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THE MUSIC TRADE REVIEW
through finger motions, two of which are in them-
selves unnatural, and in combination with the
others exceedingly difficult and trying. It is, of
course, the left-hand control system to which
we refer, that has the sustaining lever under
the little finger, two "melody buttons" or
"soloist buttons" for lifting respective halves of
the hammer line of the piano action, under two
middle fingers, and an "accent lever" under the left
thumb. Add to this description the further detail
that the sustaining lever which operates the same
device as is controlled by the sustaining pedal of
the ordinary piano is usually labeled "loud," while
the accenting lever is, conversely, entitled "soft,"
and we begin to see what sort of a crazy patch-
work this system really is.
A MATTER OF TECHNIC.
In the first place here are four distinct opera-
tions, not only muscular but mental, placed under
the direct control of the left hand. At least three
of these are continually being performed together if
the rendering of music is to be anywhere near
artistic. Just ask a pianist to think of subduing an
accompaniment, using his sustaining pedal at the
right instant, and imparting a series of delicate ac-
cents, all at once, and with an apparatus gathered
together under one hand! Then ask him to under-
take very delicate phrasing, which must instantane-
ously be thought out in his mind, and then applied
simultaneously with all the foregoing, by means of
a tempo-lever very stiff, very slow moving and
placed in an exceedingly inconvenient manner; ask
him to do all these things at once, and he will
reply that he can never master this new art with-
out practice and study. When, further, you im-
press upon him the necessity for doing not only
all that has been described, but of acquiring also a
very delicate and well-controlled foot-touch on the
player-pedals, which must be continually and accu-
rately at his command, simultaneously with all the
other operations already mentioned, and he will
wonder how on earth it can be said tnat the player-
piano is playable by anybody. He will say to you:
"This player-piano has a technic of its own and
by no means an easy one. No wonder that so few
people ever get decent musical effects from i t "
AN INDICTMENT.
What has been said here constitutes, in itself,
the strongest sort of proof that player-pianos have
not been built with any reference to their musical
possibilities, but rather as "piano-operating ma-
chines." It is, in fact, unnecessary to go any fur-
ther, except to take just a glance at the second
count in our indictment. The matter of the me-
chanical contact of the player-action with the piano-
action and hammers is technical in the highest de-
gree. Suffice it, then, to say that most of the talk
about "human-like touch" is loose and highly in-
accurate, especially when we analyze the mechanical
means which are generally employed to bring the
player-mechanism into operative contact with the
piano action. But we need not enlarge on this
matter. There is really quite enough to think about
in this matter of control.
DARKNESS BEFORE DAWN.
On the basis of what has been said above, we
may rightly ask ourselves whether it is, in fact, true
that a new era is dawning and that makers, as
well as users, of player-pianos, are beginning to
see the error of their ways. The fact is not doubt-
ful. Just how long it will be before there is a
general reform of control devices is something to
be considered. But that such a reform must come
is hardly a matter for debate. And it is to the
player-pianists themselves that we must look for
the influence that shall finally make the reform in-
evitable. For the player-pianists are the people
who have to use the instruments, and improve-
ments will therefore come just about as quickly as
they can be appreciated, but no more so. If player-
pianists, from the beginning, had been advanced in
their desires; if they had from the first been able
to see the artistic possibilities of the player-piano,
then they would long ere this have insisted that
the control of the player-piano be placed upon a
scientific basis. But the fact of the matter is that
player-pianists have been getting just exactly what
has been suited for their capacities, Leaving out
of consideration the few who have set themselves
to study and conquer the player-piano as it at pres-
ent exists, we find that everybody else has taken
what he could get and has been content with the
exceedingly inferior musical results thereby ob-
tained. But this state of affairs, happily, is ending.
THE NEW ERA.
The new era of which we speak is dawning be-
cause player-pianists themselves are waking up.
Gradually, very gradually, the evil effects which
have resulted from the adoption of a purely me-
chanical standpoint in player-piano building are be-
ginning to be overcome. Out of the clouds and
mist which for so long have concealed the truth
there begin to emerge certainties in place of
guesses, light in place of darkness. The public is
beginning to discover the possibilities latent in the
player-piano.
TWO IMPORTANT^PLAYER PATENTS.
Covering Device for Retarding Tempo and
Novel Form of Foot-Pedal Mechanism—
Analysis of the Inventions.
F. J. W. Weiser, of Chicago, assignor to the
Geo. P. Bent Co., has been granted letters patent
No. 976,965, for an ingenious retarding device for
use with player-pianos. The object of the inven-
tion is to provide convenient means whereby the
player-pianist may hold or retard the speed of
music roll travel independently of the tempo lever
and whenever required. A finger button on the
key-slip of the player-piano operates, through suit-
able connections, a special retarding valve in the
tempo gate-box. When it is desired to retract the
retard valve, so as to restore the original tempo
which has been retarded, the retraction is assisted
by a pneumatic regulator bellows connected with
the retarding-valve. The construction is ingenious
and the provision of pneumatic means for the re-
traction of the retard valve especially interesting.
George P. Brand, of New York, well known for
his connection with the very excellent Behning
player mechanism, is responsible for
bination of the parts in a foot-pedal mechanism
for players. His invention is particularly intended
to allow the pedals to fold snugly, when not in
use, against the board or support which carries
the exhaust bellows to which the former are con-
nected.
Mr. Brand provides a leg or foot adapted to fold
automatically as the pedals are folded, the pedal
being provided with a depression to receive the rod
which is connected with the movable member of
the exhaust bellows so as to allow of the folding
of the pedals close to the support of the ex-
hausters. He also slots the leg or foot to receive
one of the members by which it is pivotally con-
nected to the exhaust bellows support, a separate
pivotal connection being provided between the leg
and said support, whereby, as the pedals are moved
into their closed or folded position, the leg or foot
is folded and the parts all brought into such close
relation to each other as to occupy a minimum of
space. The construction also indicates that the
pedal connections spring from the center, not the
side, of the exhausters. Another feature is an
improved method of connecting the compression
springs to the exhaust bellows.
BUSY TIMES IN SAN FRANCISCO.
That the player-piano business with the Wiley
B. Allen Co., San Francisco, Cal., during the holi-
days was of a lively nature was indicated by the
fact that their large stock of Angelus and Emer-
son-Angelus instruments was sold over a week
before Christmas.
The Clark Music Co., Syracuse, N. Y., who feature
the Apollo player-piano in this territory, have
again inaugurated a series of public recitals for the
demonstration of that instrument. The programs
provide for a number of solo numbers on the
Apollo as well as selections by Melville A. Clark,
harpist, and I. Hamilton, baritone, and always at-
tract large audiences.
Ei^elhordt
talk,
•I We don't intend to cheapen
the performance of the PEER-
LESS COIN - OPERATED
PLAYER-PIANO by pretend-
ing that it is other than a
machine—that is the greatest
argument in its favor. It is a
marvelous, sympathetic, easily-
controlled mechanism, that
ranks with the Corliss Engine
and the Linotype Machine and
the other wonderful discoveries
of the age, and the quality of
music that it manufactures is
perfect in execution, of widest
range (hopelessly beyond the
average performer), and satis-
fying to the public.
flThe tempo and power of the
PEERLESS may be accelerat-
ed or modified at will to dis-
course the character of music
that may be desired, and to
accommodate large or small
assembly rooms.
«!Every PEERLESS Piano is
equipped to connect up with
slot boxes or pay stations on
the wall or tables at convenient
places, from which the instru-
ment may be started by inser-
tion of a nickel.
CThe possibilities of this convenient
service are obvious for the use of both
guests and proprietor. It provides for
the location of the instrument in the
most desirable place—on balcony or in
corner of the room, or even in adjoin-
ing room.
([THE PEERLESS STYLE D
MISSION is especially designed for
use in grill rooms, restaurants and
cafes furnished in this plain, substan-
tial style. This piano has also a man-
dolin attachment, which reproduces
with faithful exactness the light and
exceedingly agreeable treble tones of
this popular stringed instrument.