1 edition of Ampico A&B Service Manual for the Reproducing Player Pianos 2 Vols in 1 found in the catalog.
|Statement||Victory Glass Co|
|Publishers||Victory Glass Co|
|LC Classifications||June 1984|
|The Physical Object|
|Pagination||xvi, 104 p. :|
|Number of Pages||77|
nodata File Size: 9MB.
Okrytie-exposè Dr. G. I. Žatkoviča, byvšoho gubernatora Podkarpatskoj Rusi, o Podkarpatskoj Rusi.
com, where excerpts of all the items may be heard. This page is still in preparation, but may nevertheless be of interest in its incomplete state. Ampico Master Perforator - New York, 1927.
One way of touching this atmosphere is to watch a surviving video of Edgar Fairchild playing two-piano music with Robert Lindholm; the latter had no connection with Ampico, but Fairchild's almost childlike delight in his own virtuosity leaps out across the decades. According to Mr Stoddard, there were 7,915 notes, each of which required thirteen or more operations to prepare, although the British computer expert, Anthony Robinson, states that 8,106 is a more exact figure!
The second line began the instant the hammer had struck the string and begun to rebound, and so indicated the note's duration. However, in the light of the similarities to the Dea and the fact that Ampico published some Dea recordings under licence, the total of six intensities seems far more likely to have been a deliberate choice.
Early Ampico Recording Piano - US Patent 1,095,128 - Application 30 April 1908. If one is to believe the Scientific American article, then a not inconsiderable army of musical technicians was employed by Ampico, measuring and transcribing the information on the spark chronograph rolls, and converting it by means of tables and charts into pre-ordained crescendo, decrescendo and intensity coding.
- Ampico Ltd, London, 1927, [68.
Milton Delcamp and Adam Carroll - New York, 1925. Musical Example The most famous pianist to entrust his interpretations to the Ampico was Sergei Rachmaninov, whose first rolls were issued in 1919, a couple of years after he had left his homeland for ever.
It is one thing to be able to measure the force with which a particular note is played, but quite another to convert this information into the two sets of perforated dynamic codes, one for treble and one for bass, which is all that a reproducing piano can respond to.
Henrion was succeeded by Milton Suskind, a young Polish-German American who joined Ampico in 1916 at the age of 18, and duly changed his name to Edgar Fairchild, the surname being a rough translation of the original German.
At the time Charles Stoddard was designing his roll-playing instruments, which were initially known as Artigraphic players, the only existing reproducing pianos were the Welte-Mignon and the Hupfeld Dea, and it was the latter from which Stoddard seems to have drawn his inspiration, revealingly hinted at by the small but significant number of Hupfeld recordings which were converted under licence to the Ampico system.
1, 2 and 3 above.