When I bought my first house in the early 1970's, I could walk
less than 500 feet to a very nice public library in suburban Chicago.
It was in that library that I read books on piano restoration,
including the rebuilding of reproducing player piano systems.  At
that time, Larry Givens' book, "Rebuilding the Player Piano", was the
most definitive in the field of player repair.  It didn't take long to
understand that the author had special regard for the Ampico B system.
His description of that system sharpened my interest, and I soon found
his book, "Re-Enacting the Artist" which gives many details of the
Ampico B.  At that point, I was hooked.

I first acquired an Ampico B in 1974, and I still have that piano.
I have been rebuilding them ever since, and each time I discover more
about that system.  Just today I noticed for the first time a slight
difference in the valve seats within the expression valve units.  We'll
talk about that later.  What I want to talk about now is how wonderful
the engineering is on the Ampico B.

Much like today's modern aircraft, the Ampico B system was developed
with the philosophy that every sub-system had to perform its task in
an optimum manner, and yet fit seamlessly into to the overall system
design concept.  There could be no weak spots.  Generally, we think
the Ampico B came into existence around 1929, but really, it was under
development for more than six years.  The first Ampico dynamic recorder
system was conceived much earlier, in the first ten years of the
twentieth century, which pre-dates any other patented system.

Within the Ampico B are clever designs which minimize friction and mass
of moving expression parts, thus the expression system can react almost
instantaneously with extreme accuracy.  The design assures long term
stability with minimum maintenance.

The loud pedal compensation which first appeared in the "A" system
around 1926 and proved to be highly successful when properly regulated,
became an integral part of the "B" expression system.  Within the "B"
expression system, only a lightweight pouch moves during the sustain
pedal operation and in turn, the intensity regulator adjusts, just
slightly, to compensate for the weight of the raised dampers being
removed from the keys.  The system is so sophisticated that the amount
of compensation is maximized at the softest intensities and has no
effect at full fortissimo.  Coupled with that compensation is the
ability to adjust each note for uniform response at soft playing
levels.  The result is an even pianissimo that is so realistic it
defies the mechanical origins of the music.

As I mentioned earlier, the system as a whole carries a design concept
into all sub-systems.  To achieve the even play at pianissimo, the
striker pneumatics have a special "hinge relief" design to allow nearly
full closing if so adjusted.  The expression regulator can "hit" the
specific vacuum level repeatedly with extreme accuracy.  The
compensation of the damper weight is accurately calibrated and built
into the expression system.

The various control systems and roll transport drive system have no
affect on the expression system.  The pedal regulator isolates the
pedal demand surges from the rest of the system.  And the materials
used to construct the entire system are sealed and assembled in such
a manner as to be virtually immune to changes in humidity.  Even the
tracker system is immune to humidity and its affects on the paper roll.

What a shame that this system didn't hit the market before the whole
industry dried up during the Great Depression.  Some of the best show
tunes came during the 1930s, and the 1940s offered many as well.

Today, the Ampico B is still scarce and in this current economy is
getting less notice than ever.  Many of the pianos don't get much
attention because they have not been properly restored.  Ironically,
their rugged, reliable design has proven to be the most damning
circumstance.  Unlike other players they just didn't die completely.
They were allowed to limp along long past their expected service life
while owners spent only paltry sums to keep them operational.  And once
the tracker pneumatics became crisp, the roll collection was turned
into shreds by the electric roll drive that didn't know when to quit.

Everyone should take another look at the machine.  Read the books.
Study the system in the 1929 Service Manual.  Marvel at the design.
And if you find one, save it properly.

Bob Taylor