Music Trade Review

Issue: 1916 Vol. 63 N. 9

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
11
The Unit-Valve System for Players Is Gradually Being Adopted by Manu-
facturers, and Possesses Vast Potentialities for Providing a Foundation for
the Final Standardization of the Player-piano — Some of Its Chief Points
Simplification is, of course, a condition of
progress in any art. The earlier productions in
any type of invention are of necessity relatively
crude and positively complex. For no matter
how carefully the inventor has attempted to
calculate in advance all possible conditions, it
is beyond the capacity of any human being to
predicate the future with complete correctness.
The conditions in which the machine will be
obliged to perform its function can be foreseen
more or less, but never quite completely; and
MI it invariably follows that the standardized
type is preceded by a series of others leading
up tn it and representing in the aggregate all
the variations from the original, which experi-
ence has dictated.
hi the case presented by our own industry,
we have a striking range of examples in sup-
port of this assertion. The conditions in which
the player mechanism performs its functions
and even the real requirements of the mechan-
ism from the playing point of view, were most
imperfectly foreseen by the pioneers, with the
result that, although there has been much con-
servatism and scarcely enough progressiveness
among designers, certain supposedly sacred
ideas have been weeded out, others are in
process of elimination and others again, which
were for long scoffed at, are imposing them-
selves of sheer necessity upon the industry.
Growth of the Unit-Valve Idea
A specially interesting case is presented in
the unit-valve idea which seems to be pressing
its claims ever more strongly upon designers.
Briefly stated, the unit-valve is to be described
as some form of construction in which each
pneumatic is built as a separable unit with its
controlling valve or valves. It is directly op-
posed to the system of construction in which
the controlling valves are massed within one or
two chests, with the pneumatics outside.
Tt is not intended here to enter into the rela-
tive merits of the two systems, for there is
much to be said on both sides and the discus-
sion would be fruitless in any case. It is rather
proposed to examine the unit idea with a view to
seeing what advantages its adoption might be
expected to bring and what its future is likely
to be.
Let it be said at once that any popularity the
unit system may be expected to achieve, or has
as yet achieved, is to be based upon other qual-
ities than that of saving air space. At the super-
ficial glance it might seem that the massing of
valves in one or two large trunk vacuum chests
could not fail to involve the use of larger vol-
umes of air to be exhausted. But the difficulty
is more apparent than real. In fact,' if it be
remembered that in the unit system, not count-
ing the passage from valve system to pneu-
matic, there must be the pressure reduction
chamber for each valve, the connection from
one valve to another, if two be used, the cham-
ber under each pouch and the channel from
tracker bar to pouch, it will be seen that the
total number of cubic inches per set of eighty-
eight pneumatics, built on the unit-valve plan,
may easily be more, instead of less, than found
by a measurement of similar vacuum chest sys-
tems.
Advantages of Unit-Valve System
We have, in fact, to leave this idea altogether
out of our calculations, and the only immediate
and obvious superiority that the unit system
can claim is found to be one of less importance.
The unit system can claim the avoidance of
long packed joints. It can claim, in certain
conditions also, the elimination of the tendency
to a general lowering of power through the
entire pneumatic stack whenever a leak occurs
around one valve. It can point out that in the
case of one special form of construction, a leak
around one valve operates on that one only
and cannot damage the workings of more than
the one pneumatic. Now in the case of a second-
ary chest, to take a convenient example, failure
THE SALTER LINE
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Salter
Mfg. Co.
We have made
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your show rooms.
S e n d for our
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day, showing our
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339 N. Oakley Blvd., Chicago
on the part of one valve to seat means the con-
stant leakage of air into the chest, with conse-
quent general reduction of power level. This
the unit system avoids; provided that it alto-
gether avoids at the same time the vacuum
chest and carries its passages from the reduction
chamber through separated metal tubes to the
action cut-off or expression boxes. Tf, however,
the unit valve system leads into a chest which
thus merely has the valves outside of its in-
terior instead of within it, the advantage spoken
of is, of course, non-existent.
On the whole it is probably true 1<> say that
accessibility and ease of repair form the prin-
cipal advantages of the unit, system. But there
is another point, aside from all this, which
requires some serious attention.
Standardization of the Action
The upright piano action has developed in
the course of a hundred years from a crude
make-shift separately got up by each manufac-
turer to a completely standardized machine
made almost exactly uniform throughout the
world, except in the case of the very cheapest
European pianos, and nowhere differing save
in unimportant details. The same is largely
true of the grand action, but the well-known ex-
ception of Erard and the differences that dis-
tinguish the practice of such action makers as
Steinway, Broadwood, Bechstein, Flemming,
Langer, Schwander, Wessell, Nickel & Gross,
Strauch Bros, and others make it impossible to
use this high type of action as an example with-
out undue liberality of construction. The im-
portance, however, is that the upright action
has become a virtually standardized machine
and that we may regard the present type as
not only the best now, but probably the best for
all the future.
Now the gradual adoption of a unit valve
system, we believe, is virtually assured by the
logic of events. All signs point in that direc-
tion. It seems to us that the principal import-
ance of this system will lie in the potentiality it
will possess of providing foundations for the
final standardization of the player action. This
standardization would be quite as desirable to-
day as ten years from now and that means as
desirable as anything can well be. Nothing will
be lost that is worth keeping and much will be
gained that cannot otherwise be had by the
gradual working out of a standard form of
pneumatic and valve. The technical, mechanical
and musical advantages of such an achievement
are so enormous that one hesitates to attempt
description of them in detail. It is safe to say
that absolutely nothing is gained at the present
moment by the multiplication of systems; but
it must be recognized that the art is now in a
condition which makes such differentiation
quite inevitable. In short, the art of player de-
sign is as yet imperfectly understood. So long
as this is the case, differentiation is inevitable.
But when the basic facts are known to
all. then standardization will begin to arrive
automatically, from the mere approach of de-
sign to the central perfection, which would be
the result of perfect knowledge. From the be-
ginning of this process to its consummation,
the unit system will occupy an essential posi-
tion in the development.
The reason for this is simple; it rests on the
fact that a set of eighty-eight action sections
naturally implies a parallel set of eighty-eight
player sections, each self-contained, each inter-
changeable, in all parts. And only the unit sys-
tem can furnish the basis for this development.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
12
THE MUSIC TRADE REVIEW
The Second of a Series of Articles, Written in Collaboration With a Music
Lover, Wherein Is Described How the Player-Piano Awakened in Him a
Desire for Good Music, and Some of His Experiences While Selecting Rolls
[Editorial Note.—As indicated last month, these "adven-
tures" have been set down as re-told to the Editor of the
Player Section by the amateur music lover who underwent
them. Not only are they interesting and valuable in them-
selves, just as a sort of study in musical development, but
in addition they convey a very practical and extremely use-
ful series of hints, directly and indirectly put forward, for
the benefit of retailers and manufacturers of player-pianos
alike.]
that I could do some stunts in the way of vary-
ing speed and loudness. The fact was that I
had forgotten all this and had simply been
imitating once more the "sit and pump" meth-
ods of my friends. No wonder I was disgusted.
The Pride of Personal Achievement
Just how long after the first trial of the
I rolled the roll back and started again, this
player-piano at my neighbor's house, I re- time really trying to get the effect of the
mained wondering whether something of the music, and jiggling the time lever back and
same sort would be good for me, I cannot pre- forth once in a while in a sort of tentative way.
tend to tell; although no doubt I could make The results were rather grotesque; but at the
up a pretty fiction that would please your read- same time they were inspiring too. I was get-
ers. But I am trying to tell you facts. All I ting the idea of phrase control. In two or three
can now say for certain is that I did not act trials of the first few bars I found myself ac-
more hastily in this matter than I do in others, tually able to separate the principal phrases of
where a purchase is involved. I took my time. the opening melody. This was an achievement
Friend Neighbor, as I might just as well call and I shall not soon forget the pride with which
him, together with his family, had known I regarded it. True, I was boring my friends,
mother and me for some years, and we were though they were too polite to say so; but
free of each other's house. Hence, I could and then they had bored me! Likewise I did not
did soon again—not later, indeed, than the next know then what the "phrase" of the tune meant,
evening—find an excuse for calling and look- musically, but I mean that I deliberately sep-
ing over the player-piano. This involved, of arated the two obvious divisions. All in all
course, sitting around for an hour while the that evening was a repetition of the previous
whole Neighbor family took a hand at the tread- one. I stayed as long as I could and ended by
les; this meaning, in concrete fact, that four telling Friend Neighbor that I was going to buy
healthy pairs of feet, or four pairs of healthy a player-piano myself "some day—maybe."
feet, as you will, took turns in going through
Yet it was a month later before my wife and
gymnastics at the expense of the player. The I found ourselves in a music store in the city
dozen rolls were played and played through being taken around, in a state of more or less
again. Everybody seemed to be much pleased; complete bewilderment, from one player-piano
everybody except your humble servant.
to another, by a dapper young salesman. This
Candidly, I was bored, bored to extinction. young person talked an immense lot about pneu-
The music seemed to be appallingly monotonous, matics and bellows and any number of unin-
brassy and shrill; at least those were the only telligible patented devices, none of which I in the
epithets I could call to my aid at the time. To- least understood, and all of which seemed to
day I know more clearly what was the mat- take us very, very far away from music, which
was what I, anyhow, was after. We heard some
ter. But that is another story.
I was seriously beginning to believe that I music, in fact, a great deal of music. It was
had merely hypnotized myself the evening be- produced, in rolls, from all sorts of mysterious
fore and had made up my mind to take my cupboards in every little room into which we
leave at the first excuse, when Neighbor him- successively went. Yet it all sounded alike to
self remarked that it was quite time they me; all monotonous, all kicked out in about the
stopped and gave the company a rest. I being same sort of way, all stupid to the last degree.
the "company," it was up to me to answer, I said finally that I should like to try the in-
which T did, rather unexpectedly, by saying that struments myself and rather grudingly was al-
F should like to have a try at the blamed thing lowed to do so. We wanted something good
myself. So they hoisted me up on the bench anyway, and my wife knew the names of the
(a detestable arrangement, by the way) and good pianos, so in due course we picked out a
turned me loose on—I think it was the "Poet name, paid our money and realized that we had
and Peasant Overture." Anyhow, that settled purchased a player-piano.
me. The very moment that I got at the tread-
True, no attempt had been made to interest
les myself all the enthusiasm of the previous the music loving side of us, no common sense
day returned and I found myself working away had been used in showing off the instruments'
and grinding out the music in great form. musical capacities, nor had we even been con-
But after I had got well started I caught my- sulted about the kind of music we liked. In
self listening for the effect of the music and fact, we had sold the instrument to ourselves;
suddenly realized that I must be boring my something 1 recognized as soon as we were out
friends quite as much as they had bored me. on the street. If we had not deliberately made
In short,.I was again grinding; not playing.
up our minds, nothing done in that store would
At this moment I remembered, just as disgust have induced us to buy. As for music, if I had
began to come over me, that the evening before not remembered the twelve rolls of Neighbor
[ had been attracted and enthused by finding and the awful monotony of them, after one or
two runnings through the whole lot, I don't
know what would have happened. As it was, I
had to ask about everything for myself,
and had to choose my own music, seeing
that the young aristocrat who presided over the
music roll stock seemed to have not a single
idea beyond "Poet and Peasant," "Floradora"
selections and Something-or-other Rag. We
took all these anyhow, but when it came to
choosing anything else, I had to be my own
librarian. And when you come to think that
I had simply no musical knowledge, you can
understand that I was at sea. So I did the most
sensible thing I could think of. I left word that
I would send for some more rolls later, and
taking a catalog with me, went home.
Selecting the Proper Rolls
Next day I asked a musical friend, who, for
some years, had played the organ in our church,
to pick me out some music from the catalog.
I told him not to be too classic or highbrow,
but to get a few good classic pieces, some na-
tional airs, some marches, some dance music,
some old-time songs and a few bits of the latest
sensations. He willingly went to work on the
catalog and in half an hour presented us with a
list of no less than fifty numbers, ranging from
"Tannhauser Overture" and "Mendelssohn's
Spring Song" to "El Capitan," "Belle of New
York," "Eli Green's Cake Walk" and other
gems, not forgetting a few of the Civil War
melodies and so on.
I had no idea of buying fifty rolls, and said
so, but as I was taking the list over to the
music store that afternoon, it occurred to me
that perhaps fifty rolls would not be too many.
I am a logical sort of person and it seemed to
me that if I bought a dozen rolls or less and
took them home, I should play them all out in
a week, be sick of them at the end of that time
and then when it came to buying a lot more I
should balk at the price. And you remember
the prices in those days.
I don't know that I thought it all out in just
so connected a way as this, but in any case that
was my general idea. I did not know it at the
time, but those fifty rolls saved me as a player-
piano enthusiast; as you shall hear.
And by the way, while I am at it, may 1 ask
once more why on earth the music store peo-
ple do not see that it is to their interest to pro-
mote the sale of music rolls, and especially to
see that those who are buying an instrument
for the first time get started with a good sup-
ply? From what I hear about conditions now-
adays that lesson has never yet been learned;
while as to the intelligence of the music roll
salesmen; well, the less we speak of those I
have to deal with when 1 buy new music, the
better. Were you ever told, "N'aw, we ain't got
no symphonies; but we got Sympathy Waltzes!
Will that do?" Yes, I have been told just that!
( To be coiitinut'd )
The Master Player-Piano
is now equipped with an
AUTOMATIC TRACKING DEVICE
Which guarantees absolutely correct tracking of even the most imperfect music rolls
WINTER & CO., 220 Southern Boulevard, New York City

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