The awl will return the bow to the metal projection base, making adjusting the tab an easy task.
Mira/Empress and Stella disc mechanisms were manufactured by the Swiss firm Mermod Frres. To save on the high tariffs, the works alone were imported to the U.S. and then combined with a case. These movements are cherished for their crisp, bright, almost bell-like sound characteristics.
The sound quality of my Empress box was, however, very disappointing. There were few mid-range and bass frequencies coming through.
My 15.-inch Mira is housed in a Colonial Style case originally made for the larger 18.-inch movement. (This unusual instrument deserves a write-up in the future. It is another oddity not in any reference books.) I pulled this smaller movement and tested the 18.-inch movement in this case. What rich tones emanated from this cabinet that were not present in the fancy Bombe case.
Comparing and contrasting the cases revealed the later Colonial case had wire rods for supporting discs in the bottom of the console cabinet. This allows the sound from the sound.board to have unobstructed access to the bottom of the cabinet, which then acts as an amplifier similar to the horn of an acoustic phonograph.
The wooden dividers were missing from this machine. Bill Endlein sent me a paper template from one of his Mira consoles to use as a guide for the cut-outs.
Recall that the years 2020-2021 were a frenzied time for home improvement as it seemed everyone was working on ÒCOVID home projectsÓ and therefore lumber was in short supply. I lucked out in that a LoweÕs store near me still had thin bamboo plywood in stock. New restrictions only allowed one free plywood cut. The associate help.ing me took pity and did two cuts on my board as he did not have to adjust the blade again.
The plywood pieces were cut to size to fit in the cabinet slots at home. I had dividers now. It was time to begin the search to have the edges cut in. I soon realized it is nearly impossible to find anyone to do this kind of service anymore since it is considered too small of a job.
My friend John, who does carpentry, said he could not do the job but he would show me how. First, I had to make a template of the desired cut. Then, using the Sabre saw the rough cutout was done on four dividers at a time. Then the template was attached to the rough cutout and finished off with a router.
All in all, for a first-time attempt working with a router I felt like this job did not turn out so badly. It was not as perfect as I might have liked, but once the wood got stained and discs stored, it all blended together nicely.
The fancy Bombe cabinet has a fretwork in front for the sound to emanate through. There is about a 1.-inch open space under the sound.board where the sound waves then hit two .-inch-thick oak boards, identical to those on the bottom of the cabinet. These boards, meant to hold the top edge of the wooden disc dividers, effectively blocked and trapped most of the sound waves from the soundboard.
People can be such sticklers for originality. At a Union, IL, Phonograph Show too many years ago, I was mind.ing Bill EndleinÕs booth. A phonograph collector asked if there might be a back mount for a Victor Orthophonic in the parts box. I explained how these back mounts were cast from pot metal and did not have a good survival rate. These are commonly found snapped off where the top pin holds the tone arm. I said he was in luck as the Smiths, the dealers across the aisle were selling new, recast back mounts that were a better quality than the originals. This guy was horrified at the suggestion of employing a recast, modern replacement. His machine had to be 100 percent original parts. He wanted an original back mount. I wished him luck on his foolÕs errand.
That incident was playing in my mind as I did some mind and soul searching. I then broke the cardinal rule of Ònever altering an antique.Ó
The back oak divider board on my Empress was cut out with the knowledge that this section of wood could be easily replaced in the future if needed.
Removing just that one board resulted in a marked improvement in the volume and tone quality of my music box. Finally, I was hearing the formerly trapped sound waves from the sounding board. They were now being released and amplified in the lower disc storage space.
The outside finish on the case was, in my opinion, tired looking. Fortu.nately, the old shellac was not badly alligatored. It can be so impossible to refinish mahogany to an even color that matches the original finish. Even harder than ÒimpossibleÓ is to have the finish around the applied carvings look clean. The old sludge of the old striped varnish around the appliques is so hard to remove and at the same time keep a constant color to the wood.
I avoid at all costs removing an orig.inal finish but sometimes you have no other options. Wood color and finish can be a highly contentious issue. Plus, after dealing with stripping and finishing up those bloody Òdragon carvingsÓ on my Regina changer, I was in no mood for a repeat performance!
For this case I tried a technique I read about on a phonograph resto.ration board. Mahogany stain was brushed over the original finish one side at a time and then quickly wiped off. This colored in the scuffs and blended the color and grain together. After the entire cabinet was stained in this fashion, I let it dry for a couple weeks.
The finish was then topped off with a coat of microcrystalline wax rubbed down with a microfiber cloth. It seems like a minor point but using that microfiber cloth for the final polishing makes all the difference in the world.
This music box is no longer just gathering dust. It is enjoyed daily!
Jamie BrewerÕs home model 34 Regina changer now fully-restored.
The Empress ÒBombeÓ bulge disc box as purchased.
The top photo shows one of the disc rollers that was out of alignment while the bottom photo shows the modified rollers keep.ing the disc in the proper position to play correctly.
The back upper board supporting the disc dividers was cut out resulting in enhanced volume and tone.
The unfinished disc dividers positioned in the cabinet in order to be sure all was well before the final stain was applied.
Mahogany stain was brushed onto the cabinet and then quickly wiped off to fill in cracks and even out the finish.
The final product with lid closed after having been rubbed down with a microfiber cloth and a coat of microcrystalline wax.
The end result is a beautiful piece of mechanical music that is enjoyed daily.
Track Shifts on Musical Box Discs
Explaining the reasons track shifts are necessary to create beautiful music
Dr. Albert Lštz
Simultaneously sounding notes on musical box discs do not necessarily lie on a common straight line begin.ning at the disc center (radial line), like the green line in Figure 1. Depending on the model of the musical box, they can also be on the red line. Among the six instruments investigated so far by the author in this respect, the green pattern of Figure 1 can be found in the 15.-inch Polyphon and the 21.-inch Symphonion with 10 bells, while the 24.-inch, 22-inch (16 bells), 19.-inch, and 8.-inch Polyphon musical boxes follow the pattern of the red line. These latter boxes thus show a track shift in the direction of the disc rotation that increases linearly from track to track from the outermost to the innermost track. The linearity relates to the horizontal distances of the simultaneously played notes on the red line to the vertical green line, not to the correspondent angular distances of these notes on their circu.lar track. The angular shifts are a more complicated function of the track number on account of the geometry of the problem. That function is specified below as the main result of this article.
In order to understand why these track shifts are necessary, the process of plucking a comb tooth by a star wheel must be considered (Figure 2). In the left half of the figure, a note on the disc is just above the axis of the star wheels. In that moment, the situ.ation looks alike for all notes on the same radial line of the disc, provided the central dome on the bedplate around which the disc rotates lies on the line of the star wheel axis. Shortly thereafter, a tooth of the star wheel starts lifting a comb tooth that finally falls off from the star wheel after further rotation of the disc. This latter situation is drawn in the right half of Figure 2 and marks the start of the noteÕs sounding. The essential point here is that the disc must rotate somewhat between the position of the note above the star wheel axis and the begin of the sound.
The consequences can be seen in Figure 3. This figure shows three representative tracks (labeled i, j, N) on the disc. All notes on a radial line of the disc sweep at the same moment over the vertical line that forms the left margin of the figure and is identical with the axis of the star wheels (compare with the left situation in Figure 2). On the dashed vertical line at the right margin of the figure, the comb teeth fall off from the star wheels, and the notes sound. When this is just the case for the outermost track (track N), the other notes on the same radial line (rN) have not yet reached the dashed line because they advance more slowly on their paths. Notes on the same radial line therefore do not sound simul.taneously, but in succession. This can be compensated by shifting the tracks on the disc forward relative to the outermost track, for the track i by the angle .i, and for the track j by the angle .j.
Yet, given that, how can there be discs with simultaneously sounding notes on the same radial line? In these models, the central dome about which the disc rotates does not lie on the line of the star wheel axis (the vertical line forming the left margin of Figure 3), but on the dashed vertical line at the right margin, where the teeth begin to sound. For these models, Figure 2 remains unchanged, yet the radial line of the disc with the simultaneous notes always forms an angle with the star wheel axis, and instead coincides with the dashed line shortly after having passed the star wheel axis. These models can therefore easily be recognized by the central dome not being in line with the star wheel axis but shifted approximately 5 millimeters in the direction of the disc rotation.
From Figure 3 the origin of Figure 1 can easily be understood. Figure 1 is obtained by rotating rN and the dashed line by 90¡- .N counterclockwise about the disc center.
The size of the track shifts
The facts just described became clear to me while digitizing discs.11. Albert Lštz, The Digitization of Music Box Discs from Photographs, Mechanical Music vol. 67 no. 6 (The Musical Box Society International, 2021), p. 30-33.
Fortunately for me, the digitizations began with 15.-inch Polyphon and 21.-inch Symphonion discs that do not have track shifts, whereas models with track shifts deliver chaotic music if the shift is not taken into account for digitization. In the case of 24.-inch Polyphon discs, an audio file of fair quality could be obtained by subtract.ing angles that linearly increased with smaller diameter of the tracks. The treble part remained unchanged. The transition point between the two parts and the constant increase in shift from track to track were fixed by trial-and-error listening to the audio files. It was clear that this procedure was not optimal, yet the problem appeared too complicated to be solved completely within foreseeable time. In fact, the treatment of the problem at that time and quite a number of further digiti.zations of other models have shown that a simple solution as in the case of the 24.-inch Polyphon discs delivers fair results in most cases. However, it depends on the music on the indi.vidual disc how much small deficits of synchronism of the voices can be discerned. After the recent finding of the correct mathematical formula for the shifts, that formula was integrated into the computer program for the digitization, and the evaluation can now be performed without additional expense.
The geometry of the comb plucking process was analyzed mathematically (see Mathematical Appendix), and a formula derived for the angular shift .i that is valid for all disc sizes:
.i = a*(N Ð i)/(1 Ð b*(N Ð i))
In this formula (*=multiplication), N is the number of tracks on the disc, including empty tracks for disc supporting wheels instead of star wheels, i is the number of the track, starting with 1 for the track of smallest diameter, and a and b are two param.eters (numerical constants) that must be optimized by trial and error for each disc size listening to the audio file. For a 24.-inch Polyphon disc (N=161) one finds: a=0.0045 and b=0.0050. In order to fix these values, it is best to use a disc whose audio file after applica.tion of the linear shift compensation still contains musical features that one would like to be executed more perfectly. When the optimal param.eters with one or two selected discs have been found, a clearly improved faultless execution of the music typi.cally results also with other discs of the same size. In the case of 24.-inch Polyphon discs, disc No. 4171 ÒGrande Tarantelle,Ó with the music by U.S. composer Louis Moreau Gottschalk (1829-1869), was used as test speci.men. The music on this disc is quite brilliant and virtuous, and its demands for the execution are especially high. In addition, the ÒIntermezzoÓ from the opera ÒCavalleria RusticanaÓ by Pietro Mascagni (No. 4013) was used whose preliminary digitization result has already been presented in the article of Footnote 1 (page 17).
Figure 4 shows the beginning of the ÒGrande TarantelleÓ in three differ.ent notations. For the left part, the notation on the disc was taken over unchanged. The center part shows the result after application of the linear compensation of the track shifts described in the article of Footnote 1. The right part results from the formula given in the present article. It can clearly be seen in the left part, how the track shift increases with lower pitch (smaller track radius). By comparing this part with the center part, different orders in time for corresponding notes of different pitch within the five voices can be seen, because each track, thus each pitch, is shifted differently. In order to find the track shifts applied by Polyphon, a common reference time for all pitches must be found. This time results from musical considerations. The piece starts in the key G minor and later changes to the key B flat major. In the beginning of the piece, one can find a more or less pronounced D, the dominant of G, apart from preceding graces. These notes D are marked in red in the center part of Figure 4. It has been assumed that the beginning of this note can be used as a common reference time. This assumption is certainly too strong, but all voices could be expected to play the D in common at least for a certain time. The assumption of common beginning of the D was a shot in the dark but proved to be a bullseye with small reservations. First, something must still be said regarding the bass voice missing in Figure 4. This voice starts approximately 11 quarter notes later. Similar to the case of the five other voices, it was assumed that the first note of the bass voice, a G, thus the fundamental tone of the piece, was played together with a G in the other voice with a bass clef. This was suggested by the course of the latter voice that plays other notes before and later, less well-fitting to the G in the lowest bass voice. In this way, the shift of the beginning note in the lowest bass voice could also be determined.
Comparison with theory and the linear approximation
Figure 5 (page 19) shows the track shifts represented by the shifts of the Ds on the first five staves and of the G on the lowest staff relative to the D (track 139) on the uppermost staff on the horizontal axis, and the corresponding track numbers on the vertical axis. The red curve is an optimal computer fit of the above function (with N=139) to the shifts of the six notes. In this fit, the parameters a and b are varied, until the sum of squares of the deviations of the points from the curve reaches a minimum. The function obviously represents the positions of the points correctly so that the underlying mathematical anal.ysis is correct and sufficient. The scat.ter of the points around the curve had to be expected on account of the strong assumption of common start of all notes. In addition, the linear approximation for the track shifts used in the article of Footnote 1 has been drawn in this diagram in grey. The slope of the corresponding straight line is well known from the trial-and-error fit by listening to the audio files, but the position of any point with defined track number lying on the line can only be deter.mined by imperfect methods. It appeared most reasonable to assume that the upper start of the linear shift approximation at track number 93 divides the difference of the shifts of the two neighbored red points in the same ratio as the number 93 divides the difference of the track numbers of these two neighbors. The thus obtained start of the straight line also lies close to the shift for track 93 on the red curve. Nevertheless, the linear approximation obviously is a relatively rough approximation, even if it transforms musical chaos into music of fair quality. In order to assess the musical imprecision, it should be mentioned that one degree track shift corresponds to 0.6 quavers for the ÒGrande Tarantelle.Ó
The red curve of Figure 5 only served for the confirmation of the shift function derived in this article. The final values for the two parameters of the shift curve relative to track no. 161 (greatest radius) were fixed by trial and error and listening to the audio file. For this purpose, at least two discs were included in detail, because certain musical criteria for the deter.mination of the parameters were present on one of the two discs, but not on the other disc, and vice versa. Above all, the synchronism of the notes at the beginning of a bar must be present. In the article referenced in Footnote 1, it was found that the note repetitions for a mandolin effect of the 24.-inch Polyphon in the Intermezzo from ÒCavalleria RusticanaÓ were played at half the speed in compari.son to the 21.-inch Symphonion. The Polyphon disc, however, executes a similar note repetition in the neigh.bored voice that is shifted by just half the period of the repetition so that the combined repetitions appear twice as rapid. This is a valuable criterion for the determination of the two parame.ters and can be set quite exactly with reduced playing speed of the audio file. Acciaccaturas (short graces) of two notes before the main note in the ÒGrande TarantelleÓ must not follow too rapidly so that they nearly appear as a chord, but must sound separately yet swiftly, as a human player would execute them. Quite valuable are rapid runs and broken chords with many notes, because these notes must yield an even succession. All determi.nations of the two parameters were additionally checked with further discs, and changed again, if necessary. The final result may deviate a little from the execution on the musical box, because it has been worked out by a person with individual listening, yet if musically correct, this deviation must obviously be small. The result for the ÒGrande TarantelleÓ can be found in an attached audio file. For the conversion of the MIDI file to audio, the program Winamp was used that works with the Microsoft GS Wavetable, a part of the Windows Media Player. The audio file does not yet have the tonal quality of a good music box listened to directly, but this is due to the missing case resonance of a big instrument in the Microsoft GS Wavetable. The case resonance of a music box is mainly responsible for the enrichment of the tone, as is well known. In spite of that, the Microsoft GS Wavetable is quite useful for this type of investigations.
The track shifts on
further disc sizes
The track shifts have also been determined for 22-inch (16 bells), 19.-inch, and 8.-inch Polyphon discs, in a similar way as in the case of 24.-inch Polyphon discs (see Table 1 on page 22).
The comb scale for 19.-inch discs used here corresponds to the scale given by Webb22. Graham Webb, ÒThe Disc Musical Box HandbookÓ (London, 1971), p. 206.
and begins on the lower comb with a contra B flat (bes,,). The absolute pitch of aÕ is just 440 Hz.33. Webb listed for the two notes 54 and 55 on the lower comb a B, a typical error at quoting from German text. It should read B in English.
The scale given by McElhone44. Kevin McElhone, ÒThe Disc Musical BoxÓ (The Musical Box Society of Great Britain, 2012), p. 243.
is shifted down by five semitones, or up by seven semitones with respect to that of Webb. It thus begins with an F instead of B flat.55. On the upper comb, it must read G instead of F# for the sixth note. In the text above the scales of the two combs it must read Òwith the lowest note on the lower combÓ instead of Òhigher combÓ.
Unfortunately for me, I had six discs for the 22-inch Polyphon but no instru.ment to play them on. Nevertheless, from the audio files obtained during the digitization, McElhoneÕs statement can be confirmed that the scale for the comb teeth is identical with the scale of the 19.-inch Polyphon. As seen in a photograph of an instrument inspected with a magnifying-glass, the highest note on the combs (EÕÕÕÕ, on the upper comb), is followed by an empty track for a disc support wheel, before the notes of the bells begin.66. Arthur W.J.G. Ord-Hume, ÒMusical Box. A History and CollectorÕs GuideÓ (London, 1980), PLATE 137, p. 282.
The two bell scales of McElhone and a third bell scale in an article of 201877. Gotthard Arnold, Sina Hildebrand, Edi Niederberger, ÒThe 56 cm Polyphon Musical Box. A technological marvel.Ó The Music Box vol. 28 no. 6 (The Musical Box Society of Great Britain, 2018), p. 235.
leave the reader at a loss on account of their inconsistencies. For the compass of the scales (number of semitones between the lowest and highest note) one finds 12, 22, and 13, and for the number of different notes (notes of equal pitch counting as one note, notes differing by an octave counting as two notes) the counting yields 8, 10, and 9. The scale with the largest compass has been chosen tentatively. It is given by McElhone separately for the upper and lower comb and has been transposed by five semitones upwards in correspondence to the comb notes. Thus, the following scale resulted for the bells that begins on the upper comb and must be read alternating between the upper and lower comb:
cÕÕ, aÕÕ, dÕÕÕ, bÕÕ, eÕÕ, bÕÕ, fÕÕ, cÕÕÕ, fÕÕ, cÕÕÕ, gÕÕ, dÕÕÕ, gÕÕ, eÕÕÕ, aÕÕ, fÕÕ
This scale is in perfect harmony with the comb notes in the audio files yet needs a verification on an instrument.
For the 8.-inch Polyphon the second scale given by McElhone was used that begins with an F (f,).
The star wheels are identical for all disc sizes so that the size of d in Figure 3 (distance between star wheel axis and line of sound begin) should be the same in all cases. The parameter a is proportional to the reciprocal of the squared greatest track radius rN of the disc (see Mathematical Appendix). Because the discs differ mostly in their diameter, the param.eter a should therefore increase with decreasing disc diameter. This is also observed (see Table 1). The parameter a describes the constant part of the shift increase from track to track with smaller track radii, while parameter b is responsible for a magnification of the shift increase in the same direc.tion. Also in this case, an increase in parameter b is expected with smaller disc diameter, because the increase must spread over a smaller number of tracks. The track shifts are more sensi.tive with respect to variations of b. This results from the fact that the shift becomes infinite when the expression 1 Ð b*(N Ð1) in the denominator of the shift formula tends to zero. For the 24.-inch Polyphon, the value of the denominator is 0.2 for i=1 instead of 1.0 for i=161, so that the shift from track to track increases to the fivefold value for i=1 compared to i=161.
For a demonstration of the results, audio files for the 22-inch Polyphon (No. 90357, ÒJust one Girl,Ó by composer Lyn Udall, published 1898) and for the 19.-inch Polyphon (No. 5044, ÒValse brillante,Ó by composer Julius Schulhoff, 1825-1898) can be heard by visiting the URLs below or using a smart phone to scan the QR codes that will take you directly to the webpage with the song.
Figure 1: The position of simultaneously sounding notes on the two disc types, marked by the green and red straight line. The deviation of the red from the green line is exaggerated by a factor of c. 10.
Figure 2: A note on the disc at the time of its position above the star wheel axis (left), and above the line of sound begin (right).
Figure 3: The axis of the star wheels is the vertical axis at the left margin of the figure. The notes start to sound, when the dashed line at the right margin of the figure is reached. Imagine a note on each of the three representative tracks (i, j, N) of the disc. For the three notes to sound simultaneously, they must not lie on the straight line rN, but track i must additionally be shifted forward by .i and the track j by .j.
Figure 4: The beginning of the ÒGrande TarantelleÓ on a 24.-inch Polyphon disc, left as punched on the disc, center with the linear shift compensation of the article in Footnote 1 (page 17), right with the formula derived in this article. In the center part, the note D in different octaves is marked in red. These notes serve as common time reference for Figure 5.
Figure 5: The shifts of five Ds (i.e. track shifts) in five different octaves on the disc that are played at the beginning of the music and assumed to start sounding simultaneously. The shifts are given rel.ative to the D on track 139. Also the shift of a G in the lowest bass voice (track 6), assumed to sound simultaneously with a G in the other bass voice. The red curve is a computer fit of the formula derived in this article. The grey line represents the linear shift approximation between tracks 1 and 93 used in the article of Footnote 1.
Table 1
The parameters a and b in the formula a*(N Ð i)/(1 Ð b*(N Ð i)) for the track shifts on Polyphon discs.
.
a
b
N
r1 (mm)
rN (mm)
.r (mm)
24.-inch
0.0045
0.0050
161
40
295
1.594
22-inch
0.0095
0.0050
137
40
256
1.588
19.-inch
0.0100
0.0063
120
40
230
1.597
8.-inch
0.0140
0.0071
41
15
100
2.125
N=number of tracks including empty tracks for disc support wheels
r1=radius of the smallest track rN=radius of the greatest track
.r=track distance, calculated according to (rN-r1)/(N-1)
Just One Girl
Grande Tarantelle
Valse Brillante
http://bit.ly/40JbR96
http://bit.ly/3RS95uj
http://bit.ly/40Ht0Qv
Mathematical Appendix
This appendix attempts to explain the content of the shift formula derivation for readers who do not possess the necessary mathematical knowledge to understand the equations outright.
In Figure 3 a right-angled triangle can be seen whose three sides are the horizontal line of length d, the radius rN, and a part of the dashed line. The right angle (90¡) is at the bottom right of the drawing, included by the line d and the dashed line. The side of the right-angled triangle opposite to the right angle is designated the hypotenuse, in this case it is rN. The two other sides are called catheti (singular: cathetus). In a right-angled triangle, a definite value for the ratio of the length of a cathetus to the length of the hypotenuse follows from the value of the angle included by the two sides. In our case the ratio d/rN has a definite value, if the value of the angle .N is given. This is independent of the size of the triangle. The ratio is called the cosine of .N, abbreviated cos(.N). Thus, you can write cos(.N) = d/rN. This equation can also be inverted, i.e. the included angle is determined when the ratio of the lengths of the two sides is given. The corresponding function is called the arccosine, so that arccos(d/rN) = .N.
As already discussed in the main text, .i is the shift of trace i. It can be read from Figure 3 that .i = .N Ð .i. Similarly, like rN forms the hypotenuse of a right-angled triangle, so does ri that forms a triangle with the same 90¡ angle included by d and the dashed line. Thus, .i = arccos(d/ri) and
.i = .N Ð .i = arccos(d/rN) Ð arccos(d/ri)
Principally we are already finished. Mainly for conver.sion of the arccos function to a simpler form that can be compared better with the former linear shift correction, the following well-known method in mathematics and physics is applied. Mathematical tables list the formula
arccos(x) = ¹/2 Ð S(x)
S(x) = x + x3/(2*3) + 3*x5/(2*4*5) + 3*5*x7/(2*4*6*7) + É
with e.g. x3 = x*x*x
At first sight, it will be astonishing to see an angle (arccos(x)) given as ¹/2 (after the sign of equality, ¹ is the well-known constant 3.141… for the calculation of the circumference and area of a circle from its radius). This follows from the custom to give the value of the arccos in the unit radian which can simply be converted to degrees by multiplication with (180¡/¹). Thus ¹/2 corresponds to an angle of 90¡. The function S(x) is a sum with an infinite number of terms, in which x (any number) appears in every following term with an exponent increased by two units. It looks as if this expression takes an infinite value, but this is not the case, if x is smaller than 1. Then every term of the sum is smaller than the preceding term, and, although the sum has an infinite number of terms, its value is a finite number with an infinite number of digits after the decimal point. The higher the exponent of a term, the farther away right of the decimal point will the digits of the sum change when the term is added. By application of the formula to our case we get
.i = arccos(d/rN) Ð arccos(d/ri)
= Ð (d/rN + d3/(6*rN3) + É ) + (d/ri + d3/(6*ri3) + É )
The length d is not easy to measure, but we just need an order of magnitude, say 5 millimeters. For a 24.-inch Polyphon disc (N=161) rN amounts to 295 millimeters, ri varies from 40 to 295 millimeters. Thus, we have d2/(6*rN2) = 0.000048, and d2/(6*ri2) = 0.0026 (i=1) to 0.000048 (i=N). It is these factors by which the second terms of the two sums are smaller than the first terms. The second term thus amounts to at most 0.26%. The following terms are still smaller so that all terms can be neglected except the first term:
.i = d/ri Ð d/rN = (d/rN)*(rN Ð ri)/ri
The correctness of the conversion after the second sign of equality can simply be checked by performing the multi.plication in the second expression. If the constant distance between the tracks is called .r we have
ri = rN Ð (N Ð i) * .r
in which i can take the values 1 (track of smallest radius), 2, 3 É , N. In order to understand this expression, simply calculate ri for i=N and i=1 according to this formula. By inserting this expression into the previous equation we get
.i = (d/rN)*(NÐi)*.r / (rN Ð (NÐi)*.r)
= (d/rN)*(NÐi)*(.r/rN) / (1 Ð (NÐi)*(.r/rN))
We finally introduce the parameters a and b that combine several symbols in this equation, and, in the case of the parameter a, also contain the conversion factor (180¡/¹)
.i = a*(NÐi) / (1 Ð (NÐi)*b)
The Bumbling Bruder Tour
34 European collections and one fantastic organ festival
By Ron Bopp
This past summer, a group of 26 mechanical music enthusiasts gath.ered to tour England and selected countries in Europe on what is known as the Bumbling Bruder Tour. The group traveled for three weeks, from Jun. 18ÐJul. 6, 2022, punctuating their visit with a three-day extravaganza of organs at the Waldkirch Organ festival. Other reports of this trip in other mechanical music journals have focused on the organs and atmosphere experienced, but this account aims to highlight some of the machines that kept each day interesting and enjoyable.
Several MBSI members from the United States, as well as six Austra.lians and one Canadian set out on this 35-venue trip, and at all of the destina.tions they found instruments playing and sounding quite well. Some places contained only a collection of organs while others were more rounded and had a variety of offerings.
An early stop in England found the group at David OÕConnorÕs home where he had a large building filled full of automobiles, some organs, and other mechanical items. David lives in a small English village called Spilsby. Numerous flowering plants surrounded his property. In a detached room of the music collection sat a beautiful, yellow 1929 Rolls Royce cabriolet. The vehicle originally came from California and has an original 106,000 miles. Nestled next to this beauty was a PopperÕs Konzertist Piano. With twin lit lamps, the piano was quite attractive.
Three days in England gave the group ample time to hear and see many outdoor organs and their indoor counterparts, dance organs.
We crossed the English Channel at Dover and had a short trip to Calais, France. After seeing a collection and workshop in Belgium, we entered France where we were treated to La Ferme Des Orgues (musŽe de la musique mŽcanique), a small but loaded museum in the countryside town of Steenwerck, France. The collection was assembled and demon.strated by Patrick Desnoulez. He had many hand-cranked organs and street pianos including a beautiful Piano Melodico.
There were many European-made street pianos and orchestrions and interestingly enough, in his back room sat a fully restored Double Mills Virtuoso. Another unusual presenta.tion was a large orchestrion built by Romano Bilotti of Brussels, Belgium.
Several days, several collections, and many organs passed until the group came to the weekend of Klang und Orgelfestival, held in Waldkirch, Germany, from Jun. 24-26. There the Bumbling Bruders enjoyed more than 15 large organs and nearly 90 smaller hand-cranked organs.
One of the constants of Waldkirch, whether there is a festival going in the streets or not, is the Elztalmuseum. Concentrating on fair organs, most of which were originally made in Wald.kirch, the museum does have a room dedicated to the Weber firm. Unique to that room is a Weber Unika salon piano that is actually a Weber Maesto in disguise as well as a book-operated Weber Kapelle orchestrion that has five animated figures that articulate with the music. This exact instrument is pictured in the ÒEncyclopedia of Mechanical MusicÓ by Q. David Bowers. In the book Bowers notes the early 20th century date of produc.tion for this machine. According to the docent who demonstrates this orchestrion, it is the only surviving book-operated Weber.
Once the Klang und Orgelfestival was over, the Bumbling Bruder group visited two more museums the following Monday: the Museum fur Musikautomaten in Seewen and the Klang-Maschinen Museum in Dunton. Both towns are in Switzerland. The guide for the Museum fur Musikauto.maten was Raphael ÒRaffiÓ LŸthi, the curator of the organs in the museum. Tour guests were treated to a concert by many of the smaller organs as well as the museumÕs 101-key Mortier Dance Organ. Additionally, there was a large collection of upright musical boxes. Represented were an upright 26-inch Stella and 27-inch Regina changer and a 20.-inch Kalliope upright music box and 24.-inch Poly.phon Mikado.
Walking room to room we found more mechanical instruments. One hall had nothing but large pneumatic pianos. Included in this array of instruments were a Seybold Piano-Ac.cordion Jazz; an unusual 1917-made Gebr. Weber Unika with an original moving scene on top; a Poppers Happy Jazz-Band Orchestrion; a Hupfeld Phonoliszt; and a 92-key Decap Dance Organ.
In a separate room, a well-preserved Welte Mignon Piano was on display.
The Klang-Maschinen Museum in Dunton was again an eye-opening experience for the group. Several rooms of associated mechanical music greeted us, the first being one that held several large instruments and musical boxes.
Along one wall was a quartet of instruments that included a Hupfeld Phonoliszt, a 35-key Limonaire Fair Organ, a large roll-operated European Orchestrion, and a Symphonion three-disc Eroica clock. Another room contained a Weber Brabo Orches.trion and a Welte Style 2 Cottage Orchestrion. Many musical boxes were present and one of the more impressive was this related Loch.mann Original Concert Piano. Using a 25.-inch disc, it certainly makes a statement.
Last, and certainly interesting, was a small theater room set off to the side that had a full complement of seats to allow visitors to be entertained by a Wurlitzer Style U Photoplayer. The photoplayer could be operated manually using the two keyboards, or automatically with the Wurlitzer Concert PianOrchestra rolls. It was a little bit of a shock to see this Amer.ican-made photoplayer in a Swiss museum.
Leaving Switzerland, the tour group visited Jens Wendel and his fatherÕs (Siegfried) Museum fur Mechanische Musikinstrumente in Rudesheim, Germany. Sitting on the edge of the Rhine River this has always been an attraction for the Bumbling Bruder Tours. This museum was originally a 15th-century knightÕs castle but now the rooms are filled with mechanical musical instruments. Approaching the museum, the group could hear a Bacigalupo ÒSoleilÓ roll-operated orchestrion playing in the courtyard.
The bottom floor of the museum houses three large organs in what used to be the wine cellar. Entering this room, the first thing visible on the left was an exceptionally large PopperÕs Ohio orchestrion. Nearly 10 feet tall, this orchestrion included a piano, imitation banjo, several ranks of pipes, drums and traps. A second Poppers instrument in this collection is the Poppers Salon Superba, a piano with xylophone and unique zither. Hidden away in an alcove off the main room originally intended as a wine cellar was a collection of a dozen or so hand organs. These were not mentioned as part of the main tour, but it was possible to stay behind and photograph some of the collection.
On Jun. 29, the tour group visited the Hinzen collection of organs in Swal.men, Netherlands, and then traveled back to Westerlo, Belgium, where we enjoyed the collection of Luc Peters. His display room featured not only a couple of dance organs, but a railway cylinder musical box and a large Symphonion musical box as well. There were many dance organs but the 80-key Ideal Bursens dance organ in a back room was most imposing. Large Bursens organs are not easy to find so this was a treat to view.
The following day included a trip to the Gebroeders Decap Antwerpen Factory in the morning plus a visit to ArburoÕs Place (a small collection of Belgian Dance Organs) and finally to the Jef Ghysels Collection. Purchased from Jef by the Belgian government several years ago, this collection went on display for the public until it was eventually retired. Recently, the collection has been relegated to a warehouse on the outskirts of Antwerp. Most impressive was an imposing Style 41 Mortier Orchestrion. With the beautifully aged oak case, stained glass, and lighting effects, this orchestrion must have been very popular in its day. It plays with folding cardboard books.
There were, of course, many organs but an interesting one, and from a company rarely seen, was a 60-key Ven der Beken. Julius Van der Beken was a student of Louis Hooghuys before venturing out on his own. He did not build many organs, so this surviving organ eventually needed to have a replacement faade. The image on the lower right of the previous page details the rear of the organ and the book-playing apparatus.
Our last visits of the three-week tour were to Ruud Vader as well as Ruud Brienen early in the day and finishing with a stop at the Hans van der Velde Collection in Tuitjenhorn, Netherlands. HansÕ collection includes several Dutch street organs and a pair of interesting piano orchestrions. The first was, yes, another PopperÕs Deluxe Superba in a walnut case. Hans related that this Poppers had been altered to play several types of rolls and contained violin and lotusflute pipes.
Finally, the last large instrument found on the tour was an orchestrion made by the now-deceased Hans van Oost. He constructed the instrument using 96 keys and the same scale as the No. 39 Ruth Concert Organ (of which there are only two existing examples: Speelklok Museum in Utrecht and the previous collection tour of Ruud Vader in Barsingerhorn, Netherlands). He began the build in 1975 and finished it in 1979. It was quite impressive.
This ends the report of some of the non-organs found on the ninth Bumbling Bruder Tour. This tour was fun and there were many things to see, but it was also quite an exhausting run through many places, and most tour members were pleased to get home and relax so they could look at the all the photos they took.
A 1929 Rolls Royce cabriolet housed in the David OÕConnor collection (Spilsby, England).
David OÕConnorÕs German Poppers Konzertist piano.
Patrick Desnoulez cranking a piano melodico. DavidÕs collection is known as La Ferme Des Orgues. Photo credit: Peter Datson.
An early Weber orchestrion housed in the Elztalmuseum in Waldkirch, Germany.
A Belgian orchestrion made by Romano Bilotti in the collec.tion of La Ferme Des Orgues.
A closeup of the keyframe and book-playing apparatus of the Weber orchestrion.
A collection of large musical boxes in the Museum fur Musikautomaten, Seewen, Switzerland. Pictured at the end are a 26.-inch Stella and a 27-inch Regina changer.
More musical boxes included a 20.-inch Kalliope upright and a 24.-inch Polyphon.
A large instrument hall in the museum contained (left to right) a Seybold Piano-Accordion Jazz piano; a Gebr. Weber Unika salon piano with a moving scene on top; a Poppers Happy Jazz-Band orchestrion; a Hupfeld Phonoliszt; and at the end, a 92-key Decap dance organ. Individual photos of each piano along the left wall are on the facing page.
An assembly of four instruments on one wall of the Klang-Maschinen Museum (Durnten, Switzerland) included (left to right) a Hupfeld Phonoliszt; a 35-key Limonaire fair organ; a 1900 Lšsche Orchestrion; and a Symphonion 38B three-disk Eroica clock (being inspected by Marty Persky).
The Seybold Piano-Accordion Jazz.
The Gebr. Weber Unika (with moving scene).
The Hupfeld Phonoliszt.
The Poppers Happy Jazz-Band.
A 25.-inch Lochman Concert Piano also in the Klang-Maschinen Museum.
A Welte Mignon reproducing piano in the Seewen museum.
A Wurlitzer Style U Photoplayer set up for action in the Klang-Maschinen Museum.
A large Weber piano orchestrion, the Brabo model.
The Klang-Maschinen MuseumÕs Style 2 Welte Cottage Orchestrion.
The theater seats ready for a movie accompanied by the Wurlitzer Photoplayer.
A wall of vintage phonographs in the Klang-Maschinen Museum.
The Bacigalupo Soleil orchestrion greeting those entering the Museum fur Mechanische Musikinstrumente in Rudesheim, Germany.
The museumÕs PopperÕs Ohio orchestrion.
A Poppers Salon Superba piano orchestrion also in the Museum fur Mechanische Musikinstrumente.
An 80-key Ideal Bursens in the Luc Peters collection.
The music room of Luc PetersÕ collection in Westerlo, Belgium. At the back are a Station Box and a large, upright Symphonion.
Four of many hand organs found on the first floor of the museum.
The rear of the Van der Beken organ detailing the book operation.
The 60-key Van der Beken Belgian fair organ in the ex-Jef Ghysels collection in Antwerp, Belgium.
A Style 41 Mortier Orchestrion also in the ex-Jef Ghysels collection.
About the Author
Ron Bopp has organized nine Bumbling Bruder Tours, taking hundreds of mechanical music enthusiasts to see collections that are often not available to the public. His tours offer many Americans a first glimpse of European collections and a taste of cultures quite different from their hometowns.
This is an image of Ron (left) with Maarten van der Vlugt (Belgian arranger and historian).
Ron is also the editor of Carousel Organ, the journal of the Carousel Organ Association of America. He is a past president of MBSI. Ron and his wife, Mary Jo, won the Trustee Award in 1996, and Ron won the Q. David Bowers Literary Award in 2014.
A self-built orchestrion (by Hans van Oost). Photo credit: Fred Dahlinger
Another PopperÕs Deluxe Superba piano orchestrion in the Hans van de Velde collection in Tuitjenhorn, Netherlands. Photo credit: Dick Hack
Imagine if you will the Automatic Musical Instrument Company
By Dr. Robert Penna
Borrowing the introductory phrase from Rod Serling and the old televi.sion show Twilight Zone, ÒImagine if you willÓ a company that has been manufacturing automatic musical instruments since 1901 and is still going strong. Today, they are still in business making machines to enter.tain us with the latest music.
One day, while looking at the logo on an old jukebox, I stopped and wondered what the AMI of the AMI-Rowe logo represented. To my surprise, I found it to represent ÒAuto.matic Musical Instrument.Ó This led to my research on the history of this meaningful name.
Tracing the history of the Automatic Musical Instrument Company was an arduous undertaking. Much of its history is confounded by takeovers, buyouts, and mergers. In addition, several companies had similar names: the Automatic Musical Company, the Automatic Musical Instrument Company, the National Automatic Musical Company, and the American Musical Instrument Company.
According to my research, the Auto.matic Musical Instrument Company started life as the Automatic Musical Company in March 1901 when broth.ers Benjamin and Louis H. Harris, with partner Frederick Goolman, produced an instrument that played metal bell bars and was incorrectly termed a xylophone. Marketed in 1902 and 1903, this instrument was a commercial failure. Switching to a coin-operated piano, the company produced a model called the ÒReliableÓ which proved to be successful. Earning patent No. 917288 in 1904, this keyboard style coin-operated piano became the company mainstay.
At that time, the firm was named the Automatic Musical Company of Binghamton, NY, and became the forerunner of the Link Piano Company. During the early 1900s, the company bought its pianos from the Schaff Brothers Piano Company of Huntington, IN, and Haddorff Piano Company of Rockford, IL. It is possi.ble that other pianos were purchased from Brewer-Pryor Piano Company originally from Saginaw, MI.1
The company simply modified the instruments from their suppliers by adding the mechanical mechanisms and glass. Pianos from this era were not built in substantial numbers and are exceedingly rare today.2
The Schaff Brothers Piano Company was established by Gotthard and John Schaff in 1868. By the time the Automatic Musical Company was purchasing pianos, Schaff Brothers already had a reputation for building high-quality instruments. Schaff Brothers also produced its own player pianos under the Solotone brand name. By the late 1920s Schaff Broth.ers Piano Company was absorbed into the Rudolph Wurlitzer Piano Company.3
In 1906 the Automatic Musical Company was doing well financially and by April 1906 an article appeared in Music Trade Review entitled, ÒMaking Shipments Abroad.Ó The item claimed that the companyÕs coin-op.erated pianos were being sent to Mexico and Canada and pianos from England were being refitted with its slot machine attachments. Likely this is a gross exaggeration, as no surviv.ing pianos have been found and trade papers were known to embellish the truth.4
It was also in 1906 that the company marketed the Mandolin Piano. Later that year, the Automatic Musical Company was incorporated by Louis H. Harris, Frederick R. Goolman, Frederick P. Ackerman and Samuel H. Harris with a capitalization of $250,000. In 1907, the company employed a Dutch immigrant named Joseph Wauters who developed an automatically-played violin. Because of a national financial downturn, the Royal Violista was poorly marketed, and few were made.
Around 1910, the Automatic Musical Company was in dire financial straits and facing possible bankruptcy caused by an unsettled patent infringement lawsuit as well as the effects of the 1907 economic recession. Because the company had been buying pianos from the Schaff Brothers Piano Company and was deeply in debt to its vendor, the President of Schaff was tasked with trying to save the Automatic Musical Company from complete ruin. Edwin A. Link, then president of Schaff, was appointed to oversee a recovery. When the company failed in 1913, Link bought the building, materials, machinery and supplies. Recognizing the potential of his purchase, he established the Link Piano and Organ Company using all the assets of the Automatic Musical Company.
The Link Piano Company became well known for quality instruments. In 1916, they introduced the Orches.tral Organ for theatres. In the early 1920s Link marketed a line of unified, electro-pneumatic organs targeted to both theatres and mortuaries. By the 1930s, the Link Piano Company had expanded its coin piano line and was turning out some 300 coin-operated pianos and a dozen theatre pipe organs per year. By 1927, however, business started to decline and, by 1932, the Link Piano Company ceased operations.5
In 1925, the National Automatic Music Company consolidated with the Automatic Musical Company and accepted its name for the new part.nership. That is the point at which the company and products came under the name of Automatic Musical Instru.ment (AMI) Company. As of Dec. 31, 1925, their patents were valued at almost $1.4 million. Yet, financial and legal difficulties continued to plague the company. In 1929, a lawsuit resulted in additional problems for the company.6
The National Automatic Music Company was well established before the consolidation. The company had two separate divisions. One handled manufacturing of nickelodeons, while the other ensured appropriate place.ments. After the consolidation, the new Automatic Musical Instrument Company, often simply called AMI, handled both aspects of the industry.
Among AMIÕs first products were electric pianos. Most notable was the National Nickelodeon, a coin-oper.ated player piano without a keyboard. At the start, cabinets for these player pianos were built by Bush & Lane, while the other components were made by AMI in Grand Rapids, MI.
The emergence of the 78 rpm record in 1925 brought a change in the landscape of automatic musical instruments. By 1927, AMI abandoned player pianos and introduced the National Automatic Selective Phono.graph, the first jukebox which started their association with these players of recordings.7
The nickelodeons of the 1920s had stencils or metal plates which read ÒProperty of Automatic Musical Instrument Company, Grand Rapids, Michigan.Ó The stylized monogram ÒAMIÓ first appeared in 1938 and lasted in several shapes until the company was purchased by Rowe in 1962. After this, the name Rowe was added to the company name. Today, Rowe AMI is well known for the manufacture of jukeboxes, yet it traces its roots back to the establishment of the Automatic Musical Company in March 1901.8
With all its name changes and ownerships, the Automatic Musical Instrument Company certainly has a fascinating history. Yet, it remains a music making company that has brought joy to many for well over a century.
An Automatic Musical Instrument Company Reliable instrument.
Patent drawing for the Reliable, patent No. 917288 in 1904. Full patent plans can be found at: https://www.mechanicalmusic.press.com/registry/pdf_data/docs/Reliable_Self-Playing_Piano.pdf )
A copy of a 1928 stock certificate for the Automatic Musical Instrument Company. Photo courtesy Scripophily.net
The Link Piano Company logo.
A Link Piano Company Style 2E. Instrumentation consists of a piano, mandolin attachment and xylophone.
Sources
1.
Reblitz, Arthur and Bowers, David. Automatic Musical and Link Piano and Organ Company, Mechanical Music Registry Project, April 9, 2022.
https://www.mechanicalmusicpress.com/registry/link/link.htm
2.
Antique Piano Shop, Friendsville, Tennessee, 2017 https://antiquepianoshop.com/online-museum/automatic-musical-in.strument-company/#:~:text=The%20Automatic%20Musical%20Instrument%20Company%20was%20a%20very,a%20variety%20of%20basic%20coin%20operated%20player%20pianos
3.
Antique Piano Shop, Friendsville, Tennessee, 2017
4.
Reblitz, Arthur and Bowers, David. op. cit.
5.
Reblitz, Arthur and Bowers, David. op. cit.
6.
Court of Appeals of the District of Columbia, April Term 1929, Number 5002, National Piano Manufacturing Company vs. Commissioner of Internal Revenue, p. 24 https://archive.org/details/dc_circ_1929_5002_natl_piano_mfg_co_v_lucas/page/n29/mode/2up?q=%22automatic+musical+instrument%22
7.
Automatic Musical Instrument Co. (AMI) 1909-1962, Furniture City History, Grand Rapids Historical Commission.
8.
AMI. About AMI. AMI Entertainment Network, 2022. https://amientertainment.com/our-story/
Golden Gate Chapter
Chair: Jonathan Hoyt
Reporter: Dave Corkrum
Photographer: Rob Thomas
Dec. 11, 2022 Ñ San Jose, CA
The Golden Gate Chapter held its last meeting on Dec. 11, 2022, at the home of Lyle Merithew and Sandy Swirsky in the heart of Silicon Valley. Sandy and Lyle have a spectacular home filled with amazing music machines as well as many different types of collections, ranging from perfume bottles to Chinese and Japanese serving pieces and articles from samurai clothing and wonderful pieces of stained/leaded glass. If you are a collector, you know that it is rare to collect only one type of item.
In the manner of mechanical music, their collection includes cylinder and disc music boxes, orchestrions, a reproducing piano, a reproduction Hupfeld Phonoliszt Violina, roller organs and a jukebox. Many of these pieces are on display in a music room adjacent to the living room.
Chapter Chair Jonathan Hoyt held a business meeting and presided over the election of a new chair. Judy Caletti was elected to be the new chair for the chapter.
MBSI President Dave Corkrum informed chapter members that the financial report for the 2022 joint AMICA/MBSI Annual Meeting hosted by the Golden Gate Chapter and the founding AMICA chapter was formally submitted to the MBSI meetings committee. The two societies ended up collecting a combined total of 61 cents in profit. In other words, the chapters broke even on the event.
As is the custom of our chapter, a fantastic luncheon was provided by our hosts with side dishes and desserts provided by chapter members. It was a lovely day in San Jose, and we want to thank Sandy and Lyle for providing us with great music and great food.
Lyle Merithew finishes changing a roll on the reproduction Hupfeld Phonoliszt Violina while Kurt Swanson records it for posterity.
Lyle Merithew and Sandy Swirsky, meeting hosts, listen to a tune in the music room.
John Ulrich displays SandyÕs needlepoint piano bench cover.
Jennifer and Jonathan Hoyt, David Corkrum and Bob Caletti enjoy visiting with each other at the meeting.
Darius Kucinskas and Jared DiBartolomeo enjoying some yard art.
Bob Gonzales, Blanche Korfmacher and Julie Cole sitting in the music room.
Darius Kucinskas entertains on the Marshall & Wendell AMPICO.
Jared DiBartolomeo played music live that he recorded for an AMPICO roll.
Darius Kucinskas presents his report on ethnic piano rolls.
Southern California Chapter
Chapter chair: Robin Biggins
Reporter: Robin Biggins
Photographer: Lowell Boehland
Woodland Hills, CA Ñ Jan. 21, 2023
Our chapterÕs usual Christmas meeting was changed so we could try a combined meeting with the local Automatic Musical Instrument Collec.torsÕ Association chapter instead of having a two-day event. It turned out we had an attendance of 77 members and guests.
Frank Nix, with help from his son, Steve, set up his wonderful collection of mechanical music. We enjoyed a buffet-style lunch and conducted a dual chapter meeting before we listened to all the marvelous collec.tion of music.
FrankÕs Musik Haus is full of all types of machines, including the huge Ruth style 38 and a half dozen orchestrions, plus single and double Violanos, large musical boxes and monkey organs. There is a separate room for disc and cylinder musical boxes plus a rare Cordephon disc-op.erated mechanical Zither. Most of the large machines operate by a MIDI system so a wide range of music is available. The meeting lasted from 11 a.m. until after 5 p.m. so everyone had time to enjoy the music and learn a lot about mechanical music. Thank you to Frank and Steve for hosting our chapters for this meeting!
Frank demonstrates the Komet musical box.
Guests enjoy the Banjo Orchestrion with a mechanical clown on top.
Mark Morgan, Rosanna Harris, Chris and Kathleen Eric in front of the Musik Haus.
Peggy and Ed Cooley (MBSI Trustee) are nearly lost among the mechanical music machines.
A partial group in front of the Ruth organ.
A view inside the disc and cylinder music box room of the Musik Haus.
A guest at the keyboard of the Wurlitzer.
Everyone got a chance to wander the Musik Haus enjoying the instruments.
Frank operates the Fratti organ next to the small Molinari.
Frank in front of the Seeburg with an automaton band.
National Capital Chapter
James Absher, Dick Maio and Sarah Absher listen as meeting host Dick Hack dis.cusses the Mortier organ.
Chapter Chair: Ken Gordon
Reporters: Donna and Gene Borrelli
Photographers: Gene Borrelli
and Paul Senger
Dec. 4, 2022 Ñ Annapolis, MD
The National Capital Chapter held its Holiday Party and business meet.ing on Sunday, Dec. 4, at the home of Cheryl and Dick Hack which is on the Western shore of the Chesapeake Bay in Annapolis, MD. There were 56 people in attendance including 19 guests. Bruce Newman and Paul Hempel traveled the furthest, from Oregon, to attend the meeting.
At the business meeting chapter president Ken Gordon thanked our hosts Dick and Cheryl Hack for again hosting our Holiday party. He announced that there will be a meeting in March or April. Watch for an email from Paul Senger. Ken then thanked Paul Senger and Florrie Hirsch for all their hard work. Cheryl thanked Beni Jaro and Donna Borrelli for helping her serve the meal. Paul noted that there were some missing members due to health issues.
Following the business meeting Dick and Cheryl demonstrated their collection. The Hacks have an extensive mechanical music collection. It includes a variety of nickelodeons, organs, orchestrions, pianos, music boxes, phonographs, and a few juke.boxes and movie jukeboxes spanning from 1836 to 2005. Some of the pieces played were a Weber Unika, Hupfeld Phonoliszt Violina, Seeburg G Orches.trion, Welte Orchestrion, Wurlitzer CX Orchestrion with added bells, Wurlitzer 153 Band Organ, Davrain.ville Clockwork Barrel Organ, Regina Hexaphone Phonograph, Decap 92-key Dance Organ, Mortier Organ, Bursens CafŽ Organ, Ramey Banjo Orchestra, Mills Violano with Drum box, Mills Panoram movie jukebox, Polyphon 151/2-inch musical tall clock, Wurlitzer Model B Harp (Reproduction built by Dick), Link 2E nickelodeon, Ruth 36 Organ, and a variety of other mechan.ical music machines. The most recent addition to the collection is an Edison cylinder phonograph which Dick recently restored.
Above: Alden Gruden, a young guest, listens to the Wurlitzer CX.
Left: DickÕs new Edison Cylinder Player.
Attendees listen to the Bursens CafŽ organ. The Hupfeld Phonoliszt Violina on left.
Laura Bates and Al Zamba listen to the Symphonion Eroica triple disc music box.
Dick explains the rolls for the Bursens CafŽ organ.
Alden Gruden records the Hupfeld Phonoliszt Violina.
Carol Durand eyes the goodies from attendees on the dessert table.
Dick Maio, Art Mueller, Russell Mueller and Robert Barnett enjoy the orchestrions.
Wayne W. Wolf Ñ 1943Ð2023
By Marty Persky and Ed Kozak
Wayne Wolf of Western Springs, IL, passed away in January at age 81.
A 50-year member of MBSI and a long-time AMICA member also, he was listed, too, as a founding member of the Chicago Talking Machine Club in the 1960s.Wayne was proceeded in death by his beloved wife Connie in 2018.
Wayne was a certified profes.sional accountant, retiring as the Accounting Division Director for the University of Illinois Medical Center, Chicago. He was very involved in his Bohemian/Czech heritage and was active with the Palacky Odd Fellows, Czechoslovak Society of America, Czechoslovak American Congress, Bohemian National Cemetery, T.G. Masaryk Czech School and Svobodna Obec-Free Thought Council.
Wayne was a frequent attendee at MBSI and AMICA national conventions and local meetings including those of WIMAPS. He and Connie were always willing to open their house for a meeting and Wayne loved nothing more than showing off his favorite items, especially the rare cross-over Bohemian-Phonograph. With every item shown there was an enthusiastic story to be told. He often attended both StantonÕs and DonleyÕs auctions. Sometimes he would buy nothing, but he was still happy to just have been there.
He was an avid collector of many different types of mechanical musi.cal instruments and he shared his knowledge and expertise with all. He loved to learn about the history of the instruments and converse with other collectors and dealers. As recently as last August, Wayne entertained a group of MBSI European members showing them his wonderful collection of music boxes before they traveled to the MBSI annual convention in California. He was looking forward to attending the 2023 convention in Minnesota. He had missed attending several annual conventions since he lost the love of his life, Connie, a few years ago.
Over a period of five decades Wayne befriended many mechanical music dealers, restorers and fellow collec.tors throughout the U.S. and England. To his friends he was the sweetest, kindest of men.
MBSI was very lucky to have him as a long-time member of both the Finance and Endowment committees where he gladly contributed his expertise and wisdom. The committee members will surely miss his voice.
Wayne inspecting his Pink Lambert Concert Cylinder.
Wayne at a border crossing for the Czech Republic.
Wayne and Connie on vacation
Wayne with Dave Ramey Jr. and Dave Ramey Sr.
Wayne brings out one of his cylinder boxes for inspection during a meeting.
Lydia Levy Ñ 1938Ð2022
By Robin Biggins
We are saddened to hear that Lydia Levy, wife of longtime member Chuck Levy, passed away Dec. 23, 2022.Ê Chuck and Lydia graciously hosted several Southern California Chapter meetings over the years in their lovely home on the beach in Santa Monica, CA, as well as accommodating several busloads of members for the 2015 MBSI Annual Meeting.
Their wonderful collection of automata, mechanical music and art, along with their generous hospitality was always a special event for our members.
Lydia was born in South Dakota and graduated with a degree in Art History from Northwestern University in Evanston, IL.
At Northwestern, Lydia joined the Delta Delta Delta sorority and began dating Charles ÒChuckÓ Levy who graduated from Central High School in Aberdeen, SD, one year before her. When Chuck first saw Lydia at Central High, he remarked to a friend that Lydia was Òthe most beautiful girl [he] had ever seen in [his] life.Ó
In 1961, after ChuckÕs graduation from Northwestern University School of Law in Chicago, IL, they were married under a Chuppah in Aberdeen. For their honeymoon, the newlyweds piled all their worldly belongings into a 1961 Chevy Impala convertible and after an afternoon wedding reception began driving to Los Angeles, CA, pausing to have their first evening meal as a married couple at a rural South Dakota gas station service counter. Chuck had a one-year job waiting for him as a teaching associate at UCLA Law School teaching legal research and writing. It was LydiaÕs first visit to the Golden State where she would reside the rest of her life.
Lydia was a devoted homemaker raising the coupleÕs two sons, Grant and Brian. She was a major patron of the arts, regularly attending concerts by the L.A. Philharmonic and most Saturday evenings during the summer, she could be found at the Hollywood Bowl where she delighted in prepar.ing picnics for Chuck and whomever their guests were that evening. She also worked as a museum docent for many years, first at the Museum of Contemporary Art and then at the Los Angeles County Museum of Art, where she rose to become president of the Docent Council. For several years, Lydia could be seen most Sundays at 2 p.m. at LACMA delivering a docent lecture covering David HockneyÕs famous painting ÒPearblossom High.wayÓ to an interested art audience. Lydia was a great asset for Chuck in the development of his law practice by graciously entertaining the members of his law firm and his clients.
When not attending to her docent duties, Lydia was an active world traveler. She and Chuck made trips to exotic destinations from Asia to Africa to Antarctica. Her favorite trips, however, were those that included her sons and her grandchildren. These included numerous cruises and several trips to Hawaii.
Lydia and Chuck celebrated their 61st wedding anniversary this past June. She was blessed with five grand.children who were her pride and joy.
Chuck remembers that after partaking of an evening gourmet meal prepared by Lydia, they would sit in the living room of their well-located, art filled, custom built home they had designed and, looking about them, Lydia would sometimes raise her wine glass and toast, ÒNot bad for two kids from South Dakota.Ó
Lydia will be sadly missed by all of us in the Southern California Chapter.
ÐAdditional information for this article came from LydiaÕs official obituary
Lydia and Chuck Levy with one of their automatons that was featured on the cover of Mechanical Music.
The Hunt
WhatÕs your story of finding your way into collecting and enjoying mechanical music? WeÕd love to know!
Email your story to editor@mbsi.org or mail a copy to:
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FOR SALE
RESTORED MUSICAL BOXES Offering a variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC MUSI.CAL INSTRUMENTS By ART REBLITZ. Award-winning classic that brings historical, musical, and technical information to life with hundreds of large, vivid color photos. We guarantee youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor your money back. Everyone has been delighted, and some readers have ordered several copies. Get your copy today for $99 plus S/H. MECHANI.CAL MUSIC PRESS-M, 70 Wild Ammonoosuc Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
AEOLIAN STYLE 1500 player reed organ lot 90, #12437. The organ needs a new custodian. I believe it is complete except for a broken stop knob. Valve leather has been replaced on exhausters only. I have $800 invested and would like to recover this. (NJ). Contact KEN CLAYTON, at kenclayton11@gmail.com or 732-530-1398
MARVELS OF MECHANICAL MUSIC – MBSI Video. Fascinating and beautifully-made film which explains the origins of automatic musical instruments, how they are collected and preserved today, and their historic importance, MBSI members and collections are featured. $20 USD. Free shipping in the continental U.S. Additional postage charges apply for other locations. Purchase now at www.mbsi.org
MILLS VIOLANO. This is serial number 2552. Just gone through by the world expert Terry Haughawout (see photo of recent receipt) ItÕs right out of the shop in perfect working order. Comes with 5 rolls. Local pick up or I will work with your shipper. Video and more pictures available on request. Location is Grafton, Ohio. Asking $18,900. Contact JASON MARQUIS, at npl_jmarquis@hotmail.com or 440-396-3079
REGINA 27 IN CASKET MODEL. Totally restored by Porter in Oct 2020. With ten new discs from England. Needs nothing, as new. Amazing sound and volume. Sitka Spruce sound board. Asking $17500. Contact JOHN LEUENBERGER, at jeleuen@gmail.com or 850 218 4800
SEEBURG G, COINOLA CUPID AND WURLITZER IXB for sale. From the collection of Wayne Edmonston and the late Joe Bailey. Contact TIM GUNTER, at 407-383-9449
REGINA HEXAPHONE STYLE 104. A really nice original unrestored Hexaphone. Works correctly. Oak case. Complete. Pictures available. $14,000 + shipping. Contact ARNOLD LEVIN, at mech999@flash.net or 847-564-2893
THE MARTTHE MART
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Mechanical Music
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SERVICES
REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING. 40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE – The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone: (310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
SERVICES
NEW WEBSITE DEDICATED TO VIOLANO VIRTUOSO PRESERVATION Ð www.Viola.noPreservation.com features historic photos and original advertising and promotional materials from Mills Novelty, as well as the transcript and audio of Don BarrÕs interview with Bert Mills. Site also features restored Violanos for sale along with rolls and acces.sories. Contact JOHN ZUK, at coinopgeek@gmail.com or 626-840-4241
1910 ROULLET & DECAMPS CLOWN ON STILTS AUTOMATON in excellent working condition. Features intricate action including moving his head, hands, legs and mouth Ð topped off with a fabulous balancing act on a single stilt! More photos and video available. Contact JOHN ZUK, at coinopgeek@gmail.com or 626-840-4241
$10 for members. (International extra) Call (417) 886-8839
OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL¨
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President
David Corkrum
5826 Roberts Avenue
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musikwerke@att.net
Vice President
Matthew Jaro
24219 Clematis Dr
Gaithersburg, MD 20882
mjaro@verizon.net
Recording Secretary
Linda Birkitt
PO Box 145,
Kuna, ID 83634
scarletpimpernel28@yahoo.com
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Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
ekozak1970@gmail.com
TRUSTEES
Dave Calendine
Bob Caletti
Edward Cooley
David Corkrum
Richard Dutton
G. Wayne Finger
Matt Jaro
Tom Kuehn
Mary Ellen Myers
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Dave Calendine, Trustee
Matt Jaro, Vice President
Endowment Committee
Edward Kozak, Treasurer, Chair
Edward Cooley, Trustee
Dave Calendine, Trustee
B Bronson
Wayne Wolf
Executive Committee
David Corkrum, Chair, President
Matthew Jaro, Vice President
Tom Kuehn, Immediate Past Pres.
Dave Calendine, Trustee
Bob Caletti, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Wayne Wolf, Vice Chair
Edward Cooley, Trustee
Peter Both
Marketing Committee
Bob Smith, Chair
Judy Caletti
Don Caine
Meetings Committee
Matt Jaro, Chair, Vice President
Judy Caletti
Tom Chase
Cotton Morlock
Rich Poppe
Membership Committee
Chair, TBD
David Corkrum, President
Richard Dutton, Trustee
Mary Ellen Myers, Trustee, Southeast
Robin Biggins, Southern California
Judy Caletti, Golden Gate
Gary Goldsmith, Snowbelt
Julie Morlock, Southeast
Rob Pollock, Mid-America
Florie Hirsch, National Capital
Dan Wilson, Piedmont
Gerald Yorioka, Northwest IntÕl
TBD, East Coast
TBD, Lake Michigan
TBD, Sunbelt
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Sally Craig, Chair
Matt Jaro, Vice President
Glenn Crater, National Capital
Ken Envall, Southern California
Julian Grace, Sunbelt
Richard Simpson, East Coast
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Ohio Operations
Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair
Tom Kuehn, Immediate Past Pres.
Bob Caletti, Golden Gate, Trustee
Mary Ellen Myers, Trustee,
Southeast
Jonathan Hoyt, Golden Gate
Robin Biggins, Southern California
Aaron Muller, Lake Michigan
Publications Committee
Bob Caletti, Chair, Trustee
Richard Dutton, Trustee
Steve Boehck
Christian Eric
Kathleen Eric
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B Bronson
Knowles Little, Web Secretary
Special Exhibits Committee
Chair Mary Ellen Myers, Trustee,
Southeast
David Corkrum, President,
Golden Gate
Donald Caine, Southern California
Jack Hostetler, Southeast
Knowles Little, National Capital
Judy Miller, Piedmont
Aaron Muller, Lake Michigan
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Rick Swaney, Northwest IntÕl
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Springfield, MO 65808-0196.
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Endowment Fund (promotes the purposes of MBSI, restricted)
Ralph Heintz Publications Fund (special literary projects)
Museum Fund (supports museum operations)
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff.
The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
CALENDAR OF EVENTS
Date
Event
Location
Sponsor
May 20-21 2023
Mid-Am Chapter meeting & 46th Annual Band Organ Rally
Urbana, OH
Mid-America Chapter
Aug 29-Sept 3, 2023
MBSI Annual Meeting
St. Paul, MN
Snowbelt Chapter
Send in your information by April 1, 2023, for the May/June 2023 issue.
Ask your questions on our Facebook discussion group Ñ the Music Box Society Forum.
Please send dates for the Calendar of Events to editor@mbsi.org
CONTACTS
Administrator Jacque Beeman handles back issues (if available) $6; damaged or issues not received, address changes, MBSI Directory listing changes, credit card charge questions, book orders, status of your membership, membership renewal, membership application, and MBSI Membership Brochures.
P.O. Box 10196
Springfield, MO 65808-0196
Phone/Fax (417) 886-8839
jbeeman.mbsi@att.net
Traveling MBSI Display
Bill Endlein
21547 NW 154th Pl.
High Springs, FL 32643-4519
Phone (386) 454-8359
sembsi@yahoo.com
Regina Certificates: Cost $5.
B Bronson
Box 154
Dundee, MI 48131
Phone (734) 529-2087
art@d-pcomm.net
Advertising for Mechanical Music
Russell Kasselman
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
Phone (253) 228-1634
editor@mbsi.org
Museum Donations
Sally Craig
2720 Old Orchard Road
Lancaster, PA 17601
Phone (717) 295-9188
rosebud441@juno.com
MBSI website
Rick Swaney
4302 209th Avenue NE
Sammamish, WA 98074
Phone (425) 836-3586
r_swaney@msn.com
Web Secretary
Knowles Little
9109 Scott Dr.
Rockville, MD 20850
Phone (301) 762-6253
kglittle@verizon.net
CHAPTERS
East Coast
Chair: Elise Low
(203) 457-9888
Dues $5 to Roger Wiegand
281 Concord Road
Wayland, MA 01778
or pay via PayPal, send to
treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Judy Caletti
jeeperjudy@gmail.com
Dues $5 to Dave Corkrum
5826 Roberts Ave.
Oakland, CA 94605
Japan
Chair: Naoki Shibata
81-72986-1169
naotabibito396amb@salsa.ocn.ne.jp
Treasurer: Makiko Watanabe
makikomakiko62@yahoo.co.jp
Lake Michigan
Chair: Mark Pichla
(847) 962-2330
Dues $5 to James Huffer
7930 N. Kildare
Skokie, Illinois 60076
Mid-America
Chair: Rob Pollock
(937) 508-4984
Dues $10 to Harold Wade
4616 Boneta Road
Medina, OH 44256
National Capital
Chair: Ken Gordon
(301) 469-9240
Dues $5 to Florie Hirsch
8917 Wooden Bridge Road
Potomac, MD 20854
Northwest International
Chair: Rick Swaney
(425) 836-3586
Dues $7.50/person to Kathy Baer
8210 Comox Road
Blaine, WA 98230
Piedmont
Temp Chair: Dan Wilson
(919) 740-6579
musicboxmac@mac.com
Dues $10 to Dan Wilson
4804 Latimer Road
Raleigh, NC. 276099
Snowbelt
Chair: Tracy Tolzmann
(651) 674-5149
Dues $5 to Bill Nunn
2825 Willow Drive
Hamel, MN 55340
Southeast
Chair: Wayne Myers
(407) 333-9095
Dues $5 to Bob Yates
1973 Crestview Way Unit 147
Naples, FL 34119
Southern California
Chair: Robin Biggins
(310) 377-1472
Dues $10 to Diane Lloyd
1201 Edgeview Drive
Cowan Hgts, CA 92705
Sunbelt
Chair: Vacant
Dues $10 to Diane Caudill
14015 Spindle Arbor Road
Cypress, TX. 77429
CHAPTERS
Copyright 2022 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X