[ Rick Inzero wrote in Digest 980302: ]

> ... I still don't see why the speed of Pauline's note playing would
> require the roll to be cut at a higher tempo.

Hi Rick,  Yes, we are talking about _arranged_ rolls when it comes to
the Alpert series, viz. Milne and his graph paper methods.  Jerky
patch-up rolls made from 'hand-played' sources (or a Pianola attached
to a 'recording' piano) also require arranging, but they usually have
erratic metre *within-the-measure*, making them irritating for the
astute listener.  (The code word of "editing" was often used by the
industry when "arranging from" the keyboard source material.  Aeolian
occasionally published the term "arranged from the recording of" in
their post-1920 literature for dealers and technicians.)

(Arranging "over" hand-played material includes the T-100 Red Welte,
most of the QRS-Autograph line, Duo-Art in the #1500/5500-series and
other rolls made from keyboard sources.  There's only so much ARRANGING
that one can do when trying to make the 'playback' simulate an artist.
Eventually, most factories saw the light and that's why Hofmann's
Turkish March on Duo-Art, for example, is 100% arranged.  The
expression was arranged anyway, often retrofitted from an existing
88-Note roll, long after the artist had left the plant.  Hofmann got
$1000/title, so he wasn't about to complain about his 100-roll
contract!)

Tempo changes the 'character' of the single perforation, which is
"about" a 32nd note, depending upon the type of music that is being
laid out.

When cutting Merengue Concert Etude by Frank French -- a contemporary
number in the Gottschalk mode -- I had some treble figurations that
worked well at single-punches for Tempo 100 (the starting point in the
'Interpretive Arrangement' ... which has variable length -- but
in-metre - perforations to give an feeling of human "keyboard attack").

However, when the recapitulation and Coda came along, these single
punches "fluttered" and didn't have the same striking effect; this was
due to the "Tempo 100" roll racing along -- with accumulated paper on
the lower spool -- in the Tempo 125 range, or thereabouts.  Since I've
got "instant replay" in my Studio here, I can cut a measure on the
Master Roll, play it, and perforate again.  Tweaking (staccato
elongation) took place on this treble section, and eventually I wound
up with 1 to 2 "overlap punches" for the same musical performance
effect!  (Had the dynamics been scored for a higher intensity, then
these overlap staccato notes could have be trimmed down by perhaps 33%,
since the valves are connected to the striking pneumatics' power -- and
the roll is part of this arranging equation.)

Thus, it's deceptive.  A perforation of a 'certain length' is not the
same as the roll progresses.

Generally speaking, if one wishes to synchronize with a metronome
(something I use all the time when creating/playing rolls, in order to
"match the stepping to the desired effect"), the Tempo Lever gets
nudged downward at 1/2 increments ('5') every 15-25 seconds after an
approximate playing time of 2 minutes.  Naturally, some transports
accelerate, so on rare instances, the '5' changes go in the opposite
direction.

There are so many variables that "science" doesn't work with the
aesthetics of music, the differences in players and pianos, and the
arranging decisions involved in making Master Rolls.  That's why a
human operator is needed at all times, even with the so-called
'reproducing' piano.

Hope I've answered your question on Tempo!

Regards,
Douglas Henderson
ARTCRAFT Music Rolls
http://www.wiscasset.net/artcraft/