Mechanical Music Registry Project

Mills Novelty Company

The Violano-Virtuoso, Electric Pianos, and Orchestras

Mills Novelty Company Instruments

Between 1900 and 1930 the Mills Novelty Company, of Chicago, Illinois, was famous for its varied line of gambling machines, and to a lesser extent its arcade equipment, but beginning about 1905 it quickly gained fame for its superbly constructed line of music roll operated automatic musical instruments. The Mills Automatic Virtuoso, an automatically played violin, was introduced circa 1905-1906, and evolved by 1911 into the popular Violano-Virtuoso, an automatically played violin with piano accompaniment. In 1912 the "straight" piano was upgraded to a symmetrical one, with the bass strings located in the middle. The symmetrical structure balanced the string loading on the cast iron piano plate and supposedly produced a piano that required less tuning.

Notwithstanding the ingenuity and uniqueness of an automatic violin playing machine, probably the most outstanding feature of the Mills Novelty Company line of automatic musical instruments is that they were all electrically powered and electromechanically operated throughout. In the bottom of each machine was an AC-DC electro-mechanical converter, manufactured by Sandell (Henry K. Sandell was the inventor of the Automatic Virtuosa), or less commonly one made by Holtzer-Cabot, or the General-Electric Company. In sharp contrast, virtually all other commercially viable coin pianos and orchestrions of the time were pneumatically operated, with feeder pumps cranked by hand, clockwork motors powered by weights, a water motor, or more commonly an electric motor. In Mills instruments small electric motors and electromagnets of various configurations took the place of the vacuum or wind-pressure powered motor pneumatics, negating the need for the relatively cumbersome feeder pumps and complicated valve chests common in other brands of automatic musical instruments. In fact, Mills specifically noted that their electrically operated instruments were "not only more compact but less complicated than that of the player-piano. Consequently it is less likely to get out of order--and if is should, any electrician can easily repair it as all parts are accessible."

In the violin playing machines each string of the violin is played by a separate, small diameter rosined celluloid "bow," each bow-wheel connected to a common speed-controlled electric motor. Fingering of each string was accomplished by tiny electromechanical steel fingers, which "fingered" the string at the appropriate place so as to produce the desired musical pitch. So ingenious was the Violano-Virtuoso that it was designated by the U.S. Government as one of the eight greatest inventions of the decade. The Violano-Virtuoso is probably the best known of the Mills automatic musical machines, there being about 4,000 units made, housed in several different case styles, manufactured between 1911 and 1930. Thus, because of the large number produced, the Mills Violano-Virtuoso is relatively common in collections today with over 1,500 known to have survived. But while the Violano-Virtuoso was by far the popularity leader, Mills made other mechanical music machines of equal quality, although they enjoyed a lesser degree of recognition. The following is a list of Mills instruments, grouped for this author's convenience:

• The Mills Automatic Virtuoso, the original automatically played violin introduced by Mills, circa 1905-1906.
• The Violano-Virtuoso, consisting of an automatically played violin with piano accompaniment, including both the single (Commercial, Home, Baby Grand and Concert Grand models) and double violin (DeLuxe model), circa 1911-1930.
• The Violano Orchestra, a Violano-Virtuoso with an electrically attached stand-alone orchestra cabinet containing drums and other trapwork. The orchestra cabinet attachment was introduced circa 1928. It is thought that only 30 to 40 of these attachments were made, along with about a dozen different titles of (green label) music rolls.
• The Mills Magnetic Expression Piano, a 65 note symmetrical piano, thought to have been introduced in the early 1920s.
• The Mills Race Horse Piano, basically a Mills Magnetic Expression piano variation with a race horse attachment in place of the art glass, and visible behind a glass pane at the top of the instrument.
• The Piano Orchestra, a symmetrical piano, along with drums and other trapwork, thought to have been introduced in the late 1920s. No specimens are knows to exist.

And on the exceptionally rare to probably non-existent side, there were several other violin based instruments manufactured by the Mills Novelty Company for which none are know to exist today. They are:

• The Viol-Cello, consisting of a violin with cello accompaniment, of which only a few specimens were ever made, but none known to have survived.
• The Viol-Xylophone was another variation that was apparently not commercially successful, and none are known to exist today. The only observed catalogue illustrations of this machine appear to be artists renditions, using a retouched Commercial model Violano-Virtuoso case as the basis. This suggests the possibility that the Viol-Xylophone was never produced commercially.
• The Mills Melody Violins, which consisted of four automatically played violins in a case played from an attached manual keyboard. Billed as The Newest and Most Wonderful of Theatre Instruments, none are known to be in the hands of collectors today.
• Separate violin units, with the violin and all mechanisms mounted on a shelf as in the Violano-Virtuoso, sold for installation in a few Kilgen theatre organs.

Using the Information on this Page

This page continues with detailed descriptions of various technical and/or mechanical features, which are deemed important for a truly useful understanding of both the database reports and to effectively fill in the Survey Reporting Form. The actual database reports and survey form can be accessed in the Distribution of Database Information section and then clicking on the large Download button at the bottom of this page.

Mechanical Evolution of the Violano-Virtuoso

Special Case Designs

It is unknown has many special case designs Mills might have constructed. However, there are at least two special designs that are easily documented. The first is a Mills DeLuxe (Double) Violano-Virtuoso made for shipboard use, and equipped with a small two-manual keyboard. The keyboard can be pushed under the violin shelf and concealed by the bottom doors when not in use. Another unusual feature of this particular instrument is the string tensioning method. Instead of the usual weights, tensioning is achieved by an arrangement of springs and solenoid magnets. This instrument is pictured on page 521 in the Encyclopedia of Automatic Musical Instruments, by Q. David Bowers. This instrument is not known to exist today.

The second unusual design documented is also for a Mills DeLuxe (Double) Violano-Virtuoso, housed in what is perhaps best described as an ornate gothic case with a delicately carved top gallery. The wood veneer is red mahogany, and instead of glass framed top side doors, each door consists of an intricately carved motif with a cloth screen behind it. Fortunately this instrument has survived to this day and is in immaculate condition, occupying a treasured position in a major mechanical music collection. Little is known of the instrument's provenance, except that it has survived and is now a prized possession.

Violano Advertising Galleries

Although relatively unknown and rare to collectors today, in the mid to late 1920s Mills Novelty Company made ornate galleries that sat atop a Violano-Virtuoso to advertise it and beckon coins. One such example for the export trade can be seen by clicking on the image thumbnail at right. These special top galleries included a fancy wooden framework with a wood veneer and finish that matched that of the Violano-Virtuoso on which it was to sit. Inside the frame was a colorful and easy to read advertising poster, with large lettering and a conspicuous hand pointing to the place where the customer was to insert a coin. It is unknown has many of these advertising galleries were made, or how many different languages might have been supported. Judging from the example shown here, at least some of them seem to have been intended for the British foreign export market.

The Mills Symmetrical Piano

According to Art Reblitz, there are two factors that make the symmetrical Violano-Virtuoso piano stay in tune better than it would if it were asymmetrical:

1. Non-symmetrical piano backs inherently tend to twist. Overstrung pianos twist more than straight-strung pianos, because the bass strings tend to pull the upper bass corner toward the front. You can see this by standing away from one end of an upright piano and comparing the back edge of one side to the other. In most older pianos, the bass end leans forward at the top. In an ordinary piano, the twisting is minimized because the back is glued to the sides, which are screwed to a strong keybed and somewhat strong bottom panel. The swing-open Violano-Virtuoso piano cannot be glued to the sides, so there would be more tendency for it to twist if it were asymmetrical. Although the early Automatic Virtuoso and first Violano-Virtuoso pianos were not overstrung, even minimal twisting caused by opening and closing the back would throw the bass out of tune with the treble. With a symmetrical back with heavy back posts not glued to the sides, there’s less tendency for it to twist, and even if it does, there’s very little tendency for the bass to go out of tune with the treble because any twist affects both sides equally.
2. The symmetrical crown of the Mills soundboard and shape of the continuous bridge tends to push out more equally on all the strings when the humidity goes up, sharpening all of them somewhat more uniformly than in an overstrung upright. In an ordinary piano, it’s easy to tell if it is currently more humid or less humid than it was during the last tuning. An increase in moisture content in the soundboard increases the crown asymmetrically, pushing more on the low (tenor) end of the treble bridge than on the bass bridge, throwing the tenor sharp of the bass because the bass bridge is closer to the edge of the soundboard where the crown does not change as much. Conversely, a decrease in humidity and moisture content causes the tenor to go flat of the bass. You can play a bass note simultaneously with a tenor note an octave above and listen for beats. If the upper note is sharp of the lower one, the humidity is higher than it was when the piano was tuned, and vice versa. This is a useful thing to know when tuning regularly for a customer who doesn’t have a humidity gauge, so that you know if you should change the pitch, or just tune the whole piano a little sharp or flat depending on the season.

It is thought that there are at least three variations of the symmetrical piano used by Mills. The smallest size 44-note piano was used in the Baby Grand Violano-Virtuoso model, while the Concert Grand and DeLuxe Violano-Virtuoso models used a larger scale 44-note symmetrical piano for a second variation. A third variation with 63 notes was used for the Magnetic Expression Piano, Race Horse Piano, and the Piano Orchestra.

Piano Expression

An electrical schematic showing the early relay/resistor piano expression control can be accessed by clicking on the thumbnail image at right. This expression system is found in early instruments, along with the independently controlled first hammer rail solenoid arrangement shown in the numbered list below. Thus, the relay/resister arrangement and the piano hammer rail complimented each other in bringing about artistic piano expression. Piano note magnets are 500-600Ω each in machines where all piano magnets are identical, or they are 300-450Ω for the lower notes and 500-600Ω for treble notes. The piano expression resistor is 1200Ω over its entire length, with 17 taps (about 70Ω from one tap to the next). When setting up the resistor, setting each bus wire about 400Ω from the center wire provides a good starting point, and then moving the bus wires away from center if the soft playing level is too loud (or closer if it’s too soft). Even if the piano note loudness drops when the piano plays more notes at once, the system can be adjusted to produce effective expression without dropping any piano notes.

There are three types of hammer rail control, from early to late:

1. Hammer rail solenoid has two coils. One coil moves the hammer rail to the loud position (brush 58) and the other to the soft position (brush 44).
2. Hammer rail solenoid has three coils: loud (brush 58), soft (44), and very soft (122)
3. Hammer rail solenoid has two coils: loud (58) and soft (44). There is also a stop that normally limits the upward or soft travel of the rail. The stop is on a lever, with an electromagnet that pulls it out of the way (brush 122). Hole 122 pulls the stop limit out of the way, then 44 lifts the hammer rail to a higher position (extra soft) while 122 is still engaged. When 58 (hammer rail down, or loud) is energized, it releases the stop lever, which falls back into position unless 122 is engaged again.

Violin Staccato Device

The staccato is a violin function that causes the bow to leave the violin string while leaving the finger engaged. This is critical function for many musical passages, because if the violin bow wheel and finger both leave the string at the same moment, the vibrational frequency of the string immediately drops to the open string pitch, until the tone dies away a split second later. This musical limitation is overcome during rapid musical passages of short (staccato) notes by the staccato system, which is actuated by feeder brush 3.

The staccato system used in early machines and double violin models employs a relay, which is connected to and is energized by the staccato circuit. The closed relay contacts shunt around each bow magnet, causing the bows to lift while the fingers remain in contact with the strings. For later models, in place of the early style relay is a large power resistor, which is actually electrically divided into two separate resistors wound on one form, mounted on the violin staccato board. The two resistors form a voltage divider. With the staccato brush circuit open (with no music roll hole punched) the path of current flow runs through a 55Ω resistor and then through the bow and finger magnets, allowing the bow and finger to work normally. The voltage drop across the 55Ω stage of the resistor is not sufficient to affect operation. When hole 3 is perforated and the brush touches the contact roller, a fairly large current lows through the two sections of the resistor, causing a voltage drop of slightly more than 70 volts across the 55 ohm section. This leaves only about 30 volts across the bow and finger magnet circuit. The resulting drop in current flow through these two coils renders the bow magnet too weak to hold the bow down, and it lifts from the string. The finger magnet, however, is still sufficiently strong to hold the finger against the string, allowing the string vibration to die away at the correct pitch. Most music rolls actuate the staccato circuit only for a short period of time, corresponding to a hole length of ¼” or less.

Aftertone Damper

The “aftertone damper” lays a felt damper on the violin strings whenever an open string is not being played. Its use is associated with the staccato device. The staccato circuit was typically used during passages of short, rapidly played notes, but at the end of many long notes it was not engaged, allowing the notes to die away at the pitch of the open strings in early Violanos. To overcome this problem without using the staccato perforation at the end of every single violin note, the aftertone damper was installed in late style machines. When any note, other than an open string note, is played the string vibrates between the energized finger and the violin bridge. When the note stops playing and the finger drops away from the string, the felt damper immediately dampens the string vibration. When an open string is played, one of the four electromagnets lifts the aftertone damper, thereby allowing the string to vibrate over its entire length.

The Orchestra Cabinet Attachment

Along about 1928 Mills Novelty Company introduced a novel orchestra cabinet which could be attached to any Mills Violano-Virtuoso. Unfortunately, the orchestra cabinet came on the scene too late in the mechanical music era to realize a high degree of commercial success. According to Don Barr, who interviewed Bert Mills, only some 30 to 40 orchestra units were ever built, and only about a dozen music roll titles were arranged. Minor changes to the electrical wiring for a Violano-Virtuoso were required to attach the cabinet, something that could be done after the fact be a competent electrician. However, for models factory equipped a switch was installed to allow the instrument to play either regular Violano-Virtuoso rolls, or the special orchestra rolls at the mere flick of a switch. The special orchestra rolls were at best always a limited production item, and where usually distinguished by a green music roll label.

The orchestra cabinet added a wood block, tom-tom, snare drum (with both tap and reiterating beaters), cymbal and a bass drum (which was lighted from the inside) to the Violano-Virtuoso with is normal piano accompaniment. Surviving Violano--Virtuosos with the orchestra cabinet attachment are relatively rare, but are a novel and intriguing listening experience nonetheless.

Music Rolls

Mills is known to have made several different types of music rolls, but to what extent other rolls might have been manufactured is unknown. In the June 23, 1906, issue of the Music Trade Review, it was stated that the Mills Novelty Company paper for music rolls was obtained from the Blauvelt-Wiley Paper Manufacturing Company in New York. Whether, or not, Mills used this same supplier for music roll paper up until roll production ceased is unknown. Here is what is commonly known:

1. Automatic Virtuosa: Introduced circa 1905, these rolls would have been for violin only, but no Automatic Virtuosa or music rolls for this early instrument are known to exist. Thus, the exact nature of the music rolls remains a mystery.
2. Violano-Virtuoso: The Violano-Virtuoso music rolls were by far the most prolific roll manufactured by the Mills Novelty Company. At 14-1/4" wide, the roll accommodated all of the violin fingering, bow motor, and other violin expression, plus a 44 note piano. Rolls can be divided into two basic categories, early and late. According to Jack Breen (Mills Violano-Virtuoso Rollography), Violano-Virtuoso roll #1750 is the dividing line between the early style rolls and late style rolls, with the main differences being the piano dynamics and location of the tremolo hole.
3. Violano-Virtuoso Orchestra: The orchestra cabinet for the Violano-Virtuoso was introduced in 1928, very late in the mechanical music era, and so consequently only some one dozen different titles of Violano-Virtuoso Orchestra rolls were reportedly cut, making this type of music roll somewhat rare. The orchestra roll is the same 14-1/4" width as the regular Violano-Virtuoso roll, and factory installations of the orchestra cabinet included a switch in the Violano cabinet so that either regular Violano-Virtuoso rolls or Orchestra rolls could be used.
4. Viol-Cello: No music rolls of this type are known to exist. If the feeder was the same size as in the Violano, the notes and expression functions for the piano would have been replaced with controls for the cello, requiring different musical arrangements.
5. Viol-Xylophone. No Viol-Xylophone instruments or music rolls are known to exist, and there is no evidence that any were made on a commercial basis. In the Mills Novelty Company publication, The Electrical Mastery of Music, page 34, titled: "A Few Highly-Appreciated Selection Played by Our Instruments," it specifically states that "The Viol-Xylophone will play all violin and piano arrangements." No music rolls specific to the Viol-Xylophone are mentioned. Looking at the catalogue illustration for the Viol-Xylophone is appears that the xylophone has a compass of about two octaves. If the feeder and rolls were the same width as Violano-Virtuoso rolls, there were plenty of functions on the roll to play the piano and xylophone separately, which would be more musically desirable than coupling the two together.
6. Mills Magnetic Expression Piano (and Race Horse Piano): Because the 65 note Magnetic Expression Piano was introduced in the early 1920s, the 8-3/4" wide music rolls, as compared to the much longer manufactured Violano-Virtuoso, are scarce.
7. Piano Orchestra: No Piano Orchestra specimens or music rolls are know to exist. Because the Piano Orchestra used the same 65 note piano scale as the Magnetic Expression Piano, it is logical for economic reasons to presume that is also used the same already in production 65 note music roll feeder, albeit perhaps two unused holes in the 65 note Magnetic Expression Piano roll, plus some piano expression holes, were used instead to make room for the six percussion control effects needed for the added trapwork. Whatever is mentioned here is mere speculation, until a Mills Piano Orchestra, and/or Piano Orchestra music rolls, are found and examined.

A Modern Enhancement for the Violano-Virtuoso

The Mills Novelty Company (currently owned and operated by Bob Brown and Mike Ames, two knowledgeable technicians and collectors of mechanical music items) have designed and manufacture a Digital (MIDI) Violano Player (recently adapted to also play other types of mechanical music machines). This device allows a Violano owner to play original, as well as newly arranged Violano music using a convenient and silent computerized MIDI interface. The ingenious new Digital Player can be attached to the Violano without interfering with its ability to play original music rolls, nor does the new device impact or detract from the originality of any Violano-Virtuoso. For additional information please contact the Mills Novelty Company.

The Mills Novelty Company Database

The initial Mills "seed" information (representing some forty items) that was used to begin populating the Mills Novelty Company database was gathered and organized into a coherent form by Art Reblitz, a longtime expert in the restoration, history, and music of automatic pianos, orchestrions, and organs. The impetus to actually create this page and activate a Mills database came from a lone collector who asked if we were interested in collecting Mills information. Of course we were interested, but other mechanical music registry projects had taken precedence, until this little nudge from an enthusiastic collector. Many other people, listed under Acknowledgements in the Introduction to the Registry, also submitted information to Mr. Reblitz.

The Musical Box Society International (MBSI) Material

Heartfelt appreciation is due here to the generosity of the Musical Box Society International (MBSI) for making available the extensive Violano survey work (and related correspondence) of Arthur Sanders (Musical Museum of Deansboro, NY) and Ed Hattrup. Because of this, a wealth of early Violano-Virtuoso information gathered from the 1950s up through the early 1990s is being added to the Mills Novelty Company database. This material includes the survey form responses from the book, The Mills Violano-Virtuoso, by Mike Kitner and Art Reblitz, and published in 1984 by the Vestal Press.

Arthur Sanders (Musical Museum, Deansboro, New York)

Art Sanders was a well known mechanical music enthusiast and co-founder of The Musical Museum, established in 1948, and located in Deansboro, New York. In the 1950s Art Sanders and Dean Mills, III, founded the Violano Virtuoso Society (in memory of Henry K. Sandell, Inventor). Dean Mills, III, was the Supervising Director, Arthur Sanders was the Technical Director, and Mrs. Ingeborg Sandell Carlson was an honorary member. All considered, Art Sanders was an important visionary and force in the early days of mechanical music preservation and collecting. In 1992 Art Sanders wrote: "We did a heck of a campaign of trying to find owners and machines. We found a great deal of fear showing from some that they might feel the machine would be confiscated by the government, or that a former owner might reclaim it, or something .... Really weird comments from some people. But we did locate some 500 machines ...." In later correspondence, an interesting observation is revealed in an October 16, 1995, letter to Ed Hattrup, whereby Sanders muses, "When I was actively working on it, we averaged losing about 4 machines a year to flood, fire, and such. At least what was reported. Many probably were junked by idiots who did not know what they had." Notwithstanding these comments, the educational activities of Mr. Sanders were probably responsible for saving many more Violanos from the scrap heap than were lost to accident and weather related events. Moreover, the Mills Novelty Company database carries on and essentially extends Mr. Sanders' early research work.

Ed Hattrup

Ed Hattrup was a well known Southern California collector, as well as a recognized restorer of Violanos, but now retired. He conducted his own Violano research work and communicated regularly with Art Sanders, the two men supporting each other's efforts. It is estimated that Mr. Hattrup restored upwards of 35 to 40 Violanos, apart from any restoration work on pneumatic operated coin pianos and orchestrions. In a letter to Art Sanders, dated November 1, 1995, Ed Hattrup concluded that "many changes were made [to Violanos] by field technicians or owners while they were on location. This I imagine was to keep them operating with less maintenance." The evidence seems to support this conclusion, in that it is often the case that extensive changes have been made to many Violanos, especially the early models. Ed greatly extended and added to the valuable survey work begin by Art Sanders back in the 1950s.

1984 Mills Violano-Virtuoso Statistical Survey
Foreword and Information Sheet by Ed Hattrup

In 1984 when Mike Kitner and Art Reblitz wrote the book "The Mills Violano Virtuoso" on rebuilding the Violano-Virtuoso, I had a Statistical Survey included in the book. The idea was to detect when major production changes took place in the production of the Violano-Virtuoso. About the same time the questionnaire was also published in MBSI, AMICA, and The Music Box Society of Great Britain publications. Unfortunately the response was not large, in the past seven years I have received only 45 responses. Many of these I had recorded myself.

A listing of the ones that I have received are included and show the serial numbers found on the front and back of the piano, on the violins, and style and finish of case. Some interesting facts are shown, particularly when a letter preceded the serial number on the piano back. This would indicate returned and modified at the Mills factory. Much more information is required to complete this survey. It has been estimated that there are about 800 to 1000 Violano-Virtuoso still around.

It is hoped that this small amount of information will spark the interest of others that have access to machines not listed and will complete the survey form. I know in the past the survey form was considered by some to be difficult to fill out. This time I have made a new survey form and information on how to find what I am looking for. Even if machines are listed the new form is asking for some additional information and duplication would would be appreciated.

Survey Accuracy

After studying and then entering data from the 1984 survey forms (for which there are several but similar form varieties, depending upon where they were published) it is quite obvious that there was often some confusion by the participant as to how to answer some of the more technical questions. Oftentimes certain "hard to determine" questions were simply ignored, or maybe guessed at, but there are many instances when answers provided are not only questionable, but seemingly downright wrong, making it sometimes very tempting to "correct" what was indicated on a survey form. However, it was not the job of this author to speculate, but instead to record the data as presented and leave any corrections to competent individuals who may in the future choose to inspect, record, and update the data contained in this Mills Novelty Company database project.

Another issue was interpreting some of the check marked answers. The forms all have descriptive text followed by a blank space, and sometimes multiple spaces for multiple choices, which can be simply checked to indicate an answer. Where multiple choices are indicated there are a few instances that suggest the participant might have been temporarily confused as to where to put the check mark, before or after the text. But more importantly, what kind of mark signifies a "yes" answer? A commonly used mark throughout the forms is a standard check mark symbol, but sometimes an X was used, and sometimes both symbols appear on the same form, side by side. In the case where both symbols are used on the same form it is presumed that the standard check mark indicates "yes" or that an option is present, while the X indicates "no" or that an option is not present.

The upshot here is that there is lots of room for misinterpretation, from the beginning of the survey process to the end, and none of the technical related data is confirmable, and/or correctible beyond a shadow of doubt, without re-inspecting each and every machine. These problems, however, are simply inherent in any survey process, and not the fault of any one person or group, but do suggest that the reader take into account the probability of error. But no matter how perfect or flawed the old, historical data for this project may be, it is at least a starting place for more study, and it extends the initial research work begun by Arthur Sanders and then carried on by Ed Hattrup. Kudos for their valiant effort!

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Database Report Layout

There are a myriad of discreet bits of data that make up each Mills Novelty Company database record, some of it closely related, some of it oddly related, and some of it having little in common, except that it details some part or aspect of a Mills automatic musical instrument. The challenge here was to devise and write up report generation code that ultimately produced an easily understandable and readable report, which must account for not only a lot of diverse data, but various kinds and permutations of incomplete and/or missing information and still generate a document that makes good sense. For the Mills database there are some sixty-seven separate data fields making up each and every record, with only a paltry few fields filled for some records, a moderate sprinkling of data for others, and some with the majority of the fields in use, but no one entry currently uses them all. Looking throughout the database all but maybe two or three 2nd violin related fields are yet unused, but they could be used at any time depending upon what new information is reported. Nevertheless, the finished report must sort out all of the possible missing data variations and produce something that, when scanning across all report items, is consistently recognizable and immediately useful.

Taking into account standard paper sizes, and the normal portrait format that most people are used to seeing and using, the reports are basically divided into two sections, as follows:

1. Report header, with titles and style notes. It is limited to the top part of the first page.
2. Report body, which is continuous with text breaks between pages as may be necessary. The report body is not limited to length, and will encompass as many pages as necessary to present all of the selected records in the database.

The report body is further divided into many individual “lines,” plus a few undocumented report subheadings and report section totals that are automatically generated if and when necessary. The first or top line is always present for each and every item. However, all lines subsequent to the top line appear only if and when data pertinent to that particular subject line is present, otherwise these lines do not show, which saves a lot of paper space for long printed reports. Moreover, these subsequent lines are capable of expanding into two or more lines as may be necessary, so that all of the lines pertinent material is shown, no matter how much additional space may be required. This is especially the case for the “Comments” line, which sometimes expands into a sizable multi-line paragraph of descriptive text. The purpose of the subsequent lines is further explained below:

1. First and Primary Data Line: This top line is fixed and each data field always shows in the exact same position for each and every item, although empty fields will naturally appear empty. This top line provides a quick and convenient way to get a quick idea of what a particular instrument is all about, providing (from page left to right) (1) the Piano Serial Number; (2) the Model/Style of case; (3) the Case Finish; (4) any piano Plate Lettering; (5) the Piano Date (or, if available, an estimated date if the piano date is unknown); (6) Orchestra Box information; (7) Indicates the presence or lack of an attached Mills Violano MIDI Player Unit; and (8) the Piano Back number.
2. Piano Line: Presents information regarding the (1) piano Hammer Rail; (2) Indicates the presence or lack of a piano Lost Motion Compensator; (3) the piano (loud pedal) Damper Control; and (4) the Piano Magnets.
3. Cabinet Number/Violin Shelf Line: Presents information about the (1) Cabinet Number; (2) Violin Shelf Notations for 1 or 2 violins; (3) Indicates the presence or lack of a Glass Panel behind the violin; and (4) the type of Rosin Control employed.
4. Violin Line: Provides information about (1) Violin Serial Numbers for up to two violins; (2) violin Bridge Numbers for up to two violins; (3) if a Bridge Mute is present; and (4) Violin Sticker Numbers and any other sticker information present , such as initials or names.
5. Bow Motor Line: Presents information about (1) Bow Motor Serial Numbers for up to two violins; (2) Bow Motor Mounting type; (3) the Bow Motor Governor; (4) the number of Bow Motor Coil 3 Taps; (5) the Bow Levers; (6) the Bow Pressure system, if one is present; (7) Bow Motor Rotation, and (8) Tooth count in the Bowing Shaft Gears.
6. Finger Line: Presents information about the (1) Finger Type; (2) Fingerhead Date/Initials; and (3) indicates the presence or lack of an Aftertone Damper.
7. Tuning Weights Line: Presents information about the (1) Tuning Weight Type; (2) Tuning Weight Position; and (3) the Tremolo Device.
8. Staccato Line: Presents information about the (1) Staccato device.
9. Feeder Line: Presents information about (1) the Feeder Serial Number; (2) the Feeder Type; (3) the Feeder Governor; and (4) the feeder Reverse Switch.
10. AC/DC Converter Line: Presents information about the (1) Converter Make; (2) the Converter Serial Number(s) (on some makes there two numbers, one for both the AC and DC parts); (3) the Converter Mounting method; and (4) the DC Amperage Rating.
11. Special Attributes Line: Presents (1) Special Attributes information, such as a roll storage rack in the bottom of case, a rosin collector suction fan on the back end of the bow motor, an English advertising gallery, or anything else odd or unusual; (2) Coin Slot information; and (3) whether an Orchestra Cabinet is attached.
12. Comments Line: This can be used to include any additional information not covered elsewhere. For instance, if you find a date, signature, notation, an early tuning date written by hand on the piano plate, an original sales invoice, etc. please describe this and where is was found. Also include any observations and/or comments about the instrument such as condition, past owners, history, dealer or distributor nameplate, unusual features, etc.

Readability and Ownership Information

The result of all of the above mentioned effort is presented in the Mills Novelty Company database offered below, and laid out in an orderly, easy to read format. Please note that by default current ownership information is not integral to the database project, but a provision exists whereby the current owner's name information can be accommodated and then shown in database reports. However, this will be done only if and when specific written permission is granted to the Mechanical Music Press specifically authorizing us to show and/or distribute individual ownership information. Furthermore, if and when such authorization is granted the Mechanical Music Press and/or its authors shall assume no liability or responsibility of any kind, nor to any extent, regarding any inferred, purported, or actual privacy intrusions, incidents, or claims.

Updating the Database and Reporting Errors

We cordially invite and solicit additional information for instruments currently not listed, and additional details for those already listed but that have little recorded information—every little bit more information helps.

To ADD ANOTHER ITEM TO THE DATABASE or to facilitate the reporting of errors please send an e-mail message to and include the following information:

1. Click here to download the Survey Form and then copy (press Ctrl + A to select all text) and paste the text into the body of an email. Then, at your leisure, you can answer the survey questions pasted into your e-mail message. You can also easily "Save As" the file to your computer or print the Survey Form and use it as a reference guide.
2. Attach a series of photographs showing the instrument's exterior and interior mechanisms to the e-mail message (for answering many technical questions often overlooked or misunderstood when answering questions on the Survey Form).

Thank you for any assistance you may provide. If we have any questions or need further information regarding your e-mail submittal someone will contact you.

Distribution of Database Information
Last Updated on March 16, 2022

The database PDF report files require Adobe Acrobat Reader (or its equivalent) to view, use, or print their contents. The free Acrobat Reader can be downloaded from Adobe by clicking on the icon at left.

Download the current database reports as a PDF file by clicking on a button.

43 pages.

44 pages.

All database report information is offered "as is," without any guarantee or warranty whatsoever of any kind, neither stated, implied, nor inferred, as to the accuracy, correctness, exactness, suitability, or usefulness of any content.

Credits:

Initial Mills data compiled by Art Reblitz, and transferred into database format by Terry Hathaway; Terry Haughawout (technical assistance).

The Music Box Society International for access to the Hattrup and Sanders Violano correspondence and research data.

Use of Mills Novelty Company trademark logo courtesy of Mills Novelty Company.

Graphics:

Original Mills Novelty Company catalogue and other images courtesy of Terry Smythe and Q. David Bowers, Bob Brown, Mills Novelty Company, other graphics by Terry Hathaway.

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