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The Technical Aspect of the Problem
of Light Pumping Players
A Question Which Has Always Divided the Manufacturers and Merchants of Player-Pianos Into Two
Opposing Camps—What Light Pumping Is—Keeping the Music Roll Going the Basis of Any
Discussion of This Problem — Non-Pneumatic Motors — Preventable Friction in Contact
f T T ^ H E question of light pumping, as it has
I been somewhat roughly called, has always
•*• divided player manufacturers and player
salesmen into two opposing camps. The first
players, of course, were decidedly "heavy" pump-
ers, because the technical requirements of "easy"
pumping had not even been visualized save in
the most fragmentary manner. It took years of
steady experimenting with designs and materials
to produce a combination which should deliver
plenty of playing power without imposing too
much physical effort upon the operator of the
bellows. When, however, technical experiment
had produced a combination of materials and de-
sign that did permit easy pumping there came
a reaction, for it was said that the buying pub-
lic did not want to be troubled with any effort
not purely mechanical and would rather pump
steadily, if mechanically, than learn to pump
selectively and artistically. And there has al-
ways been a marked difference of opinion in
regard to which system does in fact produce
the better-selling instrument.
Of late years, however, the tendency has been
in the direction of light, easy pumping, and it is
therefore in order to say a few words of the
technical problems involved. To what extent
the foot player will be revived by such work as
is contemplated by the Chicago Piano & Organ
Association, according to its announcements
to the trade press, cannot be discussed here;
but at least some effect will be wielded upon
design, by any attempt to revive fine demonstra-
tion of the foot-player on a large scale. Hence,
again, the value of some technical discussion on
the question of design in relation to responsive-
ness.
What is called "easy pumping" refers of
course to that condition in which the required
power for playing is obtained with a minimum
of physical effort. On the other hand, it also
means that condition which enables the player-
pianist to obtain changes in playing power, as
"accents," rapidly and at will, without being
obliged to maintain a large "reserve" of play-
ing power for the purpose of keeping the music
roll going.
The Motor Drag
This matter of keeping the music roll going
is in fact at the bottom of any discussion of
pumping. It has been long since demonstrated
that the amount of power required to keep the
pneumatic motor running, on any ordinary
player action, is not less than 50 per cent of
the whole. One-half, then, of all the energy
which is imparted through the feet of the player-
pianist for the purpose of producing the motions
of the bellows is taken up in supplying run-
ning power to a motor, which, although it is
essential-to the performance of music, has noth-
ing to do with the actual production of sound.
It is therefore obvious that if this eternal drag
upon the feet of the player-pianist could be
eliminated the problem of "easy" and respon-
sive pedaling would be solved at once, almost
irrespective of any other change.
A few years ago a proposal to furnish power
for the motor in any other than the usual way
would have been met by a storm of objections;
but to-day it is all very simple. It is only neces-
sary to connect up with the pneumatic motor
an electric-driven fan, cutting off the connec-
tion between pneumatic motor and bellows. If
this is done, the power-fan exhausts the air
from the motor and leaves the latter under the
control of the ordinary tempo and rewind levers.
It is evident that here is a simple solution of
the whole matter.
Moreover, one is justified in remarking that if
ever the foot-player comes back into general
favor it will be because it is just so easy to pedal
and just so responsive as has here been sug-
gested. As for the actual cost, the electric motor
of small size driving a small vaccum fan presents
the only important item. Built in quantities, such
an outfit would cost no more to make than an
ordinary electric ventilating fan of small size,
while its consumption of current is quite negligi-
ble. It should be understood that ideas based
upon the size and weight of the pumping plant
used in a reproducing piano have no meaning
in the present case. The outfit described for the
special purpose outlined here need be no larger
than an old-fashioned plug-hat.
This is an electric age, and it seems that there
should be very little objection, mechamcal or
commercial, to the introduction of a method
which would do so much to make the player-
piano an enjoyable instrument to play person-
ally.
Non-Pneumatic Motors
On the other hand, there is the possibility
of using a motor driven directly by electric
current; in other words, a straight electric mo-
tor, geared down, and controlled in speed by
some system of variable gearing. Probably
the only practical method of controlling the
speed of such a motor would be by use of the
well-known disk and wheel, contacting at an an-
gle of 90 degrees, and obtaining driving power
entirely through friction. The control, of
course, in this case comes by varying the posi-
tion of the leather rim of the wheel upon the
driven disk. The closer the rim comes to the
center of the disk the slower is the speed, and
conversely.
Considering everything, however, it should
seem that the first-named method would be
both cheaper and simpler.
If now we, for any reason, wish to go further
still and to inquire what changes in design
as respects the pneumatic stack and the bel-
lows might give us easier pedaling and better
response to pedal attack, we must say that there
is still something to be done in these depart-
ments, although the present state of the art is
one of high efficiency and it would be whol-
ly wrong to indulge in any growls in discussing
it. Nevertheless there are one or two points
worth considering.
The first of these relates to preventable fric-
tion in the contact between the pneumatic stack
and the piano action. There is still a good
deal of work to be done at this point. Pneu-
matic actions are made of wood, wire and
leather. Bushings around moving parts are of
bushing cloth surrounded by wood. Most of
the causes of friction and of sluggishness which
develop in the piano action, but which in the
best action making have been virtually elimi-
nated, are present here also. It must be evident,
too, that in the case of grand player actions
the contact of the pneumatic with the underside
of the piano key at its rear or action end is
heavy, clumsy and mechanically inefficient.
What is really needed is a practical manner of
connecting with the piano action direct, elimi-
nating the keys altogether. This can probably be
done without attempting to place the pneumatics
above the key-bed. In fact, it is plain that a
direct connection by means of wooden or wire
stems between the stack beneath the key-bed
and the action above the key-bed is quite prac-
(Continued on page 14)
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"Easiest
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The demand has been created through
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Established 1857
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Makers Grand, Upright, Players, Reproducing Grands, Phonographs, Pipe Organs
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