I was flattered that Mike Walter wrote in MMD, that I might shed some
light on Ampico recording techniques.  I am afraid that I cannot be
very helpful.

The person who knows most on this subject is Larry Givens.  Although
Larry is not feeling up to par and has been battling Parkinson's
disease, I am certain he retains his interest in Ampico and it's
history.  Perhaps he might consider writing an article about the
subject.  He has written for AMICA in the past, and hopefully someone
will suggest he write more information on Ampico roll production.

I suggest that no one try to call Larry, as it is very difficult for
him to get to the telephone and carry on conversations.  I have written
him on several occasions, but no response, other than a close friend
told me he appreciated my letters, but did not have the strength to
answer.

I do not profess to know much at all about Ampico roll production other
than what I have heard.

Master rolls were not called rolls, but called "Master Stencils".
Usually three were made for each recording.  Trial rolls were made from
the master stencil for editing, and, I might add, *heavily edited* --
thousands of changes!!  I have seen them!

X-acto knives were not used at the time.  They had a small punch and
placed a piece of wood under the roll on the tracker bar, and tapped
the punch with a small hammer to make changes.  (The poor tracker
bar!!!)  Patches were small pieces of paper with dry glue similar to
that found on envelopes, and probably the editor licked the glue, and
stuck the patches on the holes to even up notes, and block out errors.
Ampico had a machine to transform the edited roll into another Master
Stencil, which later was used for mass-producing rolls on the
perforators.

Next came what they called a "Sub Super", or a roll that was a
prototype for production.  The Sub Supers were sent to New York for
final inspection, and further editing notation if any was required.
If they were not up to standards they were returned to the editors.
Sub Supers when approved, were then signed in pencil by the inspector.
I had a few classical sub supers signed by "M. Volavy"  (Marguerite
Volavy).  I believe the Sub Supers were then sent back to the mass-
production area and used to make the final master stencils.

Mass production of rolls was first done in Bellville New Jersey, later
moved to Syracuse New York, and finally to East Rochester New York,
until production ceased about 1941.

Frank Milne did a lot of editing for Arden and Carroll.  A notation on
one such roll was noted by Alan Mueller: "Victor, 'hope this correction
is sufficient.  F. Milne" (Frank Milne).  A slash was put across the
notation to let Mr. Milne know that Victor Arden felt that it was
acceptable.

Bruce Clark