"THE PIANOLA NEWS"
Sunday: February 1, 1998 - Vol. I, No. 4
[Updated Weekly]
One of the first visual features which greet the Aeolian owner is
the odd-looking "Temponamic" disc often misnamed a "knob"
by collectors today featured among the array of Pianola levers on Steinway,
Weber, George Steck and other fine pianos. The "Temponamic" is next to
the Play-Rewind control, on the right in the keyslip, and looks nothing like the
two graduating levers it replaces: Tempo and Accompaniment. This device has a 'radio
dial' appearance, dominating the other standard levers in the Pianola and Duo-Art
installations.
There have been cases where contemporary Player-Piano enthusiasts
have paid MORE to acquire an instrument or 88-Note external Pianola
('pushup' player) with the "Temponamic"
as if a special SLIDING-and-ROTATING
Disc would add "more" to the musical performance. This was originally
the intent of The Aeolian Company, and the sales appeal remains strong even in our
time in spite of space travel, transistor radios and computers in the home. There
is something of a "mystique" nature to this Aeolian feature, and the company
reserved its use for only the costlier instruments in the 88-Note pedal player and
the electrically-pumped 'reproducing' player lines. If one had an earlier
Pianola Piano, before the "Temponamic" appeared
or a Wheelock, Stroud,
Stuyvesant, Aeolian and certain Steck models
there was an implication that
the roll interpreter would have less expression. Aeolian reinforced the concept in
their owner's manuals, which segregated and elevated the "Temponamic" from
the instructions provided for the standard lever graduation controls.
The
"Temponamic" appeared around 1913 and remained in the top-of-the-line players
until about 1923, when the domestic Duo-Art installations began to feature separate
Tempo and Accompaniment graduation levers, identical in function to those of the
Stroud (etc.) lines of instruments. By contrast, the "Temponamic" appeared
in many European and British players by Aeolian until the end of the era but then
the market overseas was often a bit more sophisticated, since Sustaining Pedal "Off"
switches were included on foreign Duo-Art Pianolas, whereas the American models rarely
contained this necessary artistic feature by the late
'Teens.
How does the "Temponamic" work
and what does it do?
The
answers differ when this question is posed for the pedal-operated Pianola Piano (or
external Pianola) when compared to the Duo-Art version with an electric vacuum pump.
The
"Temponamic" slides for both Aeolian designs, duplicating the Tempo Lever
function of the standard player with "pause" or "stop" when
the disc is moved rapidly to the far left. However, when the disc is turned, or rotated,
the "dynamics" change
but the results are not the same in the transition
from the standard pedal player action to the 'reproducing' one. Moreover, some of
the pedal models have a duplicate use for the rotating feature! A Pianolist
never really knows what to expect when being provided with a "Temponamic"
player, and only after a few minutes of practice can he or she really take full command
of the instrument.
When used with pedal player actions, the "Temponamic"
graduates the Accompaniment (or 'regulated' keyboard touch) DOWNWARD with
sliding chokes which often serve as Soft Pedals on many pneumatic player designs.
This is a form of suppression (or "choking") the instrument, yet allowing
the Theme notes to bypass the Accompaniment. The Theme is 'unregulated' when the
accent levers or the music roll perforations activate that part of the player action's
system. Whatever is established by direct pedaling, the instrument plays (when the
Theme mechanism operates for selected bass and/or treble notes).
When used
with electric Duo-Art installations, the "Temponamic" acts as a CRESCENDO,
by driving the keyboard attack UPWARD in volume
and, since the instrument
has FULL POWER at all times, the effect is more apparent than it would be with the
pedal player equivalent. For one thing, the Theme is under a separate graduation
control for the Duo-Art, giving the Pianolist two independent dynamic levels
at all times, much as an organist would have with a two-manual console over a single
keyboard design. Both Theme and Accompaniment are fully 'regulated' on the Duo-Art,
whether it be by use of the Pianola levers, the special music rolls which "tug"
on them or the intelligent Pianolist who elects to override the often bland
expression scores on the original Aeolian arrangements.
Again, the pedal "Temponamic"
instrument has only 1 avenue of 'regulated' vacuum for dynamics, and the Duo-Art
has 2 under the control of the rotating disc for Accompaniment and the Theme graduation
lever for the solo notes.
When accenting with a Pianola Pianola equipped with
the "Temponamic" more advance planning and finger manipulation is required
over the conventional levers-only designs. The Pianolist must turn the control to
the RIGHT to suppress the sound for keyboard Accompaniment, and then use the small
accent levers with the left hand to introduce the Theme in the form of a musical
bypass, for bass or treble. (The Themodist accents on most original Aeolian 88-Note
rolls are abysmal, so there is little need to accept what's been provided in the
'automatic' department here. Aeolian rarely pulled out the triplet beats, often had
no accented bass octaves through the entire arrangement and typically turned "off"
the solo feature just when the music required it. Try a handful of classical Themodist-Metrostyle
rolls of complex music, and this fact will be verified!) Now ... when one considers
that a sliding Tempo Lever is PART of the ACCENTING SYSTEM for a pedal player,
you can see that the "Temponamic" might not appeal to every Pianolist.
Trying to slide the disc right-and-left for accenting while twisting it for suppressing
the Accompaniment and then using the left hand's fingers for tapping the accent
controls for solo can be a difficult physical manoeuvre to master [if not totally
impossible for some people, due to the muscular dexterity required].
Moreover,
the real TRICK of the pedal player is to return the Tempo Lever to a "home"
position, repeatedly
a simple task with an ordinary lever control. The "Temponamic"
which is being slid and twisted simultaneously presents a real problem in getting
a 'norm' setting several times within a musical measure, since one's pedalling is
synchronized with the swaying tempo lever operation.
The secondary feature
of many "Temponamic" controls for the 88-Note player is a graduated Soft
Pedal in the form of a Hammer Rail lift. This is achieved on players so-equipped
with a LEFT turn of the disc, as opposed to a RIGHT turn for the action choke graduation.
Unfortunately, the pneumatic-mechanical soft pedal has no "feel", so it's
rather difficult to achieve an effective use of the feature ... and one gives up
the versatile action chokes (for solo) in order to operate it. (Why Aeolian didn't
combine the soft pedal with the chokes in a 2-stage RIGHT turn is a mystery.)
Many Pianolas including foreign Duo-Art installations took the more intelligent
route of adding a lever for the Soft Pedal (hammer rail lift), corresponding to an
adjacent one for the Sustaining Pedal operation. Since once is so involved with RIGHT
turns for "soft" combined with sliding for roll speeds, there's little
time (if ever) to use the weirdo Soft Pedal graduation with the additional LEFT turn
of the disc. As installed on most domestic Aeolian players, the dual-function "Temponamic"
was a sales-gimmick in the eyes of many accomplished Pianolists today.
"Home"
position for the 88-Note player is Accompaniment "off" all the keyboard
is 'unregulated' and the solo effect isn't possible until the "Temponamic"
disc is turned to the RIGHT. (Turned to the LEFT the Soft Pedal will operate, as
explained above, and the power will be 'unregulated'.)
"Home" position
for the electric Duo-Art player means that the instrument is playing at the "softest
level". The Accompaiment is 'regulated' at all times. The Theme is also, but
by means of a lever for the left hand instead of the disc. Movement to the RIGHT
increases the levels for both Theme and Accompaniment. Mastery of these two features
allows a Pianolist to graduate either function of the instrument, activating the
accents with the two hand levers next to the Theme control.
While developed
for the pedal instrument, it's obvious that the "Temponamic" is not for
everyone. The primary problem, beyond involving 2 hands (instead of 1) for accenting,
is the difficulty in keeping a steady tempo
since, there's a relationship between
pedals and Tempo Lever on all pneumatic player instruments.
With the Duo-Art,
the "Temponamic" is an ideal control, allowing for fast accents on an instinctive
basis. However, there's a problem of "lost motion" on the grand piano
installations, where some of the tempo rods have up to EIGHT junctions, an impossibility
to regulate beyond a certain point. Also, the Accompaniment graduation can suffer
with the "Temponamic" grand pianos due to wear on the universal joint where
the disc begins its complex commands for the dual sliding of metal rods under the
instrument. Clearly, the "Temponamic" works more favourably with the upright
Duo-Art installations, since the elements of "lost motion" are greatly
reduced in the player action design.
It should be mentioned that the "Temponamic"
disc telescopes outward from its basic position in the keyslip. This allows one to
grasp it and exert the muscular power for twisting
an effort requiring greater force
than the tempo setting motions. Here, additional "lost motion" is often
to be found, since the Pianolist is grasping an extended ½-rod for the Accompaniment
graduation.
Having said the above things about the two variants of the unusual
"Temponamic" control, we suggest that you compare your physical abilities
with the types of music you expect to be playing. The Duo-Art benefits more from
the device, since the tempo doesn't need to be manipulated during the course of accenting,
and the disc allows for a rapid up/down "floating" motion of the 'regulated'
Accompaniment. Of course, so does the independent Accompaniment lever which is found
on alternative installations, and the Pianolist doesn't need to keep his/her hand
on the separate tempo lever, except for occasional roll recalibration settings every
half-minute or so.
As we said at the outset, Aeolian used the "Temponamic"
for product identification more than anything else. You can see Duo-Art ads with
Walter Damrosch sitting next to a 'reproducing' roll playing, with the Metrostyle
pointer [another Aeolian 'signature'!] and the" Temponamic" disc extended,
and for what purpose since the player is unattended? As with the famous Coca-Cola
bottle by Raymond Loewy, Schaeffer Pen's 'White Dot' and other product designs, Aeolian's
(roll-ripping) Metrostyle Pointer and (tendonitis-inducing) "Temponamic"
features are instantly recognizable. Beyond that, one must make a personal decision
as to whether these are assets for the purchase of an existing Aeolian player instrument.
We vote "yes" with reservations for the Duo-Art Pianola and "no"
for the pedal-operated Pianola Piano, when given a choice in the matter.
When the 'reproducing' era began (excluding the early versions of German 'Red
Welte' [T-100] which started the whole "sit and listen" artist-replication
myth) the emphasis was on the electrically-powered expression player being two
instruments in one. First, the electric player was advertised as being an expression
instrument, and most of the early claims avoided the 'reproducing' term, stressing
how the ART of a specific artist was being conveyed by the music rolls or that
to quote Aeolian in 1915 "the Pianola is guided by fingers of air".
The second promotional tier was that once having learned the elements of artistic
playing THROUGH THE MEDIUM OF EXPRESSION ROLLS, the piano's owner could "take
over" and introduce his own musical taste into the performance.
Aeolian,
in the days of the Metro-Art rolls, stamped "The Value of the Metro-Art"
on every leader. (These were a deluxe line of 88-Note rolls that were sold as "hand-played"
but were furnished with a suggested Metrostyle line for additional tempo modifications,
beyond the phrasing already cut into the arrangement). The gist of
these short texts, usually printed in red ink, was that the listener gets tired of
music repeated exactly the same each time
and that one's personal ideas for expression
can enhance the ultimate performance. ( This was before the days of the B-Ampico
and the late 'reproducing' players which went into background music as radio began
to dominate the home. Duo-Art rolls by Armbruster and Milne, of course, also fit
the same dull expression and performance norms of the later days.) During the
'Teens there was a concerted effort to get the owner/listener involved with the musical
performance. The trade papers even featured display ads by Wm. Knabe (of Baltimore,
MD) that described an early Ampico 'reproducing' piano which featured controls
for the musician
allowing for the complete mastery over the expression
system: " MANUALLY". Whether a Knabe-Ampico was built in the 'Teens
that offered something along the lines of the highly-effective Welte-Mignon Licensee
crescendo levers ... or controls even more sophisticated ... isn't known today. However,
this early advertising indicates that even the American Piano Co. (which, like German
Welte promoted the 'playback only' approach) began with the early desire for a "teaching"
instrument that could cultivate and train a budding Pianolist.
When Duo-Art
catalogues appeared in 1916, the "guided by fingers of air" phrase was
frequently used, and as late as 1918 the dealers and salesman were told to stress
the fact that repeated playings of the same interpretation bored musicians (true).
This in-house Aeolian announcement also told the retailers TO SHOW THE CUSTOMERS
'HOW' to operate the Duo-Art as a Pianola and to demonstrate that it could equal
or surpass their own expression rolls. Personal interpretation was the ultimate goal
at this time.
During the halcyon days of the Player-Piano, dealers were encouraged
to carry 2 lines of rolls: 88-Note and 'reproducing'. Thus, a customer of a Stoddard-Ampico
roll could be sold a Rythmodik release of the same title, or vice-versa
and a Duo-Art
owner could buy any number of Universal/Mel-O-Dee or Aeolian 88-Note tandem releases.
All
went well until the radio, the automobile and other activities changed the mid-'Twenties
lifestyle. By this time, the smaller retailer couldn't afford to stock double lines
of player rolls, one for each style of instrument. It was in this atmosphere that
upright players were made by the Standard Pneumatic Action Co. (Kohler), Gulbransen,
Story & Clark and others featuring names such as "Artist-Record",
"Registering Piano" and "Reprotone", respectively, for these
three brands. Most had only 80 playing keys, this being the era before plastic mending
tape [which is ideal in our time for covering tracker bar holes on a temporary basis].
Some, like the "Reprotone" by Story & Clark, had 80 keys for 'reproducing'
rolls transposing them into 3 keys plus a full scale of 88 'playing' notes
for standard rolls and offering a range of 5 keys
giving the owner the
ability to play Welte, Ampico, Artecho, Duo-Art and anything else in the 11¼"
wide/9-to-the-inch roll format.
Had not the piano industry collapsed in 1929,
it seems likely that the "plays everything" type of upright pedal
player would have been a popular offering. Today, there are many "Registering"
pianos and "Artist-Record" instruments giving their owners endless pleasure.
(Simplex, Amphion and other companies building these combination player uprights
never really got into full-scale production.)
The existence of the "plays
everything" instrument negates the entire assumed "legacy" of
artists being recorded and 'reproduced' on electrically-pumped players, of course.
'Reproducing' rolls had previously been offered as something exotic and special,
a product apart and above the 88-Note versions (made from the same Masters).
During
the final days of the pneumatic player industry, stores could carry any style of
rolls and sell them TITLE, not brand. Mr. Henderson relates a case involving one
of his mother's aunts in Yolo County CA, who purchased a Gulbransen "Registering
Piano" in the late 'Twenties, along with a matching roll cabinet and about 50
QRS Rolls. In the early 'Fifties, when he was just starting to perforate new arrangements,
he played her Gulbransen and asked about the 'Recordo', 'Apollo' (Art Echo) and 'Deluxe'
(Welte-Licensee) rolls in amongst the standard QRS 88-Note titles. "Extra holes
on the rolls?" she said, "I never noticed those before, until you pointed
them out."
Clearly, the "plays everything" pedal upright
was the right instrument for the time, and it's a pity that more of them weren't
built. These combination players offered variety, which the electric
players of their day did not. Today, they are definitely worth restoring.
Back issues of "The PIANOLA
News"
Vol. I, No. 1 (1-10-98)
Vol
I, No. 2 (1-17-98)
Vol. I, No. 3 (1-25-98)
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[Original announcement for 'The PIANOLA News':
12-31-97]
- L. Douglas Henderson, dba ARTCRAFT
Music Rolls, P.O. Box 295, Wiscasset, Maine 04578 (USA)
Telephone:
(207) 882-7420 - E-Mail: artcraft@wiscasset.net
A second ARTCRAFT Website? Not really, but a "toe in the water" featuring some basic information has been on the Internet for close to a year. There's a short bio on the business which might be of interest to 'hard-core' ARTCRAFT fans. Check out this URL: http://people.whowhere.com/pages/artcraft (Make sure that "www" isn't in this URL!)
Check out the new 'QUICK LIST' - Now all the available ARTCRAFT titles/composers/prices are in one quick-to-download location. The Duo-Art and Ampico offerings have been completed already. The 88-Note ARTCRAFT Rolls are being posted daily. [QUICK LIST of ARTCRAFT Music Rolls]