Greetings all,  I have recently returned from a two-month stay
in Australia, where I visited family and fellow roll collectors.
I thought I would share some observations with the group.

Ampicos and Duo-Arts were well represented, with Welte-Mignon
coming in third.  The Weltes in the collections seemed to be equally
divided between Vorsetzers, keyboardless and regular instruments.
T100 and T98 systems were in the majority; several T98's were converted
to also play Licensee.  Also in evidence were a Triphonola and an Art
Echo; both grands, in need of restoration.  There were several pushup
73-note Hupfelds, well restored and n rosewood cases.

The majority of the Ampicos were installed in Beale pianos made in
Australia (Ampico installed in Melbourne), the Duo-Arts were English
made Aeolian instruments.  Chickering, Mason & Hamlin, and Weber pianos
were in a minority.  Most of the instruments had beautiful original
finishes on them. Some had been touched up with French polish, but
overall were in pristine condition.

One instrument worth mentioning is a mid-1920s New York (not Hamburg)
Steinway equivalent model M with a T98 Green Welte installation.
Robbie mentioned hearing of one several years ago, so this one adds
weight to the idea that there was communication between Steinway and
Freiburg after the Great War.

Mike Kitner made some limited number of copies of a very early T100
test roll sometime in the 1970's (as I recall).  It had two decreasing
diameter holes after each individual perforation that tested each note
as it went up the keyboard.  The purpose of the smaller diameter holes
were to vary (and adjust?) the primary valve bleed size.  The first
small diameter hole after the note sounded was to allow enough air
under the pouch to cause the hammer to move but not strike the string,
the second, smaller diameter hole, was to verify that the bleed was
not too big (the hammer shouldn't move at all).

One of the collectors in Melbourne had an original very early T100 test
roll and I was able to verify that the roll is an exact duplicate of the
Kitner recut that I have.  Since the very early bleeds were often made
from stiff paper or thin cardboard and glued above the bleed passage,
adjustment and repair was a relatively simple matter using this roll.
I also speculate if this roll had the four-step-up crescendo test rather
than the six-step used in later test rolls?

 [ The Welte factory changed the crescendo rate from the four-step rate
 [ to the six-step rate shortly after the rolls by Teresa Carreño were
 [ produced.  Ken Caswell installed crescendo springs of different force
 [ in his Welte-Mignon piano in order to make the Carreño performances
 [ play properly.  -- Robbie

I saw collections in Sydney, Katoomba, and Melbourne.  There were also
additional collections I was not able to hear due to time constraints.
The Aussies are quite enthusiastic about mechanical instruments of all
stripe and do whatever is necessary to keep them going and really enjoy
them.

The most unusual instrument I saw was a dual keyboard Bechstein grand
(non-reproducer) with one keyboard sitting directly above the other,
akin to a 2-manual organ.  The same note on either keyboard played just
one hammer.  I don't quite understand the purpose of the setup, but it
was designed by some Australian (I think) in the 1930's and there were
very few of these pianos made.

I took 11 hours of video tape of the trip.  I will get it edited and
sorted out in the next month or so.  I hope to share more memories as
I review the tapes.

I am still collecting collector's lists of Welte rolls, so would welcome
any that members care to share.  I am doing this only to find out how
many Welte rolls still exist.  To date I have found slightly over 4,000
unique titles in 31 collections.

If you have questions or wish further details of the collections,
please contact me, especially if you are making a trip to Oz in the
future, so I can give you names and addresses of collectors.  They do
like to show off their treasures.

Best regards all,
John McClelland