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All the surviving evidence for the Welte-Mignon suggests that Welte's recording methods were relatively straightforward, using materials and mechanical designs that were already in use and readily available at its factory in Freiburg. However, since the company kept its dynamic recording processes secret, there is no authoritative description that was written by the original inventors or operators. It is abundantly clear, however, to any musician studying the performances on original Welte-Mignon music rolls, that the company had to have developed some means of recording and converting the dynamic information quite automatically. With most other reproducing piano systems, there is often the feeling that the dynamics have been carefully crafted by a roll editor; there is a tendency to use the complete gamut, from pianissimo to fortissimo, for every roll, just to prove that the particular system can do it. In the case of the Welte-Mignon, however, there can be astounding realism at some of the most insignificant moments, and on occasions a certain lack of detail when the musical texture becomes too complex - both signs of an automated process.

Welte dynamic coding is also difficult to edit effectively, since it is based on crescendos and diminuendos, which have an effect on all subsequent notes, until one of the various dynamic limits is reached. Ampico was not dissimilar, but it had an extensive and well-documented editing department, with dozens of musicians and technicians, whose traces remained in existence well into the 1990s, whereas Welte simply did not. And Welte, uniquely amongst the main four roll recording companies, did not encourage its pianists to participate in the editing process. Indeed, there was virtually no editing process: pianists could listen to their rolls once perforated, and if they were unsatisfied with them, they could choose to record them again, but there was no suggestion of the original recordings being alterable in any way.

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Originally posted by sjtill:
I’ve seen and heard played two Welte Mignon players, both in the little town I grew up in, Sebastopol, CA. One was owned by a friend who was a piano tuner; the other by an older man who had hired my stepfather to paint his house. My stepfather took me to his wonderful studio as one of the great surprises of my life.
Mr. Eddy had a very large collection of Welte piano rolls by illustrious pianists of the early 20th century, e.g. Paderewski.
Unfortunately, Mr. Eddy’s brother IIRC sold it all off after his death so I believe the collection was scattered to the four winds.
IIRC the major difference between the Welte and the usual player pianos was that not just the note but the touch could also be recorded and played back, so the recording was much more accurate than, e.g. hearing George Gershwin play Rhapsody in Blue on a piano roll.

Speaking of obsolete technology no one wants, would any of you give a good home to an 1894 pump/reed organ? It was bought new by my wife’s grandparents. It’s quite lovely.

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Originally posted by Jim Shugart:
Thanks, Maestro. I was hoping you would see the post. I've listened to it many times appreciate it more after each hearing.

Doc - If I were very wealthy, I'd have a nice Steinway...

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Originally posted by Maestro:
A Bosendorfer is an absolutely unreal instrument. It's in a call by itself.

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Originally posted by P220 Smudge:
For sure, different than I've ever heard it played, and better. I'm thankful that there was technology capable of capturing his performance back then. Simply amazing.

A lot of the comments on the video surprise me. Mostly people saying he played it so fast because they were only capable of recording songs up to about four minutes in length. I find this dubious. I think he played it the way he wanted it heard. Can anyone weigh in on that?