Gerhard Dangel-Reese
Augustinermuseum
Salzstr.32, D-79098 Freiburg
fon *49-761-201-2528, fax *49-761-201-2597
On Thu, 22 May 1997, Mechanical Music Digest wrote:
> Contents for today's Mechanical Music Digest (97.05.22)
>
> Subject: Player Harp (Walt Carroll)
> Subject: Support Your Local Town Museum (Nancy Fratti)
> Subject: Miles Musical Museum, Eureka Springs, Arkansas (Don Teach)
> Subject: Miles Musical Museum, Eureka Springs, Arkansas (Bob Fitterman)
> Subject: Summer Address (Beatrice Robertson)
>
> Subject: MMD Financial Support (Marc Sachnoff)
> Subject: Winners of the Quercus Game 1996 (Thomas Henden)
> Subject: MIDI Accordion (Angelo Rulli)
> Subject: Overpriced Pianos (Jeffrey Borinsky)
>
> Subject: New Orchestrelle Rolls (Dan Wilson)
> Subject: 88-Note-Enabler for Ampico A (Michael Swanson)
> Subject: Lock and Cancel Valves (Craig Brougher)
> Subject: False Floor for Turbine Muffler (Larry Mayo)
>
> Subject: Repairing Rolls (Joe Hutter)
> Subject: Ironing Rolls with Wrinkles and Ridges (Adam Ramet)
> Subject: Removing Wrinkles and Ridges (Bruce Clark)
> Subject: Ironing Music Rolls (Gerhard Dangel-Reese)
>
> Subject: Coating for Pneumatic Cloth (Debbie Legg)
> Subject: Silicone Rubber and Pneuma
> Subject: Good Pneumatic Cloth (Don Teach)
> Subject: Leaky Bellows Cloth (Craig Brougher)
>
> Subject: Seek: Lower Bellows for Beckworth Upright (Jerry Slonsky)
> Subject: FS: Waller & Morton Rolls (Pete Fay)
>
> Robbie Rhodes, Relief Editor
>
> Previous Digest: 97.05.21
>
> --------------------
>
> From: [log in to unmask] (Walt Carroll)
> To: [log in to unmask]
> Date: Thu, 22 May 97 09:02:17 -0700
>
> Subject: Player Harp
>
> Somewhere my wife and I have heard about or read about a player harp.
> Unfortunately I don't even remember anything at all about this topic.
> Since my wife is blind it must have been me that read about it.
>
> To get to the point, we were curious if such a harp existed, how it
> worked, was it a toy (a la Rollmonica/sax), etc.? Would anybody know
> anything at all about player harps? Did they (do they?) really exist or
> they just a fragment of my amalgamation? We have some very close
> friends that play harp and it would be fun to tell them about player
> harps. They also enjoy our collection of pianos, organ, and Rollmonica.
>
> Also, for curiosity, would anyone happen to have an idea of what a
> Steinway Duo-Art upright sold for brand new in the late 'teens early
> twenties, and what that would equate to in today's dollars? Thanx
> to all.
>
> Walt Carroll
>
> PS: FYI --- I don't mind sending in a few bucks, I don't even mind
> subsidizing someone that can't afford it. Next time I pay my bills I'll
> send something.
>
> [ Thanks, Walt, every contribution is appreciated. :) -- Robbie
>
> --------------------
>
> From: [log in to unmask] (Nancy Fratti)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 10:16:00 EDT
>
> Subject: Support Your Local Town Museum
>
> "Hurrah!" to Mike Knudsen! More people exhibiting in their local
> historical societies would certainly generate scads of interest in all
> our fields of mechanical music, especially the music boxes!!!
>
> While it is an effort to cart boxes, etc. to an exhibit, the joy and
> education it brings to the public is well worth it!
>
> Congratulations, Mike, on your enthusiasm and effort!
>
> Nancy Fratti
> [log in to unmask]
>
> --------------------
>
> From: [log in to unmask] (Don Teach)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 10:24:11 EDT
>
> Subject: Miles Musical Museum, Eureka Springs, Arkansas
>
> I believe you have the date wrong about the Miles auction. June 20 and
> 21 stand out in my mind as I reservations on these dates. I suppose this
> will be an interesting auction. Most of the pianos need to be re-restored
> as they have not been tended to for a number of years. I think there
> have been quite a few pieces removed from what was originally there in
> the early seventies and some additions I do not think Mr. Miles ever
> had, such as slot machines.
>
> Don Teach
>
> --------------------
>
> From: [log in to unmask] (Bob Fitterman)
> To: Mechanical Music Digest <[log in to unmask]>
> Date: Thu, 22 May 1997 10:07:28 -0400
>
> Subject: Miles Musical Museum, Eureka Springs, Arkansas
>
> An advertisement on page 30 of the May/June 1997 issue of the MBSI News
> Bulletin provides the information on the auction:
>
> Miles Musical Museum - Estate Auction
> June 20-21, 1997 Eureka Springs, Arkansas
> Preview June 19, 1997 1-6 PM
>
> By Preston Evans
> Opportunities Auction
> 5058 Kurt Lane
> Atlanta, Georgia 30308
> 770-483-0000
>
> --------------------
>
> From: [log in to unmask] (Beatrice Robertson)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 07:58:39 -0400
>
> Subject: Summer Address
>
> For anyone interested, please note that my address for the summer will
> be: [log in to unmask] We will be leaving Florida and traveling here and
> there - we will see some of you at Union, IL and many of you at Eureka
> Springs.
>
> Also, I just completed a major overhaul of the MBSI Web page. Please
> check it out! http://www.mbsi.org/ Comments are welcome, although
> changes will be sort of slow, as my on-line access is a bit sporadic when
> I travel.
>
> Beatrice Robertson
>
> --------------------
>
> From: [log in to unmask] (Marc Sachnoff)
> To: [log in to unmask]
> Date: Wed, 21 May 1997 21:00:10 -0400 (EDT)
>
> Subject: MMD Financial Support
>
> I've been lurking in the background these last months. I'm way behind in
> reading the digests because I recently opened my own TV production
> company and owning your own company is a life in itself. I'll be back
> with some interesting posts in the near future.
>
> On the subject of converting to the Digest to a subscription basis, here
> are my thoughts. Without Jody and Robbie we would have no digest and to
> continue its existence is worth $20 a year to me -- without a doubt. But
> here's the paradox, the Digest can only grow if it remains accessible to
> the casual browser. Traditional print magazines often gain subscribers
> from newsstand readers. To cut these people off would be a disservice to
> the thousands out on the net with an interest in automatic musical
> instruments who have yet to discover us.
>
> In assessing any business, my questions would be -- what are the costs
> involved and how can they best be covered? Since profit is not the
> motive here why not allow anyone to receive the Digest for free for a
> week or two. Then politely request the agreed upon subscription fee.
>
> A hobby should always be inclusive. Those who are bitten by the passion
> of bringing old music machines back to life and sharing their music will
> join us and willingly pay their freight. Let's not close any doors, there
> may a few Harvey Roehls, Larry Givens and Art Reblitzs of the 21st
> century lurking out there just waiting to discover the fun of this great
> hobby.
>
> Thanks again for all your great work. Best regards,
>
> Marc Sachnoff
>
> --------------------
>
> From: [log in to unmask] (Thomas Henden)
> To: Mechanical Music Digest <[log in to unmask]>
> Date: Thu, 22 May 1997 17:22:31 +0100
>
> Subject: Winners of the Quercus Game 1996
>
> > There are happy winners in Europe and overseas of a reed organ by
> > Robert Hopp and music-books and rolls perforated by "Amadeus" !
> > We prepare the next game and you will know about it as soon it is
> > on the web!
>
> I'm a bit curious why so many of the winners were from France, 39 of 50,
> or 78%. Was there very few from UK or Germany for instance, who
> participated?
>
> Sincerely Thomas Henden, Norway.
>
> (Of course, I'm not surprised that there no winners from Norway, [me for
> instance] we are only 4 million citizens up here.. :-) )
>
> [ Robert Hopp's business, "Quercus Edition", was formerly located
> [ in France. -- Robbie
>
> --------------------
>
> From: [log in to unmask] (Angelo Rulli)
> To: Mechanical Music Digest <[log in to unmask]>
> Date: Thu, 22 May 1997 06:41:58 -0700
>
> Subject: MIDI Accordion
>
> Galen Bird asked about a MIDI accordion. At a recent Maifest celebration
> in Hermann, Missouri, the yodeler was playing a MIDI accordion made by
> Excelsior. Don't know anything else.
>
> Angelo Rulli
> St. Paul, MN
>
> --------------------
>
> From: [log in to unmask] (Jeffrey Borinsky)
> To: Mechanical Music Digest <[log in to unmask]>
> Date: Thu, 22 May 1997 17:43:30 +0100
>
> Subject: Overpriced Pianos
>
> Reading Andy Hood's article in MMD 970521 reminds me of one I saw in an
> antiques (junk) shop in Brighton.
>
> Behind a heap of junk I spied a player piano. It was a mountaineering
> exercise to get close to it. I could not decipher the brand name but the
> dual 65/88 tracker bar looked interesting. The owner claimed it was
> working (ROTFL*/>@#?) and asked UKP 300. I just managed to press down a
> few keys by hand. They were seized almost solid. The case was horrible,
> almost rotten and the smell of damp was overpowering.
>
> I left with only small regrets. I'm sure he could have used the space in
> the shop.
>
> Jeffrey Borinsky
> Oxford, UK
>
> --------------------
>
> From: [log in to unmask] (Daniel Wilson)
> To: [log in to unmask]
> Cc: [log in to unmask]
> Date: Thu, 22 May 97 23:59 BST-1
>
> Subject: New Orchestrelle Rolls
>
> Bryan Cather asked:
>
> > It seems I recall hearing of someone in England who is
> > recutting and/or making new Orchestrelle rolls. I also
> > know about "Honor" Rolls of Dallas (we're both in the
> > same AMICA chapter), Any other leads?
>
> The English rolls were 65n and, later, 58n made from scratch by Steve Cox
> of Laguna Rolls. He made a pneumatic copier with an automatic facility
> for correcting for the tracker hole inaccuracies. It made copies very
> nearly as good as modern recuts. Most remarkably, he discovered the
> standard drive-flange to right-hand paper edge dimension (essential to
> achieve good tracking) so that he could make all-plastic versions of the
> old wood and steel pin spool ends. The copier could read 65n or 88n
> rolls.
>
> He was in production with these for about 13 years but it naturally fell
> off as his existing customers became satisfied and he eventually sold the
> machine on around 1988 to make space for the first of a line of 88-note
> copiers, the most recent and sophisticated of which now makes extremely
> accurate copies of Duo-Art rolls.
>
> The new owner of the 65/58n machine, an organ collector, obtained it
> mainly to save it from destruction and so far has not announced any
> intention of offering a copying service or new rolls of his own.
>
> Dan Wilson
>
> --------------------
>
> From: [log in to unmask] (Michael Swanson)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 15:42:07 -0800 (PST)
>
> Subject: 88-Note-Enabler for Ampico A
>
> This subject has been covered in the distant past. However, since the
> group is so much larger now it is probably worth bringing up again.
>
> For any of you Ampico owners out there who do not own an 88-note footpump
> player and like to play 88 note rolls, the "88-note-enabler" device from
> Craig Brougher is the answer.
>
> The Ampico it seems was designed to do one thing: play Ampico rolls. It
> plays 88 note rolls poorly -- you have to sit at the piano and hold down
> the finger buttons to get an acceptable volume level. With the
> 88-note-enabler you can switch the Ampico off and sit back and listen to
> an 88 note roll at a reasonable volume level.
>
> It is very easy to install, you just add a couple of Tee connectors to
> 3 small hoses under the piano. Your piano is not altered in any way, the
> device can be removed in minutes if you so choose. This device has
> greatly enhanced the enjoyment of my piano. I recommend all Ampico
> owners get in touch with Craig Brougher and get one of these for your
> piano.
>
> Michael Swanson
>
> --------------------
>
> From: [log in to unmask] (Craig Brougher)
> To: "Mechanical Music Digest" <[log in to unmask]>
> Date: Thu, 22 May 97 12:56:37 UT
>
> Subject: Lock and Cancel Valves
>
> Larry Mayo was asking if anyone knows a source for L/C valves. The
> reason his set stopped working is simply because of the polyurethane
> pouch material used in the older valves at PPCo. If you don't want to
> just pop off the pouch well covers on those valves and replace them (Very
> easy!) then I suggest buying another set from PPCo, because you won't have
> that problem anymore.
>
> Or if you want to change designs, I show ten or a dozen different L/C
> designs in the book, The Orchestrion Builder's Manual and Pneumatics
> Handbook. Some of them entail only a bleed and couple of extra nipples
> and you are shown how you can make a L/C with either two outside valves,
> or two inside valves, or one outside valve, or one inside valve, or a
> combination of an inside and an outside valve, or other simple mechanical
> devices that do the same thing. There is a whole chapter on just Lock
> and Cancels. I mention this because lots of builders would like to know
> more about them and build their own.
>
> Craig Brougher
>
> --------------------
>
> From: [log in to unmask] (Larry Mayo)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 09:49:48 -0500
>
> Subject: False Floor for Turbine Muffler
>
> In his very good book, Craig mentions using a false floor in the piano
> trap as a muffler for the turbine. This idea interests me, and I would
> like to do it. Has anybody tried this, or have plans available that
> incorporate one of the PPCo turbines into such a muffler? I'm not sure
> if the idea is to make some sort of box that fits into the trap, or to
> use the bottom board as part of it.
>
> Larry Mayo
>
> --------------------
>
> From: [log in to unmask] (Joe Hutter)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 09:04:42 -0400
>
> Subject: Repairing Rolls
>
> Over the years I have tried a number of methods to repair rolls. Here is
> a summary of some them:
>
> 1) Ironing - When rolls are wrinkled or creased, I have used this
> technique successfully. No steam is necessary, just a hot iron. I have
> always used a sheet of 1/4 inch plate glass as the ironing surface.
>
> 2) Bridging - A common problem especially on Ampico rolls. What I
> have done here is to carefully apply white glue to the perforations with
> an artist brush and while still wet, 'dry' it by sprinkling talcum powder
> over the seam. The powder seems to get absorbed into the glue and holds
> the bridge together better.
>
> 3) Tears - I have been using magic tape but have switched to
> archival tape purchased from University Products. This tape is extremely
> thin and supposedly removable without damage to the paper.
>
> Best regards,
> Joe Hutter
>
> --------------------
>
> From: [log in to unmask] (Adam Ramet)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 14:51:16 +0100
>
> Subject: Ironing Rolls with Wrinkles and Ridges
>
> To assist Carl Dodrill in ironing out his rolls I have had the following
> experience.
>
> First ensure that any roll you attempt this on is thoroughly dry first.
> If not the heat will dry the portion you iron and the rest, being damper,
> will instantly warp. Don't use any steam, it works for creased shirt
> collars but not rolls
>
> Do not iron the roll over an ironing board cloth cover. They're soft and
> you will warp the roll. Find a medium sized piece of card (not the
> corrugated stuff) to place under the roll while you do the ironing. Two
> thicknesses of a cereal packet should do, though colored side down unless
> you want "Kelloggs" transferred onto your roll. When the roll is out over
> your bench/ironing board be careful as you may put more creases into it
> or damage it with the iron's electric cable or your feet!
>
> Don't set the iron on a high heat to start. Start low and bring it up.
> Better to take time than to try and do it quickly and scorch or warp the
> roll. Try the heat out first at the leader end is a good idea. Rolls
> vary greatly in thickness and paper composition. It's better not to try
> and work the tip of the iron into the ridge between notes as this will
> not restore the paper bridge to its original rigidity (nothing I know of
> will either). Whilst you may concentrate on the area most deformed you
> should spread the heat over the surrounding area preferably over the
> entire width of the roll.
>
> For example press the iron for 5 seconds on the damaged area initially
> and next sweep the iron across the roll width at that point for a
> slightly shorter period and sweep the iron across the roll again an
> "iron's width" away from this band for say 1-2 seconds either side. The
> aim is to grade and blend the heat's effect across the roll and so grade
> and blend any warping you may cause. If you just slap the iron on the
> ridge you may well get the ridge flat but as this patch crosses the
> tracker bar you may find that you've given yourself more problems.
> Grading the heat as described reduces any sudden warping.
>
> Once you have ironed it is important to re-roll the paper pretty tightly.
> Do this by hand and keep the roll in its new flatter manner as you go.
> Make sure it's bound with an elastic band or the original thread tie that
> some rolls have. Leave it for a week at least before you play it or you
> may find yourself almost back to square one.
>
> Attempting this on your 58-note Aeolian Grand roll should not cause too
> much problem as (on the early original rolls at least) the paper is quite
> robust. For later 58-notes cut down from Aeolian 65-note rolls exercise
> more care as Aeolian paper from the mid-20's is different. On 65-note
> rolls the process gives the same results. On 88-note rolls I would not
> recommend ironing out anything other than the really worst rolls as in
> "this roll is so crumpled and folded it won't play a single note and I'd
> like to have some idea of what it might sound like".
>
> Because 88-note rolls note spacings are 50% smaller than 58 & 65's the
> potential for noticing the effects of warping is much greater. I ironed
> out an unidentified 88-note junk roll some years ago which was so badly
> crumpled you couldn't tell what it was. I got it to play (Rachmaninoff's
> Prelude C#minor eventually) but the result was that the long slow notes
> in octaves at the beginning had shifted. The roll looked flat but the
> spacing between the notes had changed enough to register the wrong notes.
> Sounded terrible. The roll was junk anyhow so it was experience gained
> and no big loss.
>
> On the basis of this I don't think I could possibly recommend you ironing
> your prized 116-note rolls. The Aeolian organs with the tracker bars
> split into 5 expanding sections (if yours has this) were made to
> compensate for a *uniform* expansion across the whole roll width due to
> moisture. Ironing won't produce a uniform expansion necessarily.
> Ironing the whole roll to circumvent this would be ridiculously time
> consuming and probably make the roll unplayable.
>
> The method works for ironing out edge creases quite well. For slight
> edge tears it also works especially if your player doesn't fuss about
> tracking too much. Though perhaps if your player doesn't fuss about
> tracking too much this is why your rolls get torn to shreds! :-)
>
> Ironing over words on song rolls is not a good idea. The ink may start
> to come off onto the iron/rest of the roll and you'll have made a mess
> before you realize it.
>
> Originally I tried ironing out various items of badly crumpled sheet
> music in my collection so my experience of the effect of heat on old
> paper and inks was first acquired successfully there. I also tried it out
> successfully the paper sleeves of old 78 records and yes, do take the
> record out first! ;-> If you do these yourself, again the effect of
> pressure after ironing is the important thing, press the music/record
> sleeves flat under a big pile of the same for a week or so.
>
> Some may suggest using spray-on starch on roll repairs like this or
> watered down PVC white glue solution to strengthen the paper (Reblitz &
> Ord-Hume). I have no experience of these personally. On related matters
> somebody suggested a spool-box with a warm heating element in place of
> the tracker to perfectly dry out rolls before playing. Whole new meaning
> to "hot" music I guess.
>
> Regards
>
> Adam Ramet
> [log in to unmask]
>
> --------------------
>
> From: [log in to unmask] (Bruce A. Clark)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 17:39:10 EDT
>
> Subject: Removing Wrinkles and Ridges
>
> Carl Dodrill asked about removing wrinkles and ridges from music rolls,
> and wanted to hear from others who have ironed rolls.
>
> I have ironed rolls, but not for the same reason. When heat is applied
> to a paper roll, the paper will shrink, and become narrower. The heat
> will remove excessive moisture, thus shrinking the roll, at least
> temporarily or until the paper absorbs excess moisture again. Some
> effect of ironing is permanent, but I assume depends upon the formula of
> the paper.
>
> On several occasions I have purchased re-cut rolls only to find them so
> expanded, they extended the tracker bar holes. Some were even being
> damaged by the take-up spool flanges.
>
> We have a vintage rotary ironer, and I got to thinking if it would be
> possible to run a complete roll through the ironer and shrink it down to
> proper size. One day while playing rolls, I became infuriated to find a
> new roll so expanded that it would not play right.
>
> I removed the roll and take-up spool from the piano, and turned on the
> ironer, and set the heat control at a low heat setting. Carefully I
> inserted the roll tab under the roller and set the roller in motion. The
> roll itself still wound onto it's original core was allowed to unroll
> loosely in front of the rotating roller of the ironer. The roll slowly
> was drawn down into the machine and came out the back of the heat shoe
> and roller. I attached the tab to the take-up spool, and rotated the
> take-up spool by hand, to wind the heated paper onto it. When all of the
> roll was wound on the spool, I removed the roll and placed it back in the
> piano and rewound the roll. It worked like magic! Some rolls required
> more than one treatment, and some that persisted in expansion required
> more heat.
>
> It is a bit tricky to get everything aligned, and one must release the
> roller now and then to keep everything in alignment, but it worked! I
> found the higher the heat, the more the roll would shrink. One roll even
> shrunk too much, and the last I knew did not recover. For that reason I
> feel that one should exercise extreme caution, and not put valuable
> original rolls through this process.
>
> I assume that this process would remove wrinkles, but keep in mind that
> it also may shrink your roll width.
>
> Bruce Clark
>
> --------------------
>
> From: [log in to unmask] (Gerhard Dangel-Reese)
> To: Mechanical Music Digest <[log in to unmask]>
> Date: Thu, 22 May 1997 22:50:12 +0200 (MESZ)
>
> Subject: Ironing Music Rolls
>
> I heard a few times the last years about this. After I told our paper
> restorer about it, he nearly went crazy !
>
> I promised Robbie at his visit in Freiburg, to force him (the paper man)
> to write about his techniques to remove wrinkles and how to repair tears
> in paper.
>
> In the meantime he has restored some rolls absolutely perfectly, but he
> has had no time to write about it. I'll try to force him away from his
> 18th-century paper-flowers and his problems with 20th-century glues and
> tapes. Perhaps you'll be able to wait a bit with the iron and the
> scotch.
>
> Kind regards
>
> Gerhard Dangel-Reese
> Augustinermuseum
> Salzstr.32, D-79098 Freiburg
> fon *49-761-201-2528, fax *49-761-201-2597
>
> [ Good Scotch (Scotch Whiskey) waits a long time. ;-) -- Robbie
>
> --------------------
>
> From: [log in to unmask] (Debbie Legg)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 19:40:48 -0400 (EDT)
>
> Subject: Coating for Pneumatic Cloth
>
> Hi Mike and list, Although I don't advise patch-up work on any
> instrument, there are times when this is all the customer wants or needs
> at the moment. I have experimented with various substances to coat
> pneumatic cloth and was finding PVC-E effective. The thing I didn't like
> about it was that it had to be dusted with talc to "de-tacky" the
> surface.
>
> While browsing Home Depot I came across a can of "Spray-On". This is the
> aerosol version of Dip-It. The rubber coating you can dip tool handles
> in. Among other claims the can reads: Plasti Dip Spray-On, heavy duty
> flexible rubber coating, won't crack, chip or peel, lasts for years.....I
> have used this in an emergency to coat pedal pneumatics, Aeolian (modern)
> off/switch pneumatics, and governor pneumatics.
>
> I haven't had a call-back on any of these. It has been about a year
> since the earliest trial. Maybe some of you would like to run some tests
> on this product. Note: it is extremely flammable and the vapors are
> harmful. Use only with adequate ventilation.
>
> I remove the part from the piano and take it outdoors to spray two even
> coats.
>
> Debbie Legg
>
> --------------------
>
> From: [log in to unmask] (Darrell Clarke)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 10:52 +0930
>
> Subject: Silicone Rubber and Pneumatics
>
> G'day MMD'ers, I would like to share my experience using silicone rubber
> sealant on leaky pneumatic cloth.
>
> I have had a problem with roll damage caused by a very sluggish tracking
> system on my Steck Duo-Art which was restored a few years back by someone
> else. My tests suggested that the cloth itself was very porous and this
> might also be part of the reason why the stack is very lossy when
> playing.
>
> About the time the restoration was done, I was having problems with
> finding a local source of airtight cloth and had rejected 3 different
> lots and I suspect that the other restorer was not so fussy. Since I had
> nothing to lose, I decided to try some silicone rubber roof sealant I had
> on hand, to seal the cloth which was still in good shape and very
> flexible. As a test, I tried diluting it with various solvents but since
> it was easy to apply neat and thinness was not a critical issue as in
> pouches, I applied it undiluted. Flexibility is critical, so the coating
> must be thin. I used an old rounded butter knife as a spatula and also
> a finger in a rubber glove to give an even, thin coating and left it to
> dry for a day.
>
> The results were amazing, leaks are gone and the tracking is now fully
> responsive. If the manufacturer's claims can be believed, the silicone
> should outlast the material underneath. I might try this on some of the
> other larger pneumatics which could be leaky and it might even be
> possible to do something with the action pneumatics without a full strip
> down, but I suspect it will end up looking a mess and unprofessional.
> Has anyone else tried it or seen it done successfully? The shiny
> appearance is a drawback, but a paintable silicone would help here.
>
> I recall some uncomplimentary remarks from MMD'ers about tracker bars
> covered in sealant at the back to try to fix a bad restoration and I am
> not recommending that, but there would be situations where a rebuild is
> not warranted, the owner can't afford it, or simply to identify the
> source of leaks. It needs to be done well, without looking like a bodgey
> amateur job and, to my mind, it should always be considered temporary
> until suitable time and materials are available. Cheers,
>
> Darrell Clarke
> Adelaide, Australia
>
> --------------------
>
> From: [log in to unmask] (Don Teach)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 10:24:11 EDT
>
> Subject: Good Pneumatic Cloth
>
> Concerning the bad cloth that many restorers have experienced. Schaff
> and Player piano company can only supply cloth from one or two sources.
> Natural rubber that was used in the old days has apparently been synthe-
> sized today with many additives reducing their usefulness in player
> pianos. A good example is the rubber band your newspaper comes with that
> does not last any time. PPCo and Schaff both have been using a company
> that supplies a good cloth.
>
> Don Teach
> Shreveport Music Co
> 1610 E. Bert Kouns
> Shreveport, LA 71105
> [log in to unmask]
>
> --------------------
>
> From: [log in to unmask] (Craig Brougher)
> To: "Mechanical Music Digest" <[log in to unmask]>
> Date: Thu, 22 May 97 23:05:06 UT
>
> Subject: Leaky Bellows Cloth
>
> Larry Broadmore was bemoaning the problems with leaky bellows cloth. I
> think he has shown everybody one very important requirement when choosing
> materials. That is, Don't take anything for granted. Test your stuff
> first. Don't assume that just because it was OK the last time you
> ordered, that it will be OK this time. That is the mark of a real
> expert.
>
> However, I do not use fish glue. Part of the reason for that is because
> fish glue is unstable and softens in a moist environment. For example,
> it would be suicide to use fish glue here in the midwest. Your stuff
> would disassemble itself. When I was a kid, we were given LePage's craft
> glue to use in putting valentines together with. Twenty years' later,
> there wasn't a single valentine left in the shoe box. They came apart.
> Whether you like it or not, that is the principle of fish glue. The
> purpose of fish glue was to achieve a quick, initial tack at the expense
> of strength and longevity. If you don't believe it, test it.
>
> I would encourage any player rebuilder NOT to use it, unless you intend
> to seal it with shellac solidly over the joints. There is no difference
> between children's LePage's fish glue and the stuff sold by organ supply
> companies. The advantage is that it is very convenient for the rebuilder
> because of its quick tack, and because it is non-toxic, meaning, you can
> eat it and it won't hurt you. It was used primarily for leather boot
> covers around bellows for reinforcement. Then, they would seal it. When
> they wore out or fell off, they replaced the patches. That way, a
> technician could get in and out of an organ quickly, make his repairs,
> and be on his way.
>
> On the other hand, there was NEVER any furniture put together with fish
> glue. I have sat on furniture which was over 450 years old, and as solid
> as the day it was built. The glue used was animal hide glue. The
> proteins are much stronger and much more stable. So if you want to stick
> with the basics, do the thing that is right and use Hot hide glue.
> You'll never be sorry for that move! The carpenter glues are plastic, so
> they "creep" with tension, and finally break.
>
> Hot hide glue will never creep and bonds chemically (and mechanically)
> with the wood, so your joints are permanent. Why? Because it is NOT
> plastic. It sets by gelling, being temperature dependent, and draws its
> parts together like a "death grip." In most cases, hot hide glue doesn't
> require strong clamping. It does its own clamping. And the necessity of
> having clamps maintained for 24 hours, as in the yellow and white glues,
> is unnecessary. Plus the fact that the overall strength will be stronger
> at the same time, and the joints will be totally airtight.
>
> This is NOT TRUE with fish glues. Fish glues are NOT airtight because
> they dry by evaporation, the same way that yellow carpenter glues dry.
> If you want trouble in player pianos, be sure to use them. You'll have
> trouble. I guarantee it.
>
> Craig Brougher
>
> --------------------
>
> From: [log in to unmask] (Jerry Slonsky)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 20:06:47 -0400 (EDT)
>
> Subject: Seek: Lower Bellows for Beckworth Upright
>
> Hi! Am considering the purchase of a Beckworth Upright Grand Piano in
> Mahogany finish. It's been conversed to an external vacuum, and the pump
> pedals have been removed and discarded.
>
> Is it possible to find the pedals and associated mechanisms? Is this a
> good piano, easy to work on? Although it plays fine some of the tubes
> are obviously cracked which makes me think it will need work soon. It's
> never been rebuilt and I'm told it was made in the very early 1900's.
>
> It will cost $1600.00. Is it worth it? Thanks for any input you can
> provide.
>
> Regards,
>
> Jerry Slonsky
> [log in to unmask]
>
> --------------------
>
> From: [log in to unmask] (Pete Fay)
> To: [log in to unmask]
> Date: Thu, 22 May 1997 15:55:13 -0400 (EDT)
>
> Subject: FS: Waller & Morton Rolls
>
> I have some piano rolls for sale by Fats Waller, James P. Johnson and
> Jelly Roll Morton. They are originals and not QRS dups. Does anyone out
> there know of an easy (sic) way to auction them off?
>
> Thanks....
>
> Pete Fay
> [log in to unmask]
>
> --------------------
>
> Unless otherwise noted, all opinions are those of the individual
> authors and may not represent those of the editors.
>
> Send postings intending for the entire group to:
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>
> The editors reserve the right to reject postings or to edit them for
> readability. Send subscription requests, administrative, and private
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> [log in to unmask]
>
> Please check out our Web site at: http://mmd.foxtail.com
>
> Compilation copyright 1997 by Jody Kravitz.
>
> ----------------------
> End of Digest 97.05.22
> ----------------------
>
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