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Portland's Early Muzak Type Service & More

(8 posts)
  • Started 6 months ago by Craig_Adams
  • Latest reply from motozak3

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  1. Ran across these 1946 articles by chance and thought they were most interesting. This is not even the first such service in Portland from what is said but couldn't find anything earlier. There are two articles written a week apart. The second is far more informative but wanted to include both. The 3rd 1953 article is a totally different approach. What makes this radio related is the ownership of the company.
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    The Billboard - November 30, 1946 - page 136.

    Phone Music Has Charms For Ache ---If It's Sweet

    Portland, Ore., Nov 23. -- Sweet music will help soothe aching teeth and frayed nerves if a new enterprise by General Music Service here meets with success.

    John Egan, a firm official revealed this week that the company is piping music into dentists' reception and hospital operating rooms, as well as other professional and business fields.

    Egan said the firm is appealing to the fields where music is deemed to have a desirable effect on customers and workmen. The type of music is selected for the particular field it is reaching.

    Blare of brass and jumping & jive, according to Egan is not pleasing to a person with an aching tooth. Platters which spin in the company's studio are strictly sweet.

    The firm's music is thus measured to fit the needs of the subscriber. Tunes furnished to an industrial plant are in a faster tempo, according to Egan, than those served to operating rooms.

    Equipment is similar to that of other telephone music operations, except that the music is turned on or off at the receiving end by means of a switch.
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    The Billboard - December 7, 1946 - page 136.

    Lease Tune Time To Locations In Phone Music For Portland

    Portland, Ore., Nov 30. -- New non-coin-operated telephone music system has been launched here by General Music Service, Inc., to serve industrial and professional subscribers with music on a lease-time arrangement. The firm is headed by John Egan one of the owners of Portland station KWJJ and by Mrs. Abe Bercovitz, who's husband is music director of KOIN.

    General Music management says its subscribers include doctors, dentists, shipyard shops, theatre lobby outlets, banks and retail establishments. Also included are some restaurants, with a single outlet in the center of the location.

    Egan says a deal is coming up with nightclubs for after-hours music, "So we won't be competing with any live talent." He reports that some 20 subscribers have already been signed and says the firm has expectations of 40 more before the first of the year. The system uses Western Electric and Langevin equipment with a studio in The Oregonian building.

    Disk repertoire contains no recordings with brass, Egan says. Generally two types of records are used, sweet for restaurants and similar spots and faster tempos for industrial plants. Subscribers pay a flat rate for the service from 9:30 a.m. to 9:30 p.m. with off and on switches located at the outlets.
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    The Billboard - May 16, 1953 - page 77 [excerpt]

    Telephone Music Boxes Profitable In Portland

    Portland, Ore., May 9. -- The John Welch Music Company serves 28 locations in Portland with Phonotele equipment, whereby insertion of a coin opens a telephone line circuit between the location and a broadcasting studio. An operator obtains the customer's request, which is played on one of a battery of turntables. Welch finds that club locations are most responsive to the appeal of telephone music although the service includes a few taverns.
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    The Billboard - December 19, 1953 - page 82 [excerpt]

    The John Welch Company is owned by John W. Welch who started the company 20 years ago as a juke box & music supplier and continues. The company also operates a telephone music service, the only one in Portland. The company has its own building at 321 S.W. Hawthorne Blvd. Phone BE2-3429.

    Posted on January 2, 2010 - 08:43 AM #
  2. motozak3

    vacuum tube
    Posts: 366

    This is interesting, Craig.

    Saying of Muzak (Craig, you might know this): when did Muzak end its analogue SCA service in Portland?

    A few years ago, some friends of mine tried to start a "Muzak-type" thing in Portland, mainly using their own synthesised music and stuff from Jamendo, but it never realy caught on.

    Re: The Billboard - May 16, 1953 - page 77 [excerpt]:

    I was in a pizza restaurant in Vancouver recently that had an "Internet Jukebox" thing installed. Basically you put your money in, select a song from a touch-screen and the audio is "streamed", I guess, from a central server. (Where that server is located is anyone's guess.) The "jukebox" itself is really a specialised computer terminal. It almost seems an outgrowth of the "telephone jukebox" thing your article described.

    Posted on January 2, 2010 - 08:40 PM #
  3. In Fall 1976 David Myers, owner of KQFM & its SCA, plus The Audio Group, severed its Muzak franchise, creating its own service over KQFM SCA called "Q-Music".

    Posted on January 2, 2010 - 09:44 PM #
  4. Before FM SCA was used for background music, the "telephone" lines mentioned above were dedicated "program" lines from the phone company, just like we used to use for STLs and remotes, but probably not equalized.

    For the current slant on background music, check out CustomChannels "On-Premise Radio" at http://www.customchannels.net/retail.php

    Posted on January 5, 2010 - 01:28 PM #
  5. Alfredo_T

    vacuum tube
    Posts: 1,414

    I have an amplifier that was once used in one of these Muzak phone music systems. The amplifier was manufactured by Universal Audio of Chicago, and it has the Muzak logo on the front of the chassis. It came out of a home that once belonged to a Muzak employee (a free phone music system was a perk available to some employees at the time).

    The design seems pretty conservative for being of 1950s vintage in that only octal tubes are used. The tube complement is:

    • 6SJ7 - First amplifier stage
    • 6N7 (!) - Phase inverter and voltage amplifer
    • 6L6 X 2 - Push-pull output
    • 5U4 - Rectifier

    The amplifier's construction is impeccable, due to the use of a large terminal strip that holds all of the resistors and capacitors and precisely cut and bent wires that connect this strip to the tube sockets. The output transformer has one low impedance output winding (4 Ohms) and two high impedance windings that can be strapped in series or parallel to drive 500 or 125 Ohms. This amplifier was meant to drive multiple speakers through transformers, as might have been the case in an office, a store, or a restaurant. Driving a 4 Ohm load, I can get about 20 watts of output before clipping starts.

    Posted on January 5, 2010 - 02:19 PM #
  6. Sounds a lot like a Fender guitar amp!

    Without doing the math, would the 500 ohm output be for a 70V constant voltage system and the 125 for a 25V system?

    Posted on January 6, 2010 - 01:46 PM #
  7. Alfredo_T

    vacuum tube
    Posts: 1,414

    I think that they might indeed have been targeting compatibility with 25 and 70 V systems. I ran the numbers, and at 20 Watts, the 500 Ohm output strapping would be deliver 100 Vrms, while the 125 Ohm strapping would deliver 50 Vrms.

    I also received two speakers with the amplifier. One of them does have a line matching transformer physically attached (but not electrically connected). For some reason, Universal Audio avoided the nominal-voltage nomenclature and decided to go with impedances, instead. The transformer has primary taps marked off by impedance: 4500, 7000, 10,000, and 15000 Ohms. Neither the secondary impedance of the transformer nor the impedance of the speaker are marked on the labels. I have a hunch that since the installation that these speakers came from was in a home, and all of the wire runs were pretty short, the speakers were just wired in a combination to yield 4 ohms, and the transformers were not used. I can't be absolutely sure, though, because I didn't take part in removing the amplifier and speakers from where they were installed.

    Another detail that I forgot to mention is that the input comes through a transformer, to allow the amplifier to interface with a balanced leased line from the telephone companies. There is a space on the front panel for a second volume control, and there is an unpopulated space in the chassis for a second input transformer. There is also an empty socket labeled "Muting Relay." Who knows--perhaps Muzak envisioned that some customers might subscribe to two different Muzak feeds, using each part-time. Or, they might have envisioned that some users might have wanted their Muzak system to double as a public address system.

    Posted on January 6, 2010 - 02:36 PM #
  8. motozak3

    vacuum tube
    Posts: 366

    "There is also an empty socket labeled "Muting Relay." Who knows--perhaps Muzak envisioned that some customers might subscribe to two different Muzak feeds, using each part-time."

    The "muting relay" thing is indeed for a time-divided service. From (I think) the early 1960s to about the 1980s (most of the "Stimulus Progression" era) Muzak transmitted two different programmes on a single 67kHz SCA channel in alternating 15-minute "blocks"--the rather mellow "Standard" (or "Office") programme and a more brassy, upbeat "Industrial" programme, mainly targeted at factories and restaurants. At the end of each "office" block, a sub-audible tone would be transmitted which activated the muting relay in the amp, then another would be transmitted at the end of the "Industrial" block which would un-mute the amp. The end result would be fifteen minutes of music, followed by fifteen minutes of silence. The same procedure was followed if the user desired to receive only the industrial variety, only the office programme would be muted instead.

    The muting could be overridden or disabled altogether, allowing the user to listen to both varieties of programming; the continuous broadcast of music. This was often done in grocery stores and casual restaurants.

    This was, in effect, an early attempt at what we would know today as multicasting.

    Eventually, the FCC allowed SCA operation on 92kHz and dual-channel receivers started becoming available, so the time-division method sort of vanished into history! ;o)

    Posted on January 6, 2010 - 03:09 PM #

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