Hi Robbie,  The Miller-built player action graduates a second equalizer
into the system, cause a delay between a pedal stroke and the resultant
accent, but giving a coasting sensation for the performance.  You can
employ all of a 2-equalizer or only 1, and anywhere in-between.

Cecilian push-up players (by Ferrand) also had this type of feature
which they called a "bellows within bellows".

I'm certain there are many variations on this type of pneumatic design,
especially abroad.  For art songs, Debussy and orchestral music, the
dual equalizers are often satisfactory, especially in pianissimo
passages so that the notes don't skip.  On the other hand, for Liszt,
Gershwin, jazz and Ragtime, the single equalizer is best (for me).

I can get 2 to 3 accents *for a single downstroke*, something never
possible with any pedal grand piano action by Aeolian.  The Miller lets
me separate dotted-8ths and 16ths with one foot.  Of course, you can
skip notes with this faster response, allowing the operator to "select"
whatever effect he/she desired.

Hope that answers your footnote in yesterday's MMD about my Miller
posting.

Regards from Maine,

Douglas Henderson
http://www.wiscasset.net/artcraft/

 [ Thanks, Douglas, it's indeed an interesting action.  -- Robbie