With reference to a (possibly) pedal-electric Marque-Ampico in the UK,
Darrell Clarke wrote:

> The Foster Marque Ampico was not equipped with crescendos and could
> only approximate it using the fixed levels.  I haven't analysed the
> musical effect but I would guess the results would be similar to a
> Recordo in only having coarse steps although bass and treble would be
> fully independent as in any Ampico.

Um...not always.  There seem to have been at least 3 variations of
mechanism used in the Marque-Ampico.  The sort that is most often seen
here in the Northwest has the complete expression devices, (two step
intensities and two crescendos) exactly as were used in the electric
Ampico.  Most, though not all, seem to be in Marshall & Wendell pianos.

They date from late 1917 to 1920.  We seem to have had an active dealer
here at that time.  They pedal nicely and give the same result with
Ampico rolls as the electric upright Ampico.  These are usually large
well-made uprights with beautiful veneers.

I have also seen the variant to which I believe Darrell refers.  As I
recall, it's not quite as crude as it seems.  I believe that the
crescendos are achieved by bleeding atmosphere into the #2 intensity
pneumatics, or something similar -- memory fails me.  I do recall that
very nice results were obtainable from Ampico rolls with intelligent
pedalling.

Back in the 70s, Ian McDonald wrote an article for the AMICA Bulletin
about a Franklin Marque-Ampico from about 1923 that had a very differ-
ently arranged and constructed, but seemingly functionally complete,
Ampico mechanism.

There are probably other variants as well.

Darrell also wrote:

> Unlike the pedal Duo-Art, it was not possible for the operator to
> put in his own accents on Ampico rolls

(cough) ... Well, not quite true.  With the Ampico turned off, the
pianolist is presented with a fully functional Amphion player piano
with all the usual controls.  Ampico rolls can be played with the
Ampico turned off, putting the expression control at the hands and feet
of the operator.  The Amphion mechanism properly restored is nicely
sensitive.

Dean Randall
from near-frigid Puget Sound
mailto:pianolists@earthlink.net