Automatic Music Roll Changer Flipbook PDF

The early style changer shown above is typ-ical of many made between about 1913 and 1915, and is commonly seen in instru

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The

WurliTzer Automatic Music Roll Changer Part One—History and Design Changes Over the Years by Art Reblitz

T

he many levers, rotating shafts, gears and cams found in an automatic music roll changer present some of the most complex mechanical action to be found in any part of an automatic musical instrument—and one the most fascinating things to watch, for those who enjoy seeing the mechanisms work while the music plays.

Only four of the largest companies in the automatic music business marketed roll changers that were commercially successful: Ludwig Hupfeld, AG (Germany); J.D. Philipps & Söhne (Germany) and the Rudolph Wurlitzer Co. (U.S.), making changers primarily for coin pianos and orchestrions; and the Aeolian Co. (U.S.), which produced the Concertola changer for reproducing pianos and pipe organs. The Wurlitzer firm used two types of changers: a 6-roll German-made Philipps changer in its large keyboardless PianOrchestras (some orchestrions imported in whole, and others in part from Philipps),1 and the American-made Wurlitzer 6-roll changer in its smaller coin pianos and orchestrions, Bijou Orchestras, Solo Violin Pianos and Autograph pianos. The latter is the subject of this two-part article.2 As described in Q. David Bowers’ Encyclopedia of Automatic Musical Instruments and elsewhere, the deKleist Musical Instrument Company was an important supplier of band organs and coin pianos to Wurlitzer from 1898 until 1908, when Wurlitzer bought out the company and took over manufacturing of these instruments. In 1907, deKleist had bought the rights from a firm called Verstraelen and Alter of New York City to manufacture an automatic music roll changer, and installed versions of it in both 65-note and 88-note Automatic Player Pianos that it manufactured for Wurlitzer.3 After Wurlitzer acquired the deKleist manufacturing business, it claimed the changer as its own and promoted it with no hint of modesty. One ad proclaimed "This invention means as much to the production of automatic music as the multiple printing press means to newspaper printing. The Wurlitzer Music Roll Changer is a mechanical device built on the principle of the original Ferris Wheel of the Chicago World’s Fair. This device has been pronounced a marvel of mechanical ingenuity and effectiveness. We have been at work on it for many

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years, knowing that when perfected, it would revolutionize the automatic musical instrument business, and place the Wurlitzer instruments so far beyond other makes that all comparison would cease."4 The Wurlitzer Automatic Music Roll Changer, as it was called, was much smaller than its Philipps counterpart, while still providing approximately the same amount of playing time per roll. Each changer had a "reel" containing the six rolls. In the Philipps, the large takeup spool was above the reel, while in the Wurlitzer the reel was on top. This configuration allowed the Wurlitzer changer to fit in a keyboard-style piano cabinet without making the cabinet extraordinarily deep, with the main body of the changer occupying the space between the piano action and the front doors, and the larger reel overhanging above the piano hammers, in front of the tuning pins. Conveniently, the reel in the Wurlitzer could be removed quickly to facilitate tuning the piano, a feature the author has not seen in the other brands. Over the roughly 22 years that Wurlitzer produced roll changers, there were two basic styles, each having several variations. The early style was made from about 1908 until sometime in 1915; the late, from 1915 until the end of production around 1930. Most, if not all, changers had a serial number stamped into the front or top edge of the right side plate. Changer numbers known to the author range from 199 (made in 1912) to 4,879 (made in 1925). Because changers continued to be made until the end of production, it is probably safe to assume that at least 5,000 were made. Part One of this article will compare various types of Wurlitzer roll changers and describe how the mechanism evolved over the years of production. Part Two will discuss how the changer works and include some hints for making adjustments and correcting malfunctions.

Illus. 1. An early style roll changer, #760, in a Wurlitzer style BX orchestrion, piano #16,901 made in 1913. The tempo adjusting knob is on top of the vertical shaft in front of the tubing bundle and above the shiny curved gear cover. Illus. 2. Closeup of the right side of changer #760. The tempo control knob adjusts how high or low the leather friction rides on the large drive wheel, to change the speed of the music. The wheel powers the takeup spool, the rewind gear train, and through the chain, the roll changing cycle mechanism. The leather friction brake pads bearing against the six rewind hubs are typical of most changers made circa 1913 through the end of production.

Early Style Changers The easiest way to identify an early style Wurlitzer changer is by its tempo adjusting knob, mounted on top of a vertical shaft to the right side of the reel (in contrast to the late style, in which a smaller knob may be adjusted sideways in a bracket front of the takeup spool). While all Wurlitzer changers have a small roller chain on the left side to drive the reel-revolving mechanism, the early style has a second chain on the right side as well. Illustrations 1 through 5 show an example of the typical early style changer in a BX orchestrion in the Sanfilippo Collection, originally used in Trinidad, Colorado.

Illus. 3. The left side of the changer houses the revolving mechanism for the reel. The large chain-driven cam performs several functions, including turning the Geneva wheel one step, or 1/6th of a turn, for each rotation. The sprocket at the bottom of the chain is connected to a clutch that automatically disengages after each cycle.

“This invention means as much to the production of automatic music as the multiple printing press means to newspaper printing.

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Illus. 4. The early style vacuum dump mechanism in the BX, which opens the vacuum system to atmospheric pressure during rewind. This reduces the strain on the drive mechanism and vacuum pump when vacuum is not needed while the roll is rewinding. The rewind signal from the tracker bar causes the vertical pneumatic to collapse, throwing the vertical knife lever under the cam and forcing the mechanism to latch in the rewind position. A slightly later version has a follower with a roller on the cam, reducing friction between it and the lever.

Illus. 6 Wurlitzer Bijou Orchestra #16,586, with the little 44-note piano and other instruments in the center cabinet, and the side cabinets mainly for roll storage. This orchestrion was once displayed in the National Cowboy Hall of Fame in Oklahoma City, and is now in the Sanfilippo Collection.

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Illus. 5. The 1913 BX orchestrion containing the early style changer shown in the previous photos, restored by the author and his employees in 1989.

The early style changer shown above is typical of many made between about 1913 and 1915, and is commonly seen in instruments of this vintage. Around 1990, the author restored roll changer #402 for a Wurlitzer Bijou Orchestra in the Sanfilippo Collection, piano #16,586 made in 1913 but earlier than the previous BX. This petite keyboardless orchestrion contains a Pianino piano with a rank of violin pipes, snare drum, reiterating xylophone, and a cute little roll changer all contained in an oversize cabinet with roll storage shelves on each side. Upon examination of the roll changer, one odd feature stood out: instead of the typical flat spring-loaded leather brake pads bearing against one side of each rewind disc, the Bijou changer has friction bands with adjustable extension springs for fine-tuning the amount of drag on each spool during play. Having never seen this arrangement previously, I thought that this might have been a modification made by a previous technician who copied the brake bands found in Western Electric and certain Cremona roll mechanisms.

Illus. 7. Upper interior of the Bijou Orchestra, with roll changer #402.

Illus. 8. The right side of Bijou Orchestra changer, showing the early style drive mechanism and tempo control, and spring-loaded brake bands on the rewind hubs. In this example, the springs are reversed from the norm to minimize the amount of drag during play on the rolls, which are narrower than usual Wurlitzer 65-note Automatic Player Piano changer rolls and take very little brake tension to wind correctly.

More recently, I learned of a Wurlitzer piano that was even earlier than the above Bijou Orchestra, which also contained a roll changer—a very rare Style A 88-Note Automatic Player Piano in the collection of Walter Childress of Kentucky. Correspondence and photos supplied by Walter confirmed that the brake bands were an original feature in the earliest changers.

Illus. 9. Wurlitzer 88-Note Automatic Player Piano #14,489, made in early 1913 and containing roll changer #199, the earliest changer observed by the author at the time of this writing.

Illus. 10. Closeup of a spring-loaded brake band in changer #199, found only in very early deKleist and Wurlitzer changers. The more common flat brake pads bearing on the left side of each disc were simpler, applied less drag, and seldom require adjustment.

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Late Style Changers When subjected to steady commercial use, the friction wheel driving all mechanical functions in the changer was prone to slipping, so in 1915 the changer was redesigned. This redesigned changer is recognizable by its little tempo control knob adjustable sideways in a slot in a stand in front of the takeup spool, and by the two friction drive wheels, one on each side of the adjustable leather tempo adjusting wheel. Also, the chain on the right side in the early changer is absent in the late one. In the new design—known today simply as the late style—the friction wheel only drives the takeup spool, which presents a light enough load that it doesn’t slip unless the leather wheel is completely worn out, glazed or oily. The input shaft from the right side of the case transmits power directly to the rewind clutch, and through a worm on the input shaft and worm gear on the vertical shaft, directly to the roll changing cycle mechanism. Because this mechanism can not slip, but can break something if the changer jams, a friction slip clutch is incorporated into the input shaft.

Illus. 11. Closeup of the right side of changer #199, showing the large friction wheel, rewind gear train and the chain for the roll changing cycle. The friction wheel shaft also drives the takeup spool gear when the transmission is in "play."

In the early changer, the large wheel not only drives the takeup spool for the music roll when in play, and the rewind gear train when in rewind, but also powers the roll changing cycle. If the changer jams, the friction wheel slips, providing a safety factor to prevent damage to the gears and other parts. To provide enough force to hold the wheels together without slipping under normal conditions, a strong extension spring pulls a bearing holding the bottom of the vertical shaft toward the left, against the face of the large wheel. After years of commercial use, this bearing becomes worn because of the strong compression between it and the vertical shaft. Other than that condition, which is not a problem in a restored changer in modern use in a private collection, the early style changer is a well-made, beautifully functioning reliable mechanism, with all metal parts made of durable materials: steel, cast iron or brass. 24 MECHANICAL MUSIC January/February 2006

Illus. 12. A late style changer, #4,631, in Wurlitzer DX coin piano #50,068, made in 1922. Compare the two friction wheels on the right side to the single wheel in the earlier style, and the tempo adjusting knob, now supported by the little sheet metal stand right of center in front of the takeup spool.

Illus. 14. Because the rewind and roll-changing mechanisms have no place to slip if the changer jams, late style changers have this friction slip clutch in the middle of the input drive shaft. Inside the two halves of the clutch are layers of fibre and metal discs pressed together with strong compression springs, allowing the shaft to slip only if the changer jams, preventing the breakage of any gears or other parts. The vacuum dump mechanism, near the right of the photo, is also redesigned, now with a different cam, and a horizontally-oriented pneumatic and actuating lever, reducing the friction between the cam and lever. Illus. 13. Closeup of the right side of the late style changer. The input shaft goes all the way through to the rewind drive hub, and drives the vertical shaft for the roll changing cycle directly through a worm and worm gear.

Illus. 15. The 1922 DX piano, #50,068, with the late style changer #4,631 shown in the previous photos, was originally used in a tavern on 87th street in Chicago. The roll changer was restored by Reblitz Restorations and the rest of the instrument by Jerry Biasella in 1993 for the Sanfilippo Collection. January/February 2006 MECHANICAL MUSIC 25

The latest early style changer seen by the author is #1,482, installed in CX orchestrion #22,213, made in 1915. The earliest late style changer observed is #1,787, installed in BX #24,647, made later in 1915. Readers are invited to send roll changer serial numbers (for instruments known to have their original changers) between #1,482 and #1,787, with their piano numbers, to narrow down the point at which Wurlitzer introduced the redesigned changer. Most Wurlitzer pianos with roll changers have drive shafts with gears to convey power from the gear standard in the bottom of the piano up through the keybed and to the roll changer.

Because the vertical shaft is mounted on the right side of the cabinet, the motor and gear noise are transmitted into the cabinet. In most coin pianos and orchestrions, this is not noticeable while the loud music is playing. An exception, however, is the Wurlitzer Solo Violin Piano, a more subtle expression piano with solo violin pipes. With the best roll arrangements, this instrument imitates the playing of a human violinist and pianist, as in the larger and more elaborate Philipps Paganini. The usual motor and gear noise would be distracting from the subtle music, so Wurlitzer used pulleys and a round leather belt, shown in illus. 16 and 17, instead of the usual drive shafts.

“This device has been pronounced a marvel of mechanical ingenuity and effectiveness. We have been at work on it for many years, knowing that when perfected, it would revolutionize the automatic musical instrument business, and place the Wurlitzer instruments so far beyond other makes that all comparison would cease.”

Illus. 16. Wurlitzer Solo Violin Piano #42,163 with changer #4,150, made in 1920. The round leather belt and pulleys are much quieter than the usual drive shaft with gears.

“The Wurlitzer Music Roll Changer is a mechanical device built on the principle of the original Ferris Wheel of the Chicago World’s Fair.”

Illus. 17. In the bottom of the Solo Violin Piano, the back of the gear standard has a pulley for the round leather belt. A portion of the piano expression mechanism is shown in the upper right hand portion of the photo. This piano is being restored by Mac McClaran for the Gilson Collection.

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Another difference in the Solo Violin Piano is the absence of the usual Wurlitzer mechanical vacuum dump valve and latch. In its place, the piano contains a pneumatic action cutout similar to the ones used in most other brands of automatic pianos, in which the vacuum pump and reservoir continue to work during rewind but the cutout valve blocks vacuum from getting into the pneumatic playing mechanisms. To control the action cutout, the takeup spool shaft has a very simple springloaded friction disc near its right end. The disc has a tab extending out like a little finger, acting on a small pallet valve that is tubed to the action cutout pouch.

Unfortunately, many of the pot metal parts in late style changers suffered from intergranular corrosion over the years, resulting in twisting, breaking and crumbling. These parts have to be replaced before the late style changer will work again. Part Two of this article will discuss which parts often deteriorate, as well as information on how the changer works and how to regulate it.

Footnotes: 1 Philipps made various models of changers that played 3, 5, 6, 10 or 12 rolls. The 6roll model was the one commonly used in Wurlitzer PianOrchestras. 2 Portions of this article are adapted from The Care and Feeding of the Wurlitzer Automatic Music Roll Changer by Art Reblitz, originally published in two parts in the January and February 1982 issues of "The Coin Slot" magazine. 3 Preston J. Kaufmann, Encyclopedia of the American Theatre Organ Vol. III, 1995, p. 71. 4 While the reel did resemble a Ferris Wheel, and it was a very popular feature for Wurlitzer coin pianos and orchestrions, that didn’t prevent the J.P. Seeburg Piano Company from capturing a larger share of the business after 1920 with its own simple and reliable 10-tune roll frame.

Illus. 18. Closeup of the action cutoff control, an elegantly simple friction disc and pallet valve that eventually replaced the complicated mechanical vacuum dump cam and latch in Wurlitzer’s coin pianos and orchestrions.

When the takeup spool turns in the "play" direction, the disc rotates about 1/4 turn until the tab moves away from the pallet valve and hits a stop, and then slips as long as the roll is playing. With the pallet valve shut, the action plays. When the transmission shifts the roll into rewind, the disc rotates the other way about 1/4 turn until it opens the pallet. With the pallet open, the action cutoff operates, preventing the instrument from playing during rewind. The simplified cutoff system was evidently introduced in the Solo Violin piano earlier than in other models, but eventually Wurlitzer coin pianos and orchestrions employed the same feature. The first late style changers have all cast iron and steel parts, and are the author’s favorite design. Before long, Wurlitzer began experimenting with pot metal, a zinc alloy containing other metals that produced smooth castings with no shrinkage, reducing the machining expense for many intricate parts. The company changed several of the most intricate castings to pot metal, and they worked well. Then Wurlitzer experimented with making more and more parts of the material until they found that certain parts just weren’t strong enough, and returned to making those parts out of cast iron.

The author’s business, Reblitz Restorations Inc., has restored automatic pianos and organs since 1972, and has restored 20 automatic roll changers to date: 2 early and 9 late Wurlitzers, 4 Hupfelds and 5 Philipps.

The author wishes to thank Walter Childress, Bob Gilson, Bill and Rosanna Harris, Mac McClaran, Jasper Sanfilippo, and Tim Westman for their help with this article.

Photo Credits: Art Reblitz & Walter Childress Advertising copy on page 27: Original 1920s Wurlitzer advertisement for the late style roll changer made from 1915 through the end of production, circa 1930. Tim Trager collection.

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