Automatic Age
Issue: 1937 March - Page 223
AUTOMATIC AGE
222
Mills Studio Phonograph Is Scientific
Attraction
T y S P L A Y E D at the 1937 Coin Ma accepting the strain of the higher or
chine Show as a masterpiece in lower notes would break the walls of
phonograph construction, the Mills the groove in which it was running
Studio phonograph is being heralded and ‘jump the track.’
“Mills Studio is called Studio just
by its makers as “the music that you
can see and hear.” W ith the latest because it does on location exactly
scientific features of “visible sound” what the original orchestra does in
to attract attention, the phonograph the studio! It doesn’t call for a differ
is described by officials of the Mills ent record—it uses standards records
N|ovelty Company, maker, as the ut' from the most inexpensive to the best
— but by a new amplifying circuit,
most in phonograph building.
“But we are not emphasizing the mathematically puts back into the
Mills Studio simply for its grandeur,” record that part of the original or
says Vince Shay, of the Mills firm. chestra’s expression which had to be
“We want to impress upon operators sacrificed in recording. This new
the possibilities in the machine to circuit requires seven tubes in the
make money, because it offers every amplification system, three in the ex
pression system and three in the visu
thing that a location could ask for.
“The location wants the best music al system to give ‘the music that you
that can be had,” Shay continued, can see and hear.’
“This new amplification costs four
“and only the operator who has Stu
dios is able to supply this brand of times as much as anything ever be
music. In the past when people judg fore put on a coin-operated phono
ed the quality of coin-operated phon graph and gives back maybe 100 times
ographs it was customary for some to as much for its additional expense.
think this was best and others to It has the power for being turned up
think that was the best. But 100 out to the performance of a 100 -piece
of 100 who hear the Studio play im orchestra and yet when turned down
mediately and authoritatively say: to the softest degree of volume, per
forms in a magically human way that
‘The Studio is the best—by far!’
“Whence comes this unanimous ap can be matched only by a living
proval, this unblemished indorsement human being.
“The harmonics surrounding the
of the playing public, of operator and
of location? ‘Music that you can see cycles of tone give the musical qual
and hear’ just didn’t happen. I t ’s the ity of any musical instrument and
result of new design, of years of when high tones are cut by the am
painstaking research, of the desire to plifier—as is necessary in other phon
make the best, backed up by the nec ographs which have a limit of 5,000
cycles — most of the highs would
essary ability and experience.
“In the Studio is found a type of sound alike. But Mills Studio hears
expression altogether new in mechan 12,000 cycles, which is as high as any
ical musical instruments; it’s new, human ear can hear and which intro
even in radio, and in radio in the next duces to the listener’s appreciation
year or two you may see a develop a whole new world of musical quality
ment something like what you now never befoi'e delivered by a phono
have today in Mills Studio. What the graph !
“It ’s the same way with the lows.
Studio is, is a glorified band capable
This
instrument can go down to 60
of the entire range of musical perfor
mance from highs to lows, from loud cycles and even to 30 if desired, but
ness to softness, every note and tone the human ear cannot hear below 50
cycles, so the studio is capable of
rendered naturally.
“Heretofore when a record was giving the widest possible range of
made in the recording studio, the orig bass notes, so much needed for public
inal orchestra’s performance had to dancing.
Music That You Can See
be modified in the process of record
“On the left side of the Studio
ing, in order to keep the record prac
tical, for use on the phonograph. For front, under glass, is the panel that
if the range of tones were attempted gives it the title “Music that you can
on the record as the orchestra ren see.’ Here we see the three intriguing
dered them in person the needle in lights: one green — the expansion ex
© International Arcade Museum
March, 1937
pressor; another red — the ‘treble
balancer,’ and another blue — the
‘bass balancer.’
“Only the operator has access to
this panel and sets it when he installs
the phonograph in the location. On
installation he adjusts the panel under
glass, leaving the green, red and blue
lights to flash the color of the music
as the record plays. In another loca
tion he might set the panel in an
altogether different way and yet by
adjusting it to the acoustics of the
room the Studio would give the same
superb music. The operator locks the
panel on setting the instrument. If
afterwards the location wants to
secure different degrees of volume he
may turn ‘down’ the volume control
at the back of the instrument without
in any way affecting the marvelous
expression of the Studio.
“I t took our engineering and de
signing departments over a year to
perfect and complete all these re
markable things.”
N . J.
M e r c h a n d is e r s
A s s ’n
R e v iv e d
At the suggestion of Leo Waldor,
president of Target Roll Distributing
Company, who acted as chairman, a
mass meeting for operators was held
at the South End Club, Newark, N. J.,
in February. After statements from
the chair, giving the reasons for call
ing operator together and also the
necessity for a strong reorganization
of the members of the former associa
tion, the New Jersey Automatic Mer
chandisers’ Association, there followed
many arguments, pro an'd con, as to
the manner in which tho association
could reorganize.
Waldor proved a good cJhairman and
allowed various speakers (to air their
views. It is believed that the founda
tion for the reorganization.^ is well laid
and it should become a certainty with
in a short time.
To aid reorganization a committee
of 12 of the outstanding operators in
this area were appointed to complete
plans for reviving the reorganization.
The committee is composed of the
following: Dave Engel, Loo Waldor,
D. M. Steinberg, A. Handler, Charles
Polgaar, Harvey Owle, Cha,rles Prinz,
A. Russoff, Jr., Harry Pe
They are all interested in tihe forma
tion of the operators into
strong
organization that will aid in the
general prosperity of the grouj?'.
http://www.arcade-museum.com/
222
Mills Studio Phonograph Is Scientific
Attraction
T y S P L A Y E D at the 1937 Coin Ma accepting the strain of the higher or
chine Show as a masterpiece in lower notes would break the walls of
phonograph construction, the Mills the groove in which it was running
Studio phonograph is being heralded and ‘jump the track.’
“Mills Studio is called Studio just
by its makers as “the music that you
can see and hear.” W ith the latest because it does on location exactly
scientific features of “visible sound” what the original orchestra does in
to attract attention, the phonograph the studio! It doesn’t call for a differ
is described by officials of the Mills ent record—it uses standards records
N|ovelty Company, maker, as the ut' from the most inexpensive to the best
— but by a new amplifying circuit,
most in phonograph building.
“But we are not emphasizing the mathematically puts back into the
Mills Studio simply for its grandeur,” record that part of the original or
says Vince Shay, of the Mills firm. chestra’s expression which had to be
“We want to impress upon operators sacrificed in recording. This new
the possibilities in the machine to circuit requires seven tubes in the
make money, because it offers every amplification system, three in the ex
pression system and three in the visu
thing that a location could ask for.
“The location wants the best music al system to give ‘the music that you
that can be had,” Shay continued, can see and hear.’
“This new amplification costs four
“and only the operator who has Stu
dios is able to supply this brand of times as much as anything ever be
music. In the past when people judg fore put on a coin-operated phono
ed the quality of coin-operated phon graph and gives back maybe 100 times
ographs it was customary for some to as much for its additional expense.
think this was best and others to It has the power for being turned up
think that was the best. But 100 out to the performance of a 100 -piece
of 100 who hear the Studio play im orchestra and yet when turned down
mediately and authoritatively say: to the softest degree of volume, per
forms in a magically human way that
‘The Studio is the best—by far!’
“Whence comes this unanimous ap can be matched only by a living
proval, this unblemished indorsement human being.
“The harmonics surrounding the
of the playing public, of operator and
of location? ‘Music that you can see cycles of tone give the musical qual
and hear’ just didn’t happen. I t ’s the ity of any musical instrument and
result of new design, of years of when high tones are cut by the am
painstaking research, of the desire to plifier—as is necessary in other phon
make the best, backed up by the nec ographs which have a limit of 5,000
cycles — most of the highs would
essary ability and experience.
“In the Studio is found a type of sound alike. But Mills Studio hears
expression altogether new in mechan 12,000 cycles, which is as high as any
ical musical instruments; it’s new, human ear can hear and which intro
even in radio, and in radio in the next duces to the listener’s appreciation
year or two you may see a develop a whole new world of musical quality
ment something like what you now never befoi'e delivered by a phono
have today in Mills Studio. What the graph !
“It ’s the same way with the lows.
Studio is, is a glorified band capable
This
instrument can go down to 60
of the entire range of musical perfor
mance from highs to lows, from loud cycles and even to 30 if desired, but
ness to softness, every note and tone the human ear cannot hear below 50
cycles, so the studio is capable of
rendered naturally.
“Heretofore when a record was giving the widest possible range of
made in the recording studio, the orig bass notes, so much needed for public
inal orchestra’s performance had to dancing.
Music That You Can See
be modified in the process of record
“On the left side of the Studio
ing, in order to keep the record prac
tical, for use on the phonograph. For front, under glass, is the panel that
if the range of tones were attempted gives it the title “Music that you can
on the record as the orchestra ren see.’ Here we see the three intriguing
dered them in person the needle in lights: one green — the expansion ex
© International Arcade Museum
March, 1937
pressor; another red — the ‘treble
balancer,’ and another blue — the
‘bass balancer.’
“Only the operator has access to
this panel and sets it when he installs
the phonograph in the location. On
installation he adjusts the panel under
glass, leaving the green, red and blue
lights to flash the color of the music
as the record plays. In another loca
tion he might set the panel in an
altogether different way and yet by
adjusting it to the acoustics of the
room the Studio would give the same
superb music. The operator locks the
panel on setting the instrument. If
afterwards the location wants to
secure different degrees of volume he
may turn ‘down’ the volume control
at the back of the instrument without
in any way affecting the marvelous
expression of the Studio.
“I t took our engineering and de
signing departments over a year to
perfect and complete all these re
markable things.”
N . J.
M e r c h a n d is e r s
A s s ’n
R e v iv e d
At the suggestion of Leo Waldor,
president of Target Roll Distributing
Company, who acted as chairman, a
mass meeting for operators was held
at the South End Club, Newark, N. J.,
in February. After statements from
the chair, giving the reasons for call
ing operator together and also the
necessity for a strong reorganization
of the members of the former associa
tion, the New Jersey Automatic Mer
chandisers’ Association, there followed
many arguments, pro an'd con, as to
the manner in which tho association
could reorganize.
Waldor proved a good cJhairman and
allowed various speakers (to air their
views. It is believed that the founda
tion for the reorganization.^ is well laid
and it should become a certainty with
in a short time.
To aid reorganization a committee
of 12 of the outstanding operators in
this area were appointed to complete
plans for reviving the reorganization.
The committee is composed of the
following: Dave Engel, Loo Waldor,
D. M. Steinberg, A. Handler, Charles
Polgaar, Harvey Owle, Cha,rles Prinz,
A. Russoff, Jr., Harry Pe
They are all interested in tihe forma
tion of the operators into
strong
organization that will aid in the
general prosperity of the grouj?'.
http://www.arcade-museum.com/
Future scanning projects are planned by the International Arcade Museum Library (IAML).