Styles & Types of Cylinder Music Boxes
For Other Formats (see lower down)
The names and descriptions below are taken mainly from books by David Tallis and Arthur W.J.G. Ord-Hume in an attempt to simplify and demystify the names given to different styles of cylinder musical box movements.
Alexandra
Style patented by Alfred Junod, Jules Jaccard and Paul Calame in 1891. A late attempt to produce an interchangeable cylinder musical box but nevertheless a novelty. This design used a removable mandrel onto which a hollow sliver like cylinder was slid. Always fitted with a zither and tune indicator. The sound quality was poor.
Alternate Tip
The unusual 'alternate tip' comb has 50% of the notes without tips. Each untipped note is tuned to it's left hand companion and vibrates in sympathy with its partner to (allegedly) provide a richer sound, though this is not proven. Nevertheless it is an interesting discussion topic.
Amobean
This name was used by Paillard for its later, mass-produced interchangeable cylinder boxes.
Bells in View
There are several variations such as Bells in Sight, Visible Bells, Timbres (usually clock bells). The type of box usually has three bells, sometimes two and occasionally five. The bells were not usually tuned and all play roughly the same indeterminate pitch. The cheaper end of the percussion movements. See here for an example of an interchangeable cylinder box.
Cithare Harmonique
Name used by L'Épée for short-toothed sublime harmonie variant provided with a zither attachment to one comb.
Columbia
The trade name for a style of late-production cylinder movements made by Paillard in an attempt to reduce the number of components by placing the spring motor to the right of the comb.
Colibri
An unusual style of movement made by Ami Rivenc. It looks like an organ box playing birdsong with one, and sometimes two, birds. Rare, but classed as a novelty or a gimmick and it does not, arguably, play 'music'!
Concerta
Name given by Jacot Music Box Company of New York to its interchangeable cylinder movement first promoted around 1885.
Concertino
Another Paillard name used on mechanisms intended for the American market, They had two combs, one spanning more than three quarters of the cylinder and a short one covering the remainder. The shorter comb produces and different tonality to the main comb and therefore produces some interesting tonal variations. Similar, in some ways, to the Piccolo.
Concerto
Name used on large music boxes by F Conchon.
Diva Harmonic
Name on some of the late operatic boxes by Heller.
Duettino
Name used by Baker-Troll for its six air musical movements having a special arrangement of two combs. The first, and main, comb was deep toned and resonant while the second only had 16 teeth and was arranged as a Piccolo comb, tuned an octave above the main comb and used in the manner of the Piccolo style.
Duplex
Patented by Alfred Junod around 1887. Characterised by playing two cylinders simultaneously and identified in two forms.
The first, and more common, has the cylinders arranged parallel one behind the other. The second has the cylinder in line with the governor assembly in-between the cylinders. Not to be confused with Plerodiénique
A third, and very rare variant, was a reversed, counter-rotating parallel (one behind the other) with the comb for the front cylinder in front and the comb for the rear cylinder behind it.
The first, and more common, has the cylinders arranged parallel one behind the other. The second has the cylinder in line with the governor assembly in-between the cylinders. Not to be confused with Plerodiénique
A third, and very rare variant, was a reversed, counter-rotating parallel (one behind the other) with the comb for the front cylinder in front and the comb for the rear cylinder behind it.
Étoile
The name used by F Conchon on his Helicoidal movements.
Excelsior
The legends Qualité Excelsior and Superextra are rather flamboyant descriptions found on boxes by Charles and Jaques Ullmann
Flutes - see Jeu(x) de Flûtes
George Brendon used this for a box with Vox Céleste or reed organ accompaniment. In this case to double reeds that were tuned to produce a slight, but perceptive, vibrato effect.
Flûte Voix Célestes - see Vox Céleste
Flûtina - see Vox Céleste
Forte Piano
Sometimes seen as piano-forte and literally a movement which can play either soft or loud. They generally have two combs. The teeth of the first, or predominant comb are 'voiced' to sound normally while those of the sencond, smaller, comb are tuned to the same pitch but arranged to sound appreciably quieter.
Fortissimo
A style devised by Paillard which featured a comb having teeth which were relatively shorter and comparatively wider than normal. This produced a loud tone without harshness and was accordingly said to the the musical box best suited to dance to.
See here for a large Petite Musique Fortissimo, and see here for a small Petite Musique Fortissimo
See here for a large Petite Musique Fortissimo, and see here for a small Petite Musique Fortissimo
Gem Sublime Harmonie
A style of interchangeable-cylinder movement made by Paillard to patents taken out in the names of Henri Mertert, Louis Gagnaux and Eugène Tuller. Produced around 1890-1895 and was a low cost type of movement with the cylinder driven by a yoke and spigot.
Gloria
Another attempt by Paillard to simplify an interchangeable movement.
Gloriosa
The name used by J C Eckardt of Stuttgart to describe his musical Christmas Tree Stands.
Grand Format
Also spelled Grande Format. This is a very large musical movement with the cylinder measuring between 18' and 22' in length and 4' to 5" in diameter. Made by both Heller & Nicole Freres (and later others) these were very good quality with excellent tone and volume and performed overtures and operatic works in largely unabridged state. Lecoultre made some considerably larger boxes up to sis feet in length but as the movement gained size its musical and artistic capabilities diminished. Always housed in very expensive and finely embellished cases.
Guitar Zither
A part-mandoline movement fitted with a zither attachment.
Guitare
A single-comb style used by Mermod in which the treble octave comprises groups of four or more teeth tuned to the same pitch to produce a mandoline effect.
Harmoniphone
A name used by Louis Lecoultre to describe hi Vox Céleste cylinder boxes fitted with organ reed accompaniment. The variation Harmoniflute (or Harmoniflûte) was probably the name used by L'Epee for his boxes of a similar style.
Harp - see Zither
Harpe Éolienne
A style invented by Conchon in which two combs were used. In many ways other like the forte-piano but nowhere near so sophisticated, the Harpe Éolienne had one comb of relatively stiff teeth which played loudly in conjunction with a normal comb. Instead of a 'soft-loud' this was more a 'normal-loud'. A main feature was that the short comb was usually (but not always) at the bass end and was provided with a zither which, in some boxes, operates underneath the comb. The movements are fairly small, the comb teeth course and the tone not at all impressive.
Ed. I beg to differ. See here for a very nice large Harpe Éolienne by Paillard Vaucher with the small comb and Zither at the treble end. It has a very nice tone indeed.
Ed. I beg to differ. See here for a very nice large Harpe Éolienne by Paillard Vaucher with the small comb and Zither at the treble end. It has a very nice tone indeed.
Harpe Harmonique
A style used by Weill & Harburg and Ami Rivenc (who also used the title Harp Harmonique Piccolo)
Helicoidal
A generic name for the style of movement which plays extended length music by a process of pinning the whole cylinder on a spiral so that there is no pause at the end of each revolution.
Ideal
The name give to a range of interchangeable cylinder movements by Mermod Freres. Some have single combs, others twin combs, among these being the Ideal Piccolo which uses the treble end of the right-hand comb as an octave on the melodic line.
Another is the Ideal Guitar which is softly-voiced and is part-mandoline. The Ideal Sublime Harmony Piccolo is a combination of the sublime harmonies and the piccolo. Ideal Soprano is another varian of the sublime harmonies but here the melodic line is performed on on comb only as a solo to the accompaniment of two combs. The Ideal range was considered to be Mermod's better quality cylinder musical box, the other being the Peerless.
Another is the Ideal Guitar which is softly-voiced and is part-mandoline. The Ideal Sublime Harmony Piccolo is a combination of the sublime harmonies and the piccolo. Ideal Soprano is another varian of the sublime harmonies but here the melodic line is performed on on comb only as a solo to the accompaniment of two combs. The Ideal range was considered to be Mermod's better quality cylinder musical box, the other being the Peerless.
Jeux de Flûtes
A form of cylinder movement which comprises a small mechanical pipe organ with orchestral accompaniments. The cylinder is pinned to play a rank of flute organ pipes. Three short combs are also provided but these are mechanical combs purely for the operation of drum, tuned bells and castanet.
Longue Marche
A style of movement which is engineered to play for a long time on one winding. Usually characterised by the interposition of a layshaft between spring barrel and cylinder drive pinion which carries and extremely large diameter drive wheel. A considerably strong main-spring is fitted in the motor barrel.
Mandoline
A style of movement which allows for rapidly repeating notes to replicate the effect of a mandolin. A true mandoline box has at least eight and usually ten teeth on the comb tuned to each note so that they can be plucked sequentially by a succession of pins to give the impression of one note being sounded very rapidly.
Click here for an example of a fine Mandoline box by Ducommun-Girod
Click here for a very rare Petite Musique Mandoline Zither by Paillard, Vaucher et Fils
Click here for an example of a fine Mandoline box by Ducommun-Girod
Click here for a very rare Petite Musique Mandoline Zither by Paillard, Vaucher et Fils
Mandoline Basse Piccolo
A name used by David Langdorff for a variant on the organocléide style
Mandoline Basse Extra
A name used by C Lecoultre for a variant on the organocléide style. Bremond also had a similar name for his model
Musique Expressive
Name seen on a single comb forte-piano box playing three overtures and one waltz and marked 'Lecoultre & Grainger à Genèvé' which dates it to pre 1844
Musique Symphonique
A name used by M J Paillard in New York and indicating nothing very special other than the repertoire of the box was based on the classics
Multiphone
Without doubt the world's smallest interchangeable cylinder musical box. There are two versions, a hand cranked manivelle and a bottom wind clockwork model. Although patented by Monjon, Manger & Co in 1886 these boxes were made by Charles Ullmann
National
Made by Ami Rivenc and distributed by National Fine Art Association, London. Oleographic tune sheets were printed in rich colours, featuring design of large flowers and angled panel bearing the name 'National'. Formerly believed to had been made by Dawkins who was Rivenc's UK distributor. Boxe have all the Rivenc characteristics.
Oiseau Chantant
An expensive fancy novelty box with imitation singing birds made by Heller of Berne and Ami Rivenc. They had up to 12 bells and 20 note reed organ, the bird song being played on wooden flue pipes and the motion controlled by four special keys in the organ section. The cases were elaborate, verging on the grotesque.
Orchestre (Orchestra or Orchestral)
After the popularity in the late 1860's and early 1870's of musical boxes with visible bells, the addition of other effects such as drum, castanets , a reed organ and zither attachment produced the Orchestra style. Usually interchangeable cylinder went with this form. Some fine specimens were created, others were less successful. Some were made n the 'buffet' or upright format.
Organocléide - Organophone - Organ Céleste - Vox Céleste
While the Mandoline style of movement had repeated notes in the treble which allowed the effect of a sustained note to be produced, the Organocléide featured repeated notes throughout the length of the comb with particular emphasis on the bass notes. The effect of these rapidly repeated bass notes was to give the impression of a long low note rather like a pedal note on a pipe organ. The overall tonal scale of the Organocléide is quite different from that of a normal musical box in that it was pitched a whole octave lower and the musical programme was always chosen to suit its basso profundo tone. The name was used by C Lecoultre but the style was also made by Langdorff and Brémond who uses other names including Mandoline bass extra and mandoline bass piccolo depending on the set up of the music. Allard & Sandoz used the name Organophone for their similar style.
Orphea
A name used on boxes made in America by Junod and distributed by American retailers. Both the motor and the governor assemblies were mounted underneath the bedplate.
Overture, also in the French form ad Ouverture
A musical box with the programme devoted entirely to operatic overtures. Early examples are of outstandingly high quality and are much prized amongst collectors. Characterised by very large diameter cylinders and extremely fine combs and often with superlative cases rich in marquetry, mineral and metal inlays. Tune sheets often in brass and occasionally silver. Top makers include Lecoultre, Nicole Freres, F Nicole, Falconet, Mouline Aîné, Brémond and Grenier. Some of the larger mechanisms had between 200 and 300 teeth and were able to faithfully reproduce virtually every part of the original score. Due to the slender proportions of the comb teeth these were softly playing but pure-toned instruments.
Peerless
The name given by Mermod Frères to its range of cheaper style musical boxes.
Piano Forte - see Forte Piano
Piano Forte Mandolin
Like the forte-piano and piano-forte movements, the Piano-Forte Mandoline worked in the same manner with two combs, one to play loud and the other soft. However, the quieter comb was arranged as a part-mandoline with about five or six teeth tuned to each significant tone, and the piano part of the cylinder pinned to take advantage of this. The style of movement is unusual.
Piccolo
Another two comb type of movement, this had one very short treble end comb which was tuned to the octave above the melodic line and, because the teeth were somewhat thicker, this would impart a distinctly bright accompaniment to the air on the main comb. The effective use of this comb relied on its not being made to play all the time but only to use it to emphasise the occasional phrases to strengthen the melodic line of counter-melody. The effect is rather like using the '15th' register in a pipe organ.
Pièce à Oiseau
There is often confusion between pièce à oiseau and the oiseau mécanique and this confusion seems to have existed at the time that such pieces were made. The pièce à oiseau is essential a large musical box, usually a rather grand-looking piece having a long cylinder, multi barrelled spring motor, reed organ and, sometimes, bells as well. Behind the cylinder and placed centrally opposite the organ was a rustic scene created out of painted twigs and artificial foliage in the middle of which was placed one, or sometimes two artificial birds. As the music played these birds moved and appeared to sing their motion coming from key and linkages controlled via special pinning in the centre of the cylinder while their song came from an organ mechanism often with wooden flue pipes. Similar in style is the oiseau mécanique or, to give it its full name oiseau mécanique sous medallion. This is similar in almost every respect except that the bird is mounted in a glass fronted bull's-eye window in the front of the box and is therefore visible even when the lid is closed. Makes of these styles included Conchon, Troll & Baker and Jules Cuendet.
Pièce à Rechange - see Rechange
Plerodiénique
A rare style of long playing mechanism devised by Albert Jeanrenaud and assigned to Paillard. The name comes from the latin plerusque meaning 'very many; the most'. This style was first seen at the Industrial Exhibition held in London in 1862 on which occasion it was described as 'the largest and most ambitious musical box ever seen' in England. Two cylinders were mounted on a common shaft end to end and with a small gap between them. each cylinder was arranged to stop playing and change via its own snail/change cam mechanism, but the changes were staggered at different radial positions. This meant that one cylinder as always playing for the duration of the ight revolutions which each cylinder made. Long pieces of music could thus be performed non-stop. This style of box was always a large and expensive piece and few are known to collectors today.
Polytype Revolver
Probably the rarest and most complex of all the revolver box variants is the Polytype, Only one example of which has so far been recorded. Its uniqueness lies in the duplication of virtually every part of the four cylinders with which it is provided. This means that the instrument is of massive proportions and is very heavy. Each of the cylinders is mounted on its own bedplate and is complete with its own combs. Changing the musical programme consists of rotating the four mechanisms within get email bedplate, so bringing into position another complete musical mechanism for playing. This complex musical box may at first sight appear to bristle with redundant components. However, although it is a cumbersome method of achieving the goal of musical variation, it offers certain significant advantages for each of the four mechanisms is odf a different musical type.. The first is Sublime Harmony piccolo, with three combs - the two for sublime harmonies and an additional octave one for the piccolo. The second is mandoline, the third is a piano-forte and the fourth yet another arrangement.
Polytype Zither
Paillard, Vaucher et Fils introduced the polytype zither in an attempt to offer an even wider tonal variety to a single-cylinder mechanism than had hitherto been possible. This was a late style, crank wound mechanism with the motor on the right hand side of the face. The cylinder played on two combs, basically sublime harmonies in style. However, the tunes were arranged in very different manners, two being sublime harmonies, two as piccolo zither and the final pair being tremolo zither. Neither of the latter two styles was particularly effective but it was a most interesting concept. Only one box has been seen.
Qualité Superextra - See Execelsior
Quatuor
"The name Quatuor is said to have been used by David Cadet od Sainte-Suzanne in France foe a four comb movement he made in 1840 which was probably the first such piece ever made. The name came to be used for a number of four comb boxes in later years including PVF with its Quatuor Expression Piccolo, and it is believed, George Baker of Baker-Troll.
Rechange
An early name for a musical movement with interchangeable or changeable cylinders and abbreviated from Pièce à rechange
Revolver
Style of multi cylinder box in which all of the cylinders - there could be three, four, five or six - were permanently mounted around the periphery of two large wheels. The whole assembly could be rotated so as to bring the cylinders, one at a time, into playing position against one set of combs. The mechanism would then automatically lock while that particular tune was played. The system was invented in 1870 by Amédée Paillard of St Croix, but there is evidence that a similar system was perfected by Henri Joseph Lecoultre, who was also responsible for the interchangeable cylinder system.
The mechanisms were so heavy and expensive that few were made. It was grossly over engineered and readily ousted by the normal interchangeable format.
The mechanisms were so heavy and expensive that few were made. It was grossly over engineered and readily ousted by the normal interchangeable format.
Semi-Helicoidal
Like the helicoidal, the semi-helicoidal was an attempt to make it possible for a cylinder mechanism to play long pieces of music non-stop and, like the helicoidal, it achieved that goal. The difference between the two is that while the helicoidal progressed its cylinder laterally as a continuous process after the action of a screw, the semi-helicoidal shifted its cylinder in exactly the same way as a normal mechanism, but the pinning continued while the lateral shin was taking place. At the end of the programme, the same mechanism as found in the helicoidal would be set into motion to draw the cylinder back from the comb before allowing it to be returned to the 'start' position again.
Like the helicoidal, the semi-helicoidal was only produced by a few makers. The leading ones seem to have been F Conchon and a magnificent example in the Guinness Collection, New York, is accompanied by the original hand written four page instructions.
D Allard of Geneva also made very fine examples. These are all rare and valuable pieces.
Like the helicoidal, the semi-helicoidal was only produced by a few makers. The leading ones seem to have been F Conchon and a magnificent example in the Guinness Collection, New York, is accompanied by the original hand written four page instructions.
D Allard of Geneva also made very fine examples. These are all rare and valuable pieces.
Simplicitas - see Helicoidal
Specialité
Name of a style of long-playing mechanism by Mojon, Manger & Co of Chaux-de-Fonds. This had a double spring and it was claimed (on the tune sheet) that it would play from 20-25 minutes on one winding!
Sublime Harmonie
Without doubt this was the most effective of all of the many comb arrangements with which manufacturers experimented. It was invented by Charles Paillard, who was granted two Patents both in the US and the UK - for a 'musical box having several combs each of short teeth to give notes of shorter duration and also to allow slight dissonance'. Clever thought Paillard was to think of this it is likely that he had no inkling of the significance of his idea and how it would revolutionise the musical box industry.
The basic sublime harmonies relied on that slight dissonance between two notes of ostensibly the same pitch to produce a rich and fuller sound. The approach was the same as had been successfully achieved with the vox céleste in reed organs, only when applied to short comb teeth the result was to enrich the sound much more. This effect was most pronounced in the middle register and so the music arrangers would strive to capitalise on the musical properties by pairing notes on the two combs within this rich central tessitura. In this style, two and occasionally three, combs were arranged in line so that the music played was represented by cylinder pins presented to comparable teeth in each comb.
Not all boxes with two combs are sublime harmonies, because in many early boxes the restricted availability of steel necessitated combs being made in two halves. The true sublime harmonie has two very similar looking combs where the treble end of the left hand comb is adjacent to the bass end of the right hand comb. Paillard's patent covered a more interesting approach to the effect than pure tuning dissonance for it was later discovered that if one comb was made slightly stiffer than the other, with shorter teeth, then the dissonance and the different harmonics produced could produce a whole range of effects. The sublime harmonies style was very widely used by most manufacturers, none more so than the disc musical box makers in Leipzig and the turbulent of the century.
The basic sublime harmonies relied on that slight dissonance between two notes of ostensibly the same pitch to produce a rich and fuller sound. The approach was the same as had been successfully achieved with the vox céleste in reed organs, only when applied to short comb teeth the result was to enrich the sound much more. This effect was most pronounced in the middle register and so the music arrangers would strive to capitalise on the musical properties by pairing notes on the two combs within this rich central tessitura. In this style, two and occasionally three, combs were arranged in line so that the music played was represented by cylinder pins presented to comparable teeth in each comb.
Not all boxes with two combs are sublime harmonies, because in many early boxes the restricted availability of steel necessitated combs being made in two halves. The true sublime harmonie has two very similar looking combs where the treble end of the left hand comb is adjacent to the bass end of the right hand comb. Paillard's patent covered a more interesting approach to the effect than pure tuning dissonance for it was later discovered that if one comb was made slightly stiffer than the other, with shorter teeth, then the dissonance and the different harmonics produced could produce a whole range of effects. The sublime harmonies style was very widely used by most manufacturers, none more so than the disc musical box makers in Leipzig and the turbulent of the century.
Sublime Harmonie Fortissimo
A sublime harmonie movement in which the combs have shorter teeth than normal so as to produce a louder, more strident tone. See also under fortissimo. The combs were of somewhat coarse appearance and the musical arrangements lacked subtlety.
Sublime Harmonie Longue Marche
The was Paillard's name for a sublime harmonie movement fitted with a double co-axiel spring motor which gave a very long playing time on one winding. See also longue marche
Sublime Harmonie Octavo
A sublime harmonie variant having the second comb tuned one octave higher than the first to give the impression of a much larger compass.
Sublime Harmonie Piccolo
Another variation by Paillard, this time with the right-hand comb extended, or a third comb, to introduce an octave accompaniment. A large box was needed due to the necessary length of the cylinder, usually 15". See here for a fine example by Cuendet
Sublime Harmonie Tremolo
A deep voiced sublime harmonie with the addition of a piccolo comb in the treble
Superextra
Name used by Charles & Jaques Ullmann. See Excelsior.
Tambour et Timbres en Vue
A form of orchestral movement comprising, as the name suggests, visible drum and bells. Introduced fairly early on, the style was known at the time of the Great Exhibition of 1851 where it was exhibited.
Tremolo Harmonique - See Sublime Piccolo Tremolo
Tuyaphone
A style of movement devised by George Barker & Co and first exhibited at the Éxposition National of 1896. In addition to sublime harmonic combs, and octave and a half of tubular bells was provided. These were struck by hammers operating from 19 teeth on a bell-comb in the centre of the normal musical combs, i.e. where the reed organ would usually be in the middle of the cylinder,. A similar style was made by Ami Rivenc, who did not use this name.
Universal
Patented in 1891 by Cuendet-Develay Fils et Cie of Set-Croix, the Universal was intended to the the closest thing to an 'undestroyable' musical box - a term proclaimed on the tune sheet in the announcement that the box had 'undestroyable' dampers. A singular feature was the drive spring, which was mounted underneath the bedplate and was wound using a large, permanently fixed capstan wheel. Each cylinder played just one tune using pins of such proportions that it was impossible in normal use to damage them. There was a steel guard over the tooth tips so that if, when changing the cylinder, it was carelessly handled, the teeth could not be damaged. The dampers were forked and engaged with a pin which pierced each comb tooth tip. The whole thing was not very musical but certainly was robust. Several sizes were made, including one with three bells. This played cylinders, usually zinc plated, which were 19cm long.
Variation
This is one of the most interesting and musically spectacular styles on mechanism. They existed before 1850 and were still made after 1860. Usually the programme of a variation movement comprises of just two tunes, each played on two turns of the cylinder making four 'airs' in total. The unembellished simple air is stated on the first revolution, then on the second revolution it appears again richly ornamented with almost every musical decoration in the book plus a few musical fireworks. What the 'Mannheim School' was to mid 18th century classical. music the Variation box was to the cylinder-box age. Nicole Freres excelled in this style which marked what was probably the zenith of the cylinder-prickers' art and artistry. A most prized and valuable style.
Victoria
A style of musical mechanism made by B H Abrahams and normally contained in a vertical cabinet like a disc-playing musical box.
Visible Bells - see Bells in View
Vox Céleste
A musical box provided with the addition of a small reed organ, Literally 'heavenly voices'. The first use of this goes back to the pre-1850 days and the invention is associated with the names of Ducommun-Girod, Kimmerling and Grosclaude. Earliest examples had a normal one-piece musical comb and at the left end a keyframe to sound two octaves of single free reeds. In later boxes the organ moved to the centre of the cylinder, with the comb divided into two portions - a bass and treble half. The number of reeds played was also increased and 24 was common although they did increase to 36 notes occasionally.
The style was originally called flûtina of Jeux de Flûtes, but then it was discovered that by duplicating the reeds and mounting them in pairs, each pair being tuned to a slight beat, a more attractive sound could be produced. The names given to this form by the many makers who took it up include organ céleste, Flûte voix céleste, Voix céleste and Vox céleste. Makers included Bremond, Grenier, Heller, Paillard, Bendon, Baker-Troll and Lecoultre. Brémond, Paillard and Bendon produced boxes which had no musical combs but were reed-organ throughout. A well set up box with good organ accompaniment is musically quite attractive.
The style was originally called flûtina of Jeux de Flûtes, but then it was discovered that by duplicating the reeds and mounting them in pairs, each pair being tuned to a slight beat, a more attractive sound could be produced. The names given to this form by the many makers who took it up include organ céleste, Flûte voix céleste, Voix céleste and Vox céleste. Makers included Bremond, Grenier, Heller, Paillard, Bendon, Baker-Troll and Lecoultre. Brémond, Paillard and Bendon produced boxes which had no musical combs but were reed-organ throughout. A well set up box with good organ accompaniment is musically quite attractive.
Volutina
A name used on some of the larger movements sold under the name of Charles & Jaques Ullmann. Characterised by the very large box with relatively small (11" cylinder) movement inside. Musically disappointing.
Zither
The so called zither attachment is said to have been invented about 1878 - Jaccard mentions this year and names the worker who contrived it and Marel. However, the patent for it is in the joint names of Amédée Paillard along with Alfred Suer and the date is 1886. Other nicknames include timbre, mandoline, celesta and sourdine. Occasionally it was called a harp. Whatever the name used, it still comprised a tube of tissue paper pressed onto the vibrating comb teeth. It can truthfully be said that very few of the accessories and accoutrements applied to the musical box over the years to modify its sound bore much resemblance to their names and the zither was no exception.
Charles Paillard experimented around 1875 - 1880 with a six air movement possessing a novel and effective automatic zither attachment which has only been seen in conjunction with a mandoline effect. The style, entitled Zither-Automatique; Mandoline Expressive, used a single comb but the two centre teeth curt right back to allow clearance for an external ring of concentric cams which protruded 5mm above the cylinder surface, These cams raised and lowered the zither automatically and the effect was rather good. A drawback was that in order to allow the cylinder to tune-shift the cams were cut back at the end of the tune position. This meant that when not in use the zither pressed onto the comb, ultimately flattening the paper tube and, worse, allowing any moisture to corrode the comb. So far, four of these instruments have been identified so they are considered very rare.
Charles Paillard experimented around 1875 - 1880 with a six air movement possessing a novel and effective automatic zither attachment which has only been seen in conjunction with a mandoline effect. The style, entitled Zither-Automatique; Mandoline Expressive, used a single comb but the two centre teeth curt right back to allow clearance for an external ring of concentric cams which protruded 5mm above the cylinder surface, These cams raised and lowered the zither automatically and the effect was rather good. A drawback was that in order to allow the cylinder to tune-shift the cams were cut back at the end of the tune position. This meant that when not in use the zither pressed onto the comb, ultimately flattening the paper tube and, worse, allowing any moisture to corrode the comb. So far, four of these instruments have been identified so they are considered very rare.
Other Formats
Two Tunes per Turn
Three Tunes per Turn
Four Tunes per Turn
Irregular length tunes
Single comb Piano-Forte
Custom Built
Custom Programme
Concealed Drum & Bells
Coin Operated
Novely Mechanism
Three Tunes per Turn
Four Tunes per Turn
Irregular length tunes
Single comb Piano-Forte
Custom Built
Custom Programme
Concealed Drum & Bells
Coin Operated
Novely Mechanism