Welte-Mignon (Licensee), the American re-cut. It keeps the T-100's
lock-and-cancel coding on 98 tracks — which is what separates it from the
green, the coding rule rather than the track count (Phillips, Table 4.3) —
so it reads the same commands and is played by the same mechanism.
What it does not have is an instrument of its own. The constants are the
T-100's, the spool is the T-100's, and neither has ever been checked against
a Licensee. instruments therefore offers a single unfitted arm, and every
curve produced here names itself as such. The spool sets no tempo of its
own: a version runs at the speed stated for its copies, or at that of the
roll it was re-cut from times the length ratio.
Welte-Mignon (Licensee), the American re-cut. It keeps the T-100's lock-and-cancel coding on 98 tracks — which is what separates it from the green, the coding rule rather than the track count (Phillips, Table 4.3) — so it reads the same commands and is played by the same mechanism.
What it does not have is an instrument of its own. The constants are the T-100's, the spool is the T-100's, and neither has ever been checked against a Licensee.
instrumentstherefore offers a singleunfittedarm, and every curve produced here names itself as such. The spool sets no tempo of its own: a version runs at the speed stated for its copies, or at that of the roll it was re-cut from times the length ratio.