Music Trade Review

Issue: 1918 Vol. 66 N. 4

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
56
THE MUSIC TRADE
REVIEW
OEISSLER TELLS OF PROSPECTS
COLUMBIA CONFERENCE CAMOUFLAGE
President of New York Talking Machine Co.
Talks of Business Conditions and Prospects
for 1918—Lessons Learned in 1917
Interesting Feature of Recent Columbia Ban-
quet Was Booklet Containing Topical Poem
Written Concerning Various Officials
The representative of The Review was think-
ing of business conditions more than world-
wide conditions when he visited recently the
offices of Arthur D. Geissler, president of the
New York Talking Machine Co.
The first question asked Mr. Geissler was
worded "A lot happened last year, didn't it?''
the aim of this question being to get Mr. Geiss-
ler's ideas on the different changes in organ-
ization, methods of distribution, etc., which had
transpired during 1917.
In answer to this question Mr. Geissler said:
"Yes, not only last year but the year before
that and the year before that. But now, what
a different atmosphere seems to pervade, that
we have the first inklings of peace and that we
can, for a moment, stop and consider all the
dreadful debauchery and waste of homes, lives
and treasure since this war began.
"And now that we are in it, how fortunate it
was that France was ready—that Great Britain
was ready with her navy—that little Belgium
was able to throw herself into the breach until
France could gather herself together and hold
the onrushing tide—and then Britain was able
to sustain that support!
"What must be the feeling to have them 'over
there' now to know that we, too, are really 'in
it!' The months of recruiting and enlistment—
the filling up of officers' instruction camps—the
draft bill—the shipping and food regulation—
the huge appropriations—and finally, for them
to realize the glow of heart with which we
greeted their Joffre, their Balfour and their
Italian Mission—'Vive L'ltalia,' I say. She un-
derstands and must—sore beset as she has been.
"The largest industries in the country have
offered their entire resources to the Govern-
ment. I understand the Victor Talking Machine
Co. was amongst the first to do so. If labor,
material, fuel and transportation conditions
permit the Victor Co. to make even as much
merchandise as they made last year, then the
business of the retailer and the wholesaler will
be as large as last year.
"We are selling Victrolas and Victor records,
that is true, but essentially what we sell is
music—a product no longer considered a lux-
ury, but a necessity—shown by the liberal ap-
propriations made by the Government for pro-
vision of'music to its soldiers and sailors, realiz-
ing that mental and physical strength comes not
through food alone. And through the Victrola,
we are furnishing to the people the most inex-
pensive medium, of relaxation, pleasure and in-
spiration.
"You ask me what was the greatest lesson
learned in 1917? I feel that through the Lib-
erty Loan issues we have learned that huge
sums of money can be raised by the Government
without disturbing business seriously. Through
the placing of these funds in the hands of the
best consumer that business has ever known—
the Government—we have a consequent speed-
ing up of industries which has caused the
country at large to look iipon Washington with
confidence, and feel that big business, small busi-
ness and the laborer will be treated fairly."
One of the most pleasing features of the re-
cent banquet given to the Columbia selling or-
ganization by the officials of the Columbia
Graphophone Co. at the Hotel McAlpin was an
attractive booklet entitled "Columbia Conference
Camouflage." This booklet was also prepared
in the shape of a twelve-inch record which was
presented to everyone in attendance at the
banquet. Arthur Fields sang the record, which
was composed by Howard Johnson.
This
booklet, under the heading Columbia Medley,
read as follows:
GEO. L. SCHUETZ THE FINAL WINNER
George L. Schuetz, of the Indianapolis branch
of the Columbia Graphophone Co., is the final
winner in the Pittsburgh district of the individual
salesman cup donated by President Whitten for
each district, his third victory in November giv-
ing him permanent possession of the trophy. He
now enters the Columbia "Hall of Fame," along
with L. C. Ackley, of the Los Angeles branch,
who won the cup offered in the Pacific Coast dis-
trict. The contests in Philadelphia, New York
and Chicago territories are still undecided, a
three-time winner in these districts having not
yet been registered.
It costs some dough, as we all know, to buy a phonograph.
I tried to buy one just last week, and couldn't help but
laugh,
The agony a man goes through selecting a machine;
They try to grab your coin so hard they make the eagle
scream.
I looked at different makes till nearly dead:
At last I met a gentleman who said:
The Columbia's a gem when in motion,
Won't you come to our offices and see?
It's famous from ocean to ocean,
Come down and look it over, please, with me.
So I thought it over and said I'll go along,
When we hit the office, I could see I stood in strong.
Everyone I saw there had a smile upon his face,
I was introduced to everyone around the place.
There was Mr. Hopkins, he's the fellow, don't you know,
Put the Pep in Pepsin gum so many years ago.
Try and get away from him, you'll get it in the neck;
He can sell you stuff until your bankroll is a wreck.
Next was Mr. Hanson; he's the factory support;
When I looked him over, 1 could see he was a sport.
He gets all complaints, and puts them all upon the shelf;
He just says forget it, boys and then forgets himself.
JANUARY 26, 1918
Ileud HIP lijulc Mark carefully.
hear the inn<-ti!n<\ and you'll affre«
lliai It IH truly
The World's Musical Instrument
Improves All Records
Send for our Sptcia I Proposition
nOFFAY TALKING MACHINE CO.. Inc.
3 West a«Mli Street
New Vork City
1 saw Mr. Goodwin; he's an educated chap;
He's a "highbrow"—I could tell by looking at his " m v . "
1 must give him credit in these simple little terms:
He's the guy that puts it over on the other firms.

I saw Mr. Milnor, also of the "Dictaphone."
Milnor is a name that has a meaning all of its own;
He can trim you when you buy, you'll all agree to that,
But he is one (Milliner) who has never trimmed a hat.
Next was Lester I.everich, the marvel of the age,
Faster in the office than the boy they call the "page."
Ninety miles a minute is his record, so they say;
Don't know where he's going, but he knows he's on his way.
Now my little tale's nearly all over, all over,
But there's one man who's a Rover.
We wish the battle was all over, so he'd be here as of yore.
"Big Vision" Whitten, our president, I mean,
He's in the navy, and here he's seldom seen.
So pray for the day when it's all over
He'll come back to us once more.
MME. MUZIO VISITS PATHE SHOP
Prominent Pathe Artist Inspects New Retail
Quarters Opened in Philadelphia
PHILADELPHIA, PA., January 21.—One of the re-
cent visitors at the new Pathe Shop, recently
opened by the Philadelphia Pathephone Co., at
1026 Chestnut street, was Mme. Claudia Muzio,
There was Mr. Willson, tho' he's quite severe he's nice,
Tho' they call him the big boss, he's not without a "Vice. 1 '
When the day is over, he is never through his toil,
Business is so rushing that lie burns the midnight oil.
Next was Mr. Ilayden, and I noticed by his hair
That he was a genius who had missed the barber's chair.
In his eyes he had a look as wild as it could be,
Maybe some wild women gave it to him, don't you see.
There was Mr. Tuers, quite the nicest little thing—
These remarks are all in fun, so don't mind what I sing—
When 1 looked him over, there" were two things that 1
missed:
Flower in his buttonhole and watch upon his wrist.
1 saw Mr. Pennington, he's bigger than an ox;
Everybody says that he's as crazy as a fox.
Tho' his hair is redder than the blush of any quince,
All the boys agreed and told me that he was a "prince."
Next was Mr. Ileindl, he's a man of many tricks,
Speaks a lot of languages—1 think it's thirty-six.
When I talked a bit with him, he took me by the hand,
English was the only thing he didn't understand.
Next was Mr. Benz, the man who's never known to shirk,
When I looked at him I knew he was a bear for work.
All day long he dictates, many letters he will write;
lie dictates all day, but still his wife dictates at night.
Next I met a fellow, who is known as Mr. Jell,
If I didn't mention him he'd he as sore as—well
If I had my way I'd like to put him on the pan;
All that 1 can say is that he's just a married man.
Mr. Knox was on the job, I shook his hand with ease;
Knox was pasted in his hat, and Kno(cks) were on his
knees.
As the advertising man friend Knox was introduced,
So you see that goes to prove that ever Kno(ck's) a boost.
There was Mr. Burns, the man who picks the records out,
When it comes to picking he is there beyond a doubt.
If the records turn out good that don't increase his fame;
If they're bad, it's always Mr. Burns who gets the blame.
Next comes Mr. Sause, the man who makes the foreign
sales,
When you speak of traveling he'll tell you many tales.
My advice to Mr. Sause is really not the worst:
Speaking of America, why don't he see it first?
Then came Mr. Bauer. Talk of Oscar Hammerstein,
Bauer makes old Oscar look as tho' he were a shine.
What I'm going to tell you now is worse than any crime:
Harris says that Bauer has a temper all the time.
When I mention Harris, then I mean a friend of mine,
Also of each jazz band that you meet along the line.
He played me a record that he values more than pearls—
You all know the one I mean, made by the Watson girls.
Next was Mr. Dorian, who sells the Dictaphone,
Friend of all stenographers who like to work alone.
Wives of all the business men declare that he is great;
Hubby cannot alibi, " I ' m at the office late."
r
Mme. Muzio and the Pathe
the prominent operatic soprano, who is a mem-
ber of the Metropolitan Opera Company, and
an exclusive Pathe artist.
Mme. Muzio has made several Pathe records
which have been very well received by the deal-
ers, and when she visited the Pathe Shop she
expressed her keen appreciation of the hand-
some warerooms which the Philadelphia Pathe-
phone Co. have established, congratulating Mr.
Eckhardt upon the progress he is making and
upon the exquisite decorations in his retail shop.
LATEST VOICE OF THE VICTOR
January Edition Most Attractive and Interest-
ing—Includes Special Drawing of Final
Scene From "Aida," for Display Use
The Voice of the Victor for January, just
issued, is a truly interesting volume, full of
helpful business suggestions for the dealer, il-
lustrations of attractive store arrangements,
and other matters of general trade interest.
The cover page is printed in rich purple, and
in the center appears a reproduction in colors
of the new Victrola No. 2 soundbox, gold
plated.
With the current issue of the Voice there is
included an unusually effective pen and ink
sketch, 15^x11/8 inches, of the final scene from
the opera "Aida" (The Fatal Stone), with the
suggestion that dealers frame the sketch and
hang it in their demonstrating room.
D. G. Lewis is planning to open a retail music
store in Canton, N. Y.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
JANUARY 26, 1918
INTERNATIONAL PITCH, 435A
By D. A. McDonald, of Lyon & Healy, Chicago,
in Sharps and Flats, the Sprightly House Or-
gan Published by That Company
At the annual convention of the American
Federation of Musicians, held last May, a law
was passed changing the official pitch of that
organization from International Pitch, 435A
(the French Diapason Normal), to the German
or Scheibler's Stuttgart Pitch, 440A.
Just what arguments were used to bring about
this change 1 do not know, but a very impor-
tant one against it, which evidently did not re-
ceive consideration, is that if this change is
enforced one of two things must take place—
either pianos must be cut out of orchestra work,
or reed instruments (flute, clarinet, saxophone,
oboe, bassoon and English horn) must be elim-
inated, for there are in this country practically
no reed instruments made in 440 pitch except-
ing the few imported ones in use in the large
symphony orchestras; it is impossible to obtain
any at the present time, and probably will be
for several years to come. In normal times it
would require at least two to three years for a
jobber to secure a line of reed instruments made
in 44OA in sufficient quantities to supply a rea-
sonable demand only. To-day—ask any job-
ber what are the chances to get one from
Europe.
Facts Versus Theory
But even if the instruments could be obtained
in sufficient quantities, are the jobbers and
dealers of this country willing to carry in stock
the additional full line of reed instruments as
well as the two they already have and, besides,
to have the low pitch attachments of their brass
instruments cut down to the new pitch, in order
to suit some theorist's idea that the pitch
should be other than it now is?
Are the makers of reed "instruments in this
country willing to invest the thousands of dol-
lars in making new tools, patterns, etc., as well
as to give the time of high salaried experts in
experimenting and testing the results of experi-
ments which will be necessary to perfect the
new line of instruments before they can be
placed on the market?
And what shall the manufacturer, jobber and
RUNG
THE OLDEST AND
LARGEST MUSICAL
MERCHANDISE HOUSE
IN AMERICA
MUSIC
TRADE
REVIEW
87-101 Ferry Street
Jersey City, N. J.
OSCAR SCHMIDT, Inc.
ESTABLISHED 1877
Manufacturer of Musical Stringed Instruments — Celebrated Stella
Sovereign Guitars, Mandolins and Banjos, Violins,
Menzenhauer Guitar Zithers, Mandolin Harps,
Guitarophones, Symphonettes and other musical novelties
dealer do with the hundreds of thousands of
dollars' worth of low pitch instruments now in
stock and in process of manufacture?
What
can they say to the army of musicians who will
wish to exchange their old low pitch instruments
for the new, and what will they do with the old
taken in exchange?
A Serious Matter
What will the manufacturer do with the thou-
sands of dollars' worth of special tools, dies,
machine attachments, etc., which he now has
and which will be worth to him only their value
as junk metal if use of the new pitch by reed
instrument players is enforced? This is, it
seems to me, a matter for serious consideration.
Piano makers, so far as I have been able to
ascertain, have paid little attention to the change
of pitch, evidently looking at it as a matter
easily settled by a little extra twist of the
tuner's hammer. Do they not realize that al-
most every family into which a new piano goes
has some member who plays a wind instrument
—the flute, clarinet, saxophone or cornet—and
that in thousands of cases the main object in
buying a piano is to play it in combination
with these instruments? If the piano is tuned
to 435A, or just enough above it to compensate
for the slight "settling 1 ' process which every
new piano undergoes, then any standard make
of wind instrument can readily be tuned to it,
but if the piano is tuned to 44OA it will be im-
possible to use any wind instrument with it, ex-
cepting the brass family, and most of them
only after cutting down the low pitch slides
or drawing the high pitch slides the necessary
distance to make the new pitch.
What Are the Benefits?
If there were any benefit to be derived from
a change of pitch, by anybody—musician, job-
ber, dealer or manufacturer; if it would make
our bands or orchestras any better; if it would
VIOLINS £ ^ * * 6RAHD PRIZES 1
[BEST S T R I N G S * " " ' * CHICAGO »)} 5T LOUIS 1 4 0 4 1
make wind instruments easier to play, give them
any better tone quality or improve their general
intonation, there might be some excuse for it
or some argument in its favor, but there is no
such excuse and no one has as yet come for-t
ward with any such argument.
Therefore it
seems to me that the proper course would be
for manufacturers, jobbers and dealers to notify
the American Federation of Musicians that they
cannot supply any reed instruments in 440 pitch,
and for piano manufacturers and dealers to re-
fuse to tune their instruments to any other pitch
than the standard 435A, the official pitch of the
Piano Manufacturers' Association, as well as
the Piano Tuners' Association, which, by the
way, at the recent convention protested against
the change and declared in favor of continuing
to use 435A.
In conclusion, I wish to say that Professor
Dayton Clarence Miller, of the Case School of
Applied Science, who is probably the greatest
living acoustician, in his "Lowell Lectures," re-
cently published under the title "The Science of
Musical Sounds," in summing up the question
of the various pitches, says, ' i t has been pro-
posed that A43S be made a .standard, as a com-
promise between the Stuttgart A44O and the
Diapason Normal, A435. For practical pur-
poses there is little difference in the pitches
A43S, A43S and A44O; but there should be but
one nominal standard, and it seems that the
strongest arguments favor A435. The musician
should insist that his piano and other instru-
ments be tuned to this pitch. . . , The au-
thor recommends the use of one pitch only for
both scientific and musical purposes, viz., A435.
In the tempered musical scale this gives for
middle C 25K.65 vibrations per second.
This
pitch is used exclusively in discussing the re-
sults of our sound analysis. In the laboratory
of the Case School of Applied Science, the scale
forks based on C256 have been duplicated with
new forks based on A435."
DURRO
JOHNFRIEDRICH&BRO.
5END FOR .^a—? 279 FIFTH /WE
OUR
~
NEW YORK
-*• -^^^
1ST. IS83
AND
STEWART
Exclusively Wholesale
OLIVER DITSON GO.
351-53FBURTH AVE. NEWYORKCITY
Manufacturer*
BOSTON, MASS.
0
Largest Wholesale
Musical Merchandise
House in America
Buegeleisen & Jacob son
113 University Place
Importer* and Jobbers of
VIC tor Dis trihu tors
and
MUSICAL
MERCHANDISE
Attractive Specialties
Modern Service
ESTABLISHED 1834
NEW YORK
Black Diamond
Strings
THE WORLD'S BEST
M U S I C A I.
Me re h a n d i s e
Superior Quality MUSICAL INSTRUMENTS
Victor Distributor*
National Musical String Co.
Chicago
1108 Chestnut Street, Philadelphia, Pa.
Nev/ Brunswick, N. J.
WEYMANN
Manufac-
turers of
Established or»r half a century

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