Joel Hoshaw's posting raises some interesting questions.

First, since he reports disc boxes varying over a small range (Gb
through Ab), I'd guess that we're just seeing the gradual upward
"drift" in standard pitch that affected (afflicted?) orchestras and
pianos during that era.  We should try correlating pitch with age to
test this theory.

Also, makers may have deliberately tuned a certain line of musical
boxes sharp or flat to make them seem brighter or mellower.  (My
open-style Gem Roller Organ is pitched in Ab, while my larger enclosed
Concert model, otherwise identical, is a whole fourth lower in Eb --
presumably to make it sound grander.)  I must confess I hadn't tried my
Regina against the piano to determine its key!

The difference in tonal quality between short and long bedplates is
well known, and the usual explanation is that the short bedplate
transmits the bass vibrations directly down into the center of the
motor board (soundboard) for optimum radiation of the lower tones.
But the long bedplate couples its sounds into the edges of the
soundboard, where they're screwed to the solid cabinet, so the sound
goes into the whole case and now depends on the table or floor under
the machine for radiation into the air.

Both effects are important.  My 246 Reginaphone sounds gorgeous with
its short bedplate and extra cabinetry -- but it sounded even better
when resting on a hardwood floor that added bass.

(I have a large naked Mermod cylinder movement that I've been planning
to build a simple case for, and try out a sort of short-bedplate
sound-post coupling to the middle of the bottom board, which will be
screwed to the case only at the other end.)

Now for a really new question:

Double-comb instruments are normally tuned a little off to achieve the
lovely "celeste" or "sublime harmonie" effect.  However -- most comb
scales have two or three or more copies of certain notes, to aid in
repetition or to allow accents by plucking two or three at once.

MIGHT the maker have tuned some duplicate notes in Sublime Harmonie,
and some others in the group to perfect unison, for use in accents?  Any
fellow MBSI members have an opinion?

Or is Joel merely seeing the effects of rust spots and wear?  I do know
(from that naked Mermaid) that a little bit can throw off a tooth by a
semitone (or is that tooth missing a damper?).

PS: Joel, wasn't it the Wilson's' uncle who insisted on playing
Recording Engineer to the group, fiddling with the knobs and pulling
jacks in the middle of "Help Me Honda?"  On a par with the joker who
rebuilds a Duo-Art with Tyvek and Elmer's.

Mike Knudsen