PODOLSKY ROLLS
The full story of how the new Ampico rolls came into existence is found on
the Web site of AMICA
Click here for that story
Following the 1983 Chicago convention of the Automatic
Musical Instrument Collectors Association (AMICA), Ampico artist Leo Podolsky
suggested that he make new rolls for the Ampico reproducing piano. Podolsky
had charmed the convention attendees with his wit and outgoing personality,
so it seemed that AMICA members would be receptive to purchasing new rolls.
In June of 1984, using the new Wayne Stahnke recording piano, Podolsky performed selections from his teaching repertoire. The collected data of the performances was reformatted by Robbie Rhodes to run the perforator of Custom Music Rolls. The rolls produced were in the 88 note format and contained no expression coding. An additional computer program written by Rhodes produced print outs of all the data. In that printed display, each note was shown with its relative strength as a product of hammer velocity as measured in the Stahnke recording piano. Those values were expressed as decibels (db).
Volunteers from the Chicago Chapter of AMICA then placed the note decibel value for every note on the newly perforated rolls. Using the these rolls, Robert Taylor then hand punched the expression codes in the margins of the rolls. Several new schemes of coding were developed and implemented, using all the attributes available in the Ampico Reproducing pianos. Special care was taken to make the rolls perform almost identically on both the Ampico "A" and Ampico "B" systems. Additionally, the little known coding scheme needed for the special Ampico "A" concert grand demonstration pianos was included. Following many tests, the newly coded master rolls were returned to Custom Music Rolls, and production of the "Podolsky" Chicago AMICA new Ampico rolls became reality.
Below is the first portion of the master roll 72083, Intermezzo Opus 45, No. 1 by Max Reger.
There are eight possible expression holes on each side, numbered from the edge starting with the number zero. The expression step numbers 2, 4, and 6, are on each side and lock on when opened. Hole 7 is used to cancel the 2, 4, 6, holes. Hole number 1 is the crescendo. Number 5 makes the crescendo occur fast, on or off. Zero on the left operates the amplifier trigger lock, and zero on the right activates the sub intensity.
In June of 1984, using the new Wayne Stahnke recording piano, Podolsky performed selections from his teaching repertoire. The collected data of the performances was reformatted by Robbie Rhodes to run the perforator of Custom Music Rolls. The rolls produced were in the 88 note format and contained no expression coding. An additional computer program written by Rhodes produced print outs of all the data. In that printed display, each note was shown with its relative strength as a product of hammer velocity as measured in the Stahnke recording piano. Those values were expressed as decibels (db).
Volunteers from the Chicago Chapter of AMICA then placed the note decibel value for every note on the newly perforated rolls. Using the these rolls, Robert Taylor then hand punched the expression codes in the margins of the rolls. Several new schemes of coding were developed and implemented, using all the attributes available in the Ampico Reproducing pianos. Special care was taken to make the rolls perform almost identically on both the Ampico "A" and Ampico "B" systems. Additionally, the little known coding scheme needed for the special Ampico "A" concert grand demonstration pianos was included. Following many tests, the newly coded master rolls were returned to Custom Music Rolls, and production of the "Podolsky" Chicago AMICA new Ampico rolls became reality.
Below is the first portion of the master roll 72083, Intermezzo Opus 45, No. 1 by Max Reger.
There are eight possible expression holes on each side, numbered from the edge starting with the number zero. The expression step numbers 2, 4, and 6, are on each side and lock on when opened. Hole 7 is used to cancel the 2, 4, 6, holes. Hole number 1 is the crescendo. Number 5 makes the crescendo occur fast, on or off. Zero on the left operates the amplifier trigger lock, and zero on the right activates the sub intensity.
There are many things to see on this master roll. All
amplifier position remarks for the "B" piano are in green. Green
underlining indicates a db value achievable only through pump amplification.
Red circles around the db values indicate the need to verify the note as the
value is so low it might be a "brushed" note. The Stahnke recording
piano was so sensitive, any partially depressed key records, even though
zero db. The white marks are self stick correction tape used to cover
errant notes and modify the sustain pedal which needed a lot of attention.
Podolsky rarely fully released the sustain pedal and that created many
editing opportunities. Yellow marks were used to incorporate crescendo
coding, showing the length needed to affect the volume in terms of db. The
red underline mark identifies the loudest note in the entire roll. By
identifying the loudest note, any compression needed to stay in the Ampico's
available range, could be based on that particular note.
The beginning of the piece starts with two D# notes, a rolled octave, the second played at maximum volume. The second D# is red underlined and is 33 db. Notice that both base and treble step codes set 2-4-6 as well as fast crescendo on the treble, well in advance of these two opening notes. At the same time that the first note strikes, the bass expression changes to 4-6, and then rapidly to 6 only just before the second D# is struck. The affect of this is a "bump" on the available vacuum, giving the second note, which is on the treble side, all possible energy.
The first chord shows all notes except one being in the range of no pump amplification and therefore all steps are canceled after the two D#'s and the fast decrescendo returns the pumps to normal output. Just before the chord plays, the bass is returned to 2-4-6 and the treble to 2-6.
In the second chord, the green underline of 27.2 indicates pump amplification is needed and hence, the yellow line showing the insertion of a crescendo which will boost the pump on the Ampico "B".
The sustain pedal is on the left in position 3. The pedal comes on as the first two D# notes are played and remains on through the first chord. The sustain hole in the tracker bar is larger than note holes and therefore the perforations for sustain may appear slightly after the notes that are sustained.
The odd tempo marking of 77.86 came into being because this roll is part of a multiple selection jumbo roll that starts at tempo 65. Build up at the point where "Intermezzo" begins results in tempo 77.86. Of course it is available also as a single and is marked tempo 80.
Any comments may be sent to rtaylor@socket.net
The beginning of the piece starts with two D# notes, a rolled octave, the second played at maximum volume. The second D# is red underlined and is 33 db. Notice that both base and treble step codes set 2-4-6 as well as fast crescendo on the treble, well in advance of these two opening notes. At the same time that the first note strikes, the bass expression changes to 4-6, and then rapidly to 6 only just before the second D# is struck. The affect of this is a "bump" on the available vacuum, giving the second note, which is on the treble side, all possible energy.
The first chord shows all notes except one being in the range of no pump amplification and therefore all steps are canceled after the two D#'s and the fast decrescendo returns the pumps to normal output. Just before the chord plays, the bass is returned to 2-4-6 and the treble to 2-6.
In the second chord, the green underline of 27.2 indicates pump amplification is needed and hence, the yellow line showing the insertion of a crescendo which will boost the pump on the Ampico "B".
The sustain pedal is on the left in position 3. The pedal comes on as the first two D# notes are played and remains on through the first chord. The sustain hole in the tracker bar is larger than note holes and therefore the perforations for sustain may appear slightly after the notes that are sustained.
The odd tempo marking of 77.86 came into being because this roll is part of a multiple selection jumbo roll that starts at tempo 65. Build up at the point where "Intermezzo" begins results in tempo 77.86. Of course it is available also as a single and is marked tempo 80.
Any comments may be sent to rtaylor@socket.net