THE PLAYER PIANO
THE MUSIC
All musical instruments require skill and practice to play. The quest for mechanically produced music was therefore an obvious one for any machine that could play music could bring instant pleasure without a need to learn the skills of musicianship or practice new pieces of music.Initial attempts utilized revolving barrel mechanisms with music represented as metal pins hammered into precise positions to trigger the playing mechanism. This technology was much refined by the mid 19th century but was expensive and could not be mass produced. The main limitation was that song length was limited to one revolution of the barrel. By staggering pins and spacing notes you could cram 10 or 12 tunes on one barrel. Inventors arranged spiralling music to increase playing duration but barrels were technologically unwieldy.
A cheap easily changable music format was neede. Music box manufacturers ditched the pinned cylinders and arranged the music on a flat revolving metal discs. Cheaper than a cylinder and very simple to manufature, these provided potentially unlimited repertoire although the tune length was still limited to one revolution of the disc.
The idea of using a roll or strip of music offered advantages in that the tune could be as long as long as you liked. A robust system of a long strips of card folded up neatly into a portable "book" was utilized based on the principle of the Jacquard loom (an automatic cloth weaving loom that used puched cards to program the stitching of complex patterns in material) . The holes in the musical version operated the music mechanism instead of creating a weaving pattern. This system was really only ever used for fairground organs where a very robust and resilient system was required for outdoor use. However, paper wound on a spool instead of punched cards was cheaper, mass-producable and so became the choice for manufacturers of domestic instruments.
THE MECHANISMS
Using mechanical music reading systems was only really suitable for music made from heavy card. A method of reading the paper roll music and translating this output into signals to operate the piano playing mechanism was needed. Merely using suction or pressure directly through the music to operate the mechanism was unsatisfactory as it required the complete operating pressure to pass through the paper and placed heavy wear on the music. A low pressure system to read the music holes triggering a higher pressure mechanism was thus devised. This valve system was adopted in many variations. Suction power was used in preference to pressure power as the mechanisms proved easier to construct.In any typical player piano when the treadles are operated the whole system is emptied of air. Atmospheric pressure air enters through holes in the music which expose the corresponding holes in the reading bar (called the "tracker bar"). This pressure change triggers a switching valve to open an internal channel diverting full suction power to the corresponding pneumatic motor (like a miniature bellows). The top board is fixed and the lower one is moveable. When suction is applied the pneumatic motor sucks shut closing upwards. A wooden finger attached to the lower board rises with the board as it closes and presses the piano hammer mechanism thus playing the note. Some systems have double sets of switching valves and other variations but the principles are the same.
The suction generated by foot treadles pumping out the mechanism (or electric pumps where fitted) powers all the other units from driving the music over the reading bar and rewinding it to operating the sustain and soft pedals and operating mechanisms to vary the dynamics of the music.
Special systems were introduced where the mechanism contains units for modifying volume etc all operable by the music rolls. Careful programming of the music in conjunction with these units can reproduce a performance which plays back the music with the expression of a real live pianist. These are known as "reproducing pianos" and produce performances with high degrees of realism. Famous composers and pianists recorded special rolls for these instruments to reproduce their performances in the days before gramophone technology was developed and was still far too primitive to capture an equivalent recording.
HOW TO PLAY A PIANOLA
Slot the roll into the top of the spoolbox. Hook the rolls tag onto the take-up spool. Put the control lever to "Play", set the tempo lever to the speed you want it and begin pedalling. Enjoy the music - it's that easy!Remember:
FINE CONTROL OF THE INSTRUMENT
You can vary the music dynamics by varying the pedalling speed and this in careful conjunction with the music will help give a lifelike rendition. There are levers for the sustain pedal and also to soften the treble and bass of the piano independently. Again, careful use of these levers, acquired by practice aids rendition of the music. The mechanism generate operating suction when you pedal. There is a reservoir which collapses as you play so the supply of suction to the mechanism is constant and even and not erratic as to when you pedal. Once this is at a sufficient pressure the mechanism plays. You will, as you use your instrument, get to feel this pressure beneath your feet and you'll soon gain the skill.Don't make shallow little strokes with the pedals. Instead allow the treadles to rise up once you have depressed them and press them right down firmly - this will exhaust the air under that pedal and increase the vacuum in the reservoir. Pedal with alternate feet at an even regular pace - pedalling in time to the music is idiotic! The player-piano will produce basic music with no effort; with practice it will do a whole lot more.
FREQUENT QUESTIONS ANSWERED
Can player pianos / pianolas be played by hand like normal pianos?Yes, they are all normal pianos which operate in a traditional piano-manner. The piano is the same as any other piano. The player does not interfere with normal hand playing capabilities.
Are the pianos good quality?
Yes, originally the manufacturers generally fitted player mechanisms into their better pianos. A normal piano would get played once in a while whilst a player could be played by anyone at any time and by ensuring the instruments that would inevitably be heard the most sounded the best ensured that their brand continued to sell well. In retrospect it also means that the pianos that were players are generally better than the equivalent non-player or the same brand.
Can you get new tunes?
Yes, you can easily obtain old and new rolls of old and new tunes. New rolls are available with songs right up to the current pop tunes of today! So whether it's classical, opera, musicals, rock n' roll, pop, or 1920s right through to the music of this year - there are tunes for you! Most new rolls are made with the lyrics printed on them so it's like pianola karaoke in a way! Incidentally karaoke isn't such a new idea after all - lyrics have been printed on piano rolls for folk to sing along to since 1909.
How long do rolls play for?
Generally - standard rolls play for up to 15 minutes thereabouts. Some players take rolls that play for 1/2 hour. There were also multi changers made which played up to 10 rolls at a time. Just like CD players today these old mechanisms could also be set to repeat or just play all tunes etc.
How long do rolls last before they need replacing?
If the mechanism is in good order then there should be absolutely minimal wear on the rolls as they play. Rolls kept well and played on such instruments have lasted in good playable condition since new - which now means upto about 100 years so far! Some brands of roll were cut originally (i.e. c.90 years ago) from paper which is more likely to deteriorate, crack and disintegrate after a period of many years. The problem is more prevalent in certain US brands than the UK due to paper used at the time in addition to climatic and humidity variations.
How can I get my instrument restored? Are there things to watch out for?
Your instrument is both an irreplacable antique, a functional musical instrument and a source of great enjoyment when it is working well! Some instruments are worth spending money on to restore them to their former glories - others are not because either the player or piano is beyond repair. Others still require more expenditure than their value would be once restored - naturally for instruments of sentimental value this should pose no problem. In any event whatever the instrument, once properly working again you should derive pleasure from it that cannot be expressed financially.
For your instrument to operate well equal consideration should be given to both parts - the musical and the mechanical - the piano and the player. Most piano technicians know very little about players. Many player technicians are not the greatest of piano technicians whatever they try to tell you.
Go and hear instruments that have been restored by those who you would entrust your instrument to. No instruments playing, an eccentric person gusting on about how good his work is and slating everyone else, everything in pieces for repairs? All are sure signs of poor workmanship and poor business practice.
Your deposit will likely fund the mess of a business you find and you'll be lucky to ever get your instrument back in under half a decade. Guff such as "we use thinner cloth to make the mechanism more responsive" actually means "..so that it all wears out quicker and I get to do more work." Yes, if you encounter a company such as this just say you'll "have to go away and think about it!"
If you find instruments in tip-top playing condition that can be demonstrated the technician will not gust away merrily blowing his own horn for hours - no, the work will speak for itself and you will feel more confident as you know the technicians capabilities are not all just hot air to lift a hefty deposit off you. Ask the technician whatever questions you like and you should find the competent technician will respond confidently and with evident experience. A complete rebuild of the main part of the player mechanism (the "pneumatic stack") will cost over £1500 in reality. If you are paying a large amount like this ask and ascertain that it includes full replacement of all valve and pouch leathers in addition to the note pneumatics. Much of this is almost impossible to check after the player has been re-assembled so do be wary.
Whilst many instruments may puff on for a further 5-10 years without the valves and pouches being replaced it is a discredit to yourself not to ensure that these are replaced. Once the stack is re-covered and airtight the playing will wear out the tired old valve and pouch leather quicker than you may be led to believe. All original materials in players pianos are now generally so old that they require complete replacement.
Don't listen to poor technicians talk about "re-surfacing" valves which simply means brushing off any dirt and scrubbing the old leather a bit to give it some life. Similarly old original pouch leathers are now generally so old that "re-sealing" them is a waste of time and money. If you want your instrument to play like it did when new, and there is no reason why not, then don't skimp on the details and don't let yourself be duped.
Before you part with large amounts of money in repairing your instrument do shop around - not simply on a price basis but to see who really will do the best job. The cheapest job will invariably be a short-cut patch-me-up and the most expensive will be money down the drain for exactly the same work obtainable elsewhere - and may well be farmed out to a cheaper workshop in any event.
If in doubt feel free to contact myself or anyone else either in the trade or a member of a related music society. Many people will be very pleased to give you brief advice and point you in the right direction. Yes, there are only a few books on the subject and a very few websites (you've found this one - one of the more comprehensive) but take my word -most pianolas and the music rolls are nowhere near as rare as you might think!
WHAT'S MY PIANO WORTH?
I am frequently asked the value of what player pianos might be worth. To give you a general idea I offer the following information.Most people are under the impression that their player
piano is a valuable antique worth it's very considerable weight
in gold. 99 out of 100 instances this is never the case.
Player lifespan
Player pianos, unlike most other antiques, have a finite lifespan beyond which they deteriorate and as they do so their value decreases proportionately. Player pianos do not improve with age like good wine for example. The materials the playing mechanism is constructed from deteriorate and break down over the years. These materials are highly specialized grades of rubber, rubberised cloth and leather. The replacement of these materials is an extremely skilled, manual, labour intensive and time consuming job. The majority of player pianos are over 70 years old. Whereas earlier in their life patch-up repairs would often suffice most instruments have now so deteriorated only major work bordering on a complete rebuild will ever restore them to anything like their original playing condition. The pianos themselves also show the signs of age and require repairs to some degree. Many are beyond economical repair when taking into account cost of restoration against restored value.Calculating a rough price estimate
Accordingly a good guideline is often that a non-working player piano is worth no more than the equivalent ordinary piano of it's age and quality. This may be hard to understand suffice to say that a regular piano dealer will probably offer even less than that. To the ordinary piano dealer a non-working player piano is an unsaleable burden amongst their stock. Sadly, many piano dealers will rather rip out the expired mechanism and discard it as it is easier to sell a secondhand piano without a heavy player mechanism that doesn't work.The scale of price for unrestored instruments is dependant upon
- the brand of piano
- the overall playing and cosmetic condition of the piano today
- the type of player mechanism
- the overall condition of the player mechanism today
At the low end of the scale are the cheap "transfer
names" pianos, cheap pianos fitted with cheap player mechanisms and pianos fitted with player systems considered obsolete or impractical to restore. Whilst all will play satisfactorily if restored they will never be top-rate as the
pianos and the player mechanisms were only ever average at best.
Next are the instruments comprising good quality pianos fitted with good and reliable player
mechanisms.
At the top end are the reproducing pianos
with desirable player mechanisms in top quality pianos in good
condition and additionally certain other highly desirable but rare instruments.
Playing condition of instruments
Condition of any instrument affects it's price. Often instruments are described as having been restored. Often the euphemism "restored" means "patched -up and playing weakly" or refers to a previous poor restoration that has actually caused damage in the long term. As a general rule of thumb materials in the player mechanism have a life of about 20 years before they deteriorate to a point where replacement is advisable. Materials deteriorate naturally even if the instrument is hardly ever played.What constitutes the description "..plays well" is highly variable also. A player that
plays well can be pedalled easily with very little
exertion producing music soft and loud and it should be possible
to play it at an average level with just one foot pedalling at
a moderate pace. If your player doesn't do this then please don't
think that it "…still plays quite well". Once
you have played a player piano in good order you will instantly
know the difference.
There are no quick fixes for the majority of instruments,
the benefit of patching-up one component will eventually be overtaken as the
others cease to function. Most instruments which have been "partly restored" so
that they still play to some degree or are "…still playing
quite well" will, by simple virtue of the age of the materials
inside them, require major to complete rebuilding of their mechanisms
to bring them back to good working order.
Any idea of value is arbitrary in the absence of
details of any particular instrument suffice to say that clapped
out player pianos are sadly from time to time worth the precise
sum of absolutely zero and are fit only to be taken down the tip.
A good one in good cosmetic condition though not necessarily playing may
range from perhaps a few hundred pounds to a few thousand. Fully restored
instruments may range from a thousand to several thousand pounds.