Coin-Op Telephone Line Music
When
some of the American manufacturers of coin-op music equipment started to
develop and produce telephone music line systems in the 1940s as a counterpart to
the real jukeboxes on location in the big cities, it was certainly not a new
invention. Way back in the 1890s several coin-op systems had been operated with
success in France, and of
course also other countries in Europe. The
famous French inventor Clément Agnès Ader (1841-1925) demonstrated 'the
musical telephone' on the 9th August, 1881, at the l'Exposition
Internationale d'Electricité
in Paris. Clément Agnès Ader called the invention, the Théâtrophone,
an amalgam of the two Greek words theatron and
phonè meaning théâtre
(theatre) and voix (voice), and at
the time 48 listeners could hear the transmitted sounds from the Opera de Paris
via lines laid through the sewers to the Palais de l'Industrie, where the demonstration took place. The
commercial company, Compagnie du Théâtrophone,
to operate the telephone music line systems was established in Paris in 1890,
and that was in fact the first public broadcast entertainment system. The coin-op
version was priced at 50 Centimes for 2 1/2 minutes and 1 Franc for 5 minutes
listening time, and the Théâtrophone was
soon followed in 1895 by the Electrophone, which was a mainly British
equivalent to the French 'mother system' and operated by the Universal
Telephone Company in London. The Electrophone is mentioned, by the
way, in the short story entitled "The Assyrian Rejuvenator" by
Clifford Ashdown (pseudonym of Richard Austin Freeman, 1862-1943): "...Although the restaurant had been crowded some time before
he arrived, Mr. Romney Pringle had secured his favourite seat opposite the
feminine print after Gainsborough, and in the intervals of feeding listened to
a selection from Mascagni through a convenient Electrophone, price sixpence in
the slot...". The short story by Clifford Ashdown was published in
1902 by Ward Lock in London, and it is one of only a few documentations in
literature of the coin-op telephone line systems. Concerning the Théâtrophone it is interesting also to note the
very nice poster "Le Théâtrophone" designed
by the French artist Jules Chéret (1836-1932) in
1896. It was one of a series of posters called "Les Maitre de l'Affiches" made by Jules Chéret, and today it is recognized as one
of the real classic advertising posters of the era.
Following
the success of the Théâtrophone and Electrophone
systems, which had spread to salons, hotels, and restaurants, in most big
cities in Britain and France, like for example the Salon Jacquet
315 rue Aristide Briand in Le Havre that had its own token made, several
interesting music libraries were established in the European capitals and big
cities. They were in fact based on the same principle as the telephone line
systems, but they differed a little, as the phone or ordering units were only
connected to a central library often located in the basement beneath the salon
open to the public. Such libraries
were the true forerunners of the American telephone line music systems
of the 1940s. People
just had to learn about
the music libraries for the concept to expand.
The
music libraries all over Europe were established in the same manner as the Pathéphone and Odeon salons in Copenhagen. The music
libraries were counterparts to the semi-automatic phonographts
of the era offering none or very few selections, and Gotfred
Schmedes (1873-1951) opened the first Pathéphone Salon formed after a French model in the centre
of Copenhagen in 1912. In
the salon one could sit in a comfortable armchair and listen to Pathé records from an operators
room in the basement. In the beginning the operator(s) could play 12 records
simultaneously, and the sound was led to the patron through a system of tubes.
The Pathé records were special, as most collectors
know, because they were played from the centre towards the edge with a rounded
needle (safir), and also because they were phono-cut, which means that the safir/needle
went up and down (hill-and-dale) and not sideways like on a normal needle-cut
record (all other records made according to Emile Berliner's patent of 1888).
The Pathé records had in Europe been accepted as very
durable records for coin operated salon gramophones, mostly of French origin.
To be able to listen to the records in the Pathéphone
Salon the patron had to insert a token that he had bought at the entrance. Next
to each armchair there was a set of tubes for communication with the operator
in the basement and of course a coin-slot. In 1913, however, the equipment in
the basement was replaced by normal gramophones for needle-cut HMV records, and
there were now about 500 different records to select from in the library. When
the equipment in the basement was replaced the name of the salon changed as
well, and the new name was Gramophon Concert Salon.
Nearby in the centre of Copenhagen a new competitor called the Odeon Koncertsal was established early in 1913. The term Odeon (Odeum) is Greek and means public building for
musical performances. The Odeon records were of German origin, and competed
in that way with the His Master's Voice records only a few blocks away. The
Odeon Koncertsal was registered until around 1918,
and the Gramophon Concert Salon was registered until
the year 1923. After that both salons were forgotten by most people, and today
only very few know the salons ever existed. An interesting aspect is, however,
that Pathéphone salons had been established in
several big cities in America long before the first one came to Copenhagen. The
first salons were of course established in France, and the diameter of the
token to be inserted in the slots in Copenhagen was 20 1/4 mm, equal to 3/4 of
a French inch (10 Centimes coin), so one might assume that the original
equipment was imported direct from France without further changes. Another French
manufacturer of coin-op phonographs, Henri Liorét
(1848-1938), had been able to deliver slots for various coin diameters around
1901, so it would have been possible to have coin-slots for Danish coinage. The
token to be used in the coin-slots in the Odeon Koncertsal
had a diameter of 25 mm.
The only reason why the music libraries or salons with coin-slot concept could
be established was of course that it was still impossible,
or at least not common, that ordinary, working people would buy gramophones and
records. Another reason was the lack of selection in the semi or fully
automatic phonographs, and the lack of amplification of acoustic sound from
most of the coin-op phonographs or salon gramophones operated in bars, cafés,
and arcades.
Much
later, in the late 1930s, other kinds of music libraries saw the light of day
in America.
Barry Ulanov wrote in an article in the
"American Mercury" in October, 1940, that a system of jukes were connected
to central studios by phone lines, and that they gave customers a choice from
thousands of numbers instead of a measly dozen or two. Also Walter Hurd wrote in the "Billboard" trade magazine that
telephone music systems received considerable attention and enjoyed widespread
newspaper publicity near the end of 1940. The most important and successful of
these libraries was established by Kenneth Carl Shyvers
(1899-1976) in Seattle, Washington, and his wife Eloise (Ella Louise, 1895-1982). The Multiphone
system allowed a total selection of 170 titles, whereas a normal coin-op
automatic phonograph played only 20 or 24 selections. The Multiphone
system came to be installed in cafés or diners along the bar or in each booth,
and the system required two leased telephone lines, one for the Multiphone and another for the speakers on the wall.
Kenneth C. Shyvers design patented several wall box
cabinets for his system. Although the Multiphone
units had been in business during the war years,
the three known designs were all filed for patent in 1946/47. The first two
versions were filed for patent on the 8th February, 1946, and the last design,
which is best known to collectors today, was filed for patent on the 30th
April, 1947. It is interesting that the second of the first two designs (Serial No.
126,381) used the top
section of a Packard Butler type remote control designed years before,
in 1940, by Edward E. Collison and Paul U. Lannerd. The wired music system played on Nickels and later
on Dimes, and the Shyvers' Multiphone systems worked until the late 1950s in
several cities in Washington, like Seattle, Tacoma, and Olympia. The system
could, however, not compete with the new, modern type of coin-op phonographs,
jukeboxes, with selection of up to 200 tunes on 45rpm records.
Another
very interesting type of music library system invented and manufactured in Washington was the Telo-Music
invented by Audry R. Kinney
in Mount Vernon.
Audry Ralph Kinney was an able inventor, and around
1939/40, in his prime and as a Rock-Ola distributor,
he developed both central units for bars and cafés and remote controls for
telephone line music. The inventions by Audry R. (Bud) Kinney including a complete
10-turntable central operator's unit are believed to be the forerunners, or
maybe even the basis, of the Rock-Ola Mystic Music 3701 Master and 3708
Super phonographs with up to 250 selections introduced in 1940/41 connected
also in some cases with the Mystic-Music 3801 booth or bar boxes. The Mystic-Music
3701 Master normally had 20 selections but during busy hours the location
owner could switch on the Mystic-Music system increasing the selections to 250.
The later version of the 3701 Master could be seen in a 'leading role'
in the musical film entitled "Swing Hostess" of 1944 starring Iris
Adrian among others. The Mystic Music models had, which is well described by
Russell Ofria Jr. in his articles published in the
"Nickel-A-Tune" magazine in 1982, a certain influence on the design of the
Rock-Ola 1501 Dial-A-Tune remote selectors introduced late in 1940. It
is also quite interesting that the model used in the musical film of 1944, and
pictured on a very nice lobbycard, had the Rock-Ola
microphone on top, but the name Jennings
written across the front glass. It seems that the Rock-Ola Manufacturing
Corporation bought most rights to patents for the system known today as the
Mystic Music, most probably also the patents filed by Audry
R. Kinney in Mount Vernon, Washington. The connection between Kinney and the Rock-Ola
company needs further research. In 1942 a new series of Mystic
Music equipment was introduced, the Rock-Ola 3709 Location Tone Column,
which was a floor standing unit, like the Spectravox
1801 and 1802 units, but with no phonograph mechanism in it. The 3709
Location Tone Column is well described in the above mentioned articles by
Russell Ofria Jr., and the seven feet tall model must
have been impressive to most patrons. The model had a motor driven colour dome
projecting a colour-show onto the ceiling, and also a front glass panel with an
animated fountain scene on it. The Mystic Music system, which included a
central station serving up to thirty locations, was continued by the Rock-Ola
Manufacturing Corporation through the war years, but abandoned after the war.
In the year 1946 only normal type phonographs were marketed
with the Rock-Ola name on them.
One
of the serious competitors to the Rock-Ola Mystic Music system in 1940 was the
AMI Central Operating System, the COS, also known today as wall
mounted Singing Towers cabinets. The system worked for years, operated
by an affiliation of AMI, Singing Towers Inc., 3007 Washington Boulevard in
Chicago, and the cabinets were all rather well designed by Lloyd J. Andres. The
first design was filed for patent on the 13th April, 1939, and the following
four designs were filed on the 19th and 21st February, 1940. A wonderful example
of such a wall mounted Singing Towers can be found on page 78-79 in the book entitled "Coin-Ops On Location" published by Richard M. Bueschel and Eric D. Hatchell
in 1993. That one, however, is rather interesting, because the cabinet is a combination
of two designs, the patent D:119,574 filed on the13th
April, 1939, and the patent D:121,179 filed on the 19th February, 1940. The AMI
COS cabinets only contained the microphone and the speaker(s), and the
unit was connected to a hide-away unit with 40 selections, two mechanisms with
each 20 selections. In addition the location owner also had the choice of
switching on the Central Operating System, just like the Rock-Ola Mystic
Music system could be switched on during busy hours, and thereby increasing the
number of selections to 200 from the COS.
The systems were well designed, because the normal phonograph (with hide-away
unit) could still work and provide music even if the central system failed.
Automatic Musical Instruments Company, AMI, also introduced a version with
smaller wall mounted units. The 10 selection Mighty Midget Wall Box was
designed by Lloyd J. Andres and filed for patent on the 28th May, 1938, and
first used as a normal remote controller with speaker. Later, following the
big, impressive wall mounted Singing
Towers cabinets, the same wall box was used with a microphone
instead of the speaker, and of course with auxiliary speakers connected. It
seems that also the Senior Remote Controller, which had been design patented in October, 1936, by Lloyd J. Andres, and
also first introduced in 1936, was used for some time in the forties connected
to the COS like the Mighty Midget
Wall Box. The microphone had been put into the top of the cabinet where the
original design for the Senior Remote Controller had a clock pictured.
Today
it is interesting to note, that also The Rudolph Wurlitzer Company had a
workable TLMS, Telephone Line Music System,
designed by La Mar E. Hayslett and Francis M. Schmidt and filed
for patent on the 3rd September, 1940, but it seems the company never did
market the system. The mighty Wurlitzer company must have had serious reasons
not to compete with Rock-Ola and AMI in this field, but there is no record
today of such reasons. It is known that Rodney Pantages
Inc., Hollywood, entered the market with a nice Maestro Your-Choice-By-Voice
system in the autumn 1940, and later also made cabinets for the system
offering a program of not less than 2,000 selections that looked a little like
the Filben Mirro-cle
Music units, an amalgamation of the two words mirror and miracle.
Other important competitors on the market were Personal Music Corporation of Newark, New Jersey, and Telo-Tune (Communication Equipment and Engineering Company)
in Chicago, Illinois, which should not be confused with Telo-Music and the inventor Audry R. Kinney mentioned above. Personal Music Corporation
entered the market in 1940/41 with the first Penny-A-Tune unit based on patents by Frank J. Hoke (filed 1929) and William S. Farrell
(filed 1941), but the company was relatively inactive for a few years during
the war until it started up again in May, 1945, with new equipment and control
units called Phonette Penny Serenade and Phonette
Melody Lane. The Telo-Tune company in Chicago,
however, was active at the end of the war, and the firm mainly used control
units named Teletone Musicale designed
by George Phelps. George Phelps' design for the Musicale unit was filed
for patent on the 15th March, 1946. Further, the Solotone units made by Solotone Corp. in Los Angeles should be mentioned here. The
Solotone
remotes and the library system was developed, designed, and also patented by
Forrest E. Wilson and Scott E. Allen on the 26th January, 1949. Several small,
local companies also tried to get a foothold on the market, but none of them
were really successful, and very few are even remembered today by name.
It
was well put by Russell Ofria Jr. in his articles
published in the "Nickel-A-Tune" magazines 1982/83, that no one could
say for sure what all of the reasons were for the extinction of the Telephone
Line Music Systems, but it seems that the systems were mainly forced out by ever
increasing expenses like increasing rates for the use of the special phone
lines, and special fees, licenses and taxes imposed on them by governmental
agencies. Haven't we all heard that before? The Telephone Line Music Systems
were an interesting but short-lived feature in the history of the jukebox
concept, and they deserve to be remembered in the future.
Gert J. Almind