Music Trade Review

Issue: 1920 Vol. 71 N. 22

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
10
THE MUSIC TRADE REVIEW
PNEUMATICS
(Continued from page 9)
a filling or coating of shellac is exposed to
pressure of a certain maximum. In specifying,
therefore, these figures should be stated, and
the manufacturer should be willing to give
every needed fact to enable the maker of the
shellac to discover whether he can fill the re-
quired specification, what figure he must put
on it, and whether some special process of
applying it will be necessary in order to carry
out the practical requirements with sufficient
regularity to enable him to guarantee his
product. In a word, specification is entirely out
of the question from a scientific standpoint un-
less the exact functions, the exact nature of
the resistances and the exact manner of appli-
cation are systematically set forth before the
prices are considered.
These principles are even more clearly to be
understood when leather and cloth are under
consideration. Pouch leather, for instance, can
be specified in the most complete and scientific
manner, seeing that its functions are so thor-
oughly understood and the conditions in which
they are performed so familiar. Here the best
of opportunities exists for specifying in a com-
pletely scientific manner. The tensile strength
of the pouch, its exact caliper measurement, its
density, its resilience, its relative porosity and
its ability to resist air-pressure all need to be
taken into the most careful consideration, and
all specifications for such leather should en-
visage each of the properties of resistance or
protection implied in the analysis.
All this, however, presupposes in itself a sys-
tem of figuring which shall be common to the
two parties. There is no sense in specifying
that a certain material shall develop a certain
resistance to given conditions unless the re-
sistance can be measured in definite terms and
the response of the material thereto be tested.
That is to say, the material supplier and the
material user must think in the same terms.
They must have a similar system of calcula-
"As Good as It Plays"
A player-piano is just as good as the music it
produces; no more and no less.
Most users of player-pianos are but slightly
equipped musically. Therefore a player-piano,
to succeed, must produce good musical results
when manipulated by such persons. Here
stands supreme the remarkable
M. Schulz Co. Player-Piano
now completing eleven years of extraordinary
success due to a wonderful combination of
technical, musical and selling qualities.
The Pre-eminent Schulz Player Virtues are:
Greatest Ease of Playing
Complete Exclusiveness
Greatest Responsiveness
Greatest Simplicity
Least Trouble in Maintenance
Greatest Reliability
Keen-minded merchants who want PROOF of
these allegations, and desire better acquaint-
ance with a player-piano that sells, and is
actually now selling as fast as it can be made,
can learn facts they need to know, if they apply
quickly to
M. SCHULZ COMPANY
Founded 1869
General Offices
Schulz Building
711 Milwaukee Are.
CHICAGO
Southern Wholesale Branch
1530 Candler Bldg.
ATLANTA, GA.
More Than 165,000 Schulz Pianos and Player-Pianos
Have Been Made and Sold !
NOVEMBER 27,
1920
tions and a similar, nay an identical, system of
tests.
For the general specifying materials of all
sorts which are subject to compression, to ten-
sion or to other strains, various measuring in-
struments exist. Of these, the Modulimeter is
probably the best known and is very efficient. It
acts on the principle of applying fixed loads to
samples of material and micrbmetrically measur-
ing the results of such application, as to com-
pression, recovery from compression, thickness,
resistance to bending strains, and as to a mul-
titude of consequences deducible from the funda-
mental tests. If both parties to a materials
contract are equipped with such means for the
measurement of the materials' resistances, ten-
sile strength, resilience, etc., it is evident that
scientific specifications become at last possible.
What, then, is gained when specification has
become so exact? First, the assurance that
variations can be detected and eliminated. Sec-
ond, the certainty that experiments can be con-
ducted for the purpose of ascertaining the pre-
cise constituents of materials needed to pro-
duce given results, and the results thereof set
down in technical language, intelligible to all
who possess the same measuring methods.
Third, that on these accounts losses due to
variations in the behavior of materials sup-
posedly identical can first be minimized and
later eliminated altogether. Fourth, that varia-
tions in labor cost owing to variations in the
behavior of materials can likewise be minimized,
with resulting economies.
The basis of modern manufacture is economy
and exactness.
BEGGARS AND CHOOSERS TO DINE
Organization of Roll and Record Concern Rep-
resentatives to Hold Beefsteak Dinner
The Beggars' and Choosers' Club, formed
some time ago for the purpose of holding
weekly luncheons, is composed of some mem-
bers of the recording staffs of the various talk-
ing machine record and player-piano roll com-
panies and representatives of music publishers
particularly interested in the mechanical record-
ing of their firm's catalogs.
Since the club has been formed, it has
had a series of luncheons, and in practically
every instance has had a good attendance.
The organization now announces that on
Tuesday evening, November 30, it will hold
a beefsteak dinner at Keen's Chop House, Forty-
fourth street, New York City. There will also
be entertainment on that occasion. The follow-
ing is a complete list of the membership: Rep-
resentatives of manufacturers: Sam Perry, Fred
Hager, Frank Hennings, Cliff Hess, Herman
Rose, Milton Delcamp, Victor Arden, Max
Kortlander, Robert Louis, William Fay, Jack
Bliss, George Sheffield, L. Stevens, J. Jaudus.
Representatives of publishers: Justin Rose,
Frank Goodman, Theo. Morse, Harold Smith,
Maxwell Silver, Jack Glogau, Edward B. Bloe-
den, Elliott Shapiro, Barry Bloeden, Ray Per-
kins, Harry Collins, Edward Christy, Ben Born-
stein, Jack Mills, Walter Douglas, Emerson
Yorke, Billy Chandler, Louis Breau and J.
Vondergoltz.
BACK FROM WESTERN TRIP
George F. Abendschein Returns After Visiting
Factories in That Territory
George F. Abendschein, of the Staib-Abend-
schein Co., 134th street and Brook avenue, New
York, returned home on Monday of this week
from a trip throughout the West, where he
visited a large number of the piano factories in
that territory.
Mr. Abendschein stated to The Review rep-
resentative, that although it was quiet at the
present time, all the piano manufacturers felt
that there would be a return to a better business
within the very near future.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
NOVEMBER 27,
11
THE MUSIC TRADE REVIEW
1920
WIWfe^^^ 8 ^^
Whatever else may be true, it is certainly true
that the music roll business is settling down into
a condition where it takes its place as one of
the staple industries of the country. A few
years ago no one would have supposed that the
music roll business could ever be considered in
the same breath as the sheet music industry.
Yet to-day the two are rapidly approaching each
other, or rather the music roll is rapidly catch-
ing up. With the increase in business which has
thus been so noticeable we have to notice also
a tendency to suppose that all the credit is due
to the extraordinary ability of the men who
have been in the forefront of the trade during
the past few years. In reality, however, it is
much more due to the fact that the country
is just beginning to wake up to the possibilities
Hand Played Word Rolls
for DECEMBER
53528 Broadway Blues.
Fox-trot. (Morgan)
Adrian Kollinl
53628 Hula Blues. One-step. (Noble),
Adrian Kollinl
53728 The Girl of My Dreams (Follies of
1820). Fox-trot. (Berliu)..Adam Carroll
53838 Falesteena. Novelty Fox-trot. (Rob-
insou) ..J. Milton Delcamp-Adam Carroll
53929 My Home Town Is a One-Horse
Town. Novelty Oue-8tep.
(Silver),
Victor L>ane-Cal Adams
54028 In the Dusk. Fox-trot. (Grey),
Adam Carroll-Adrian Kollini
54128 Just Snap Your Fingers at Care
(Greenwich Village Follies). Fox-trot.
(Silver)
J. Milton Delcamp
54228 Grieving for You. Fox-trot. (Gold),
Victor Lane
54328 Look What You've Done With Your
Dog-gone Dangerous Eyes. Fox-trot.
(Ruby)
J. Milton Delcamp
54428 Singin' the Blues. Fox-trot. (Conrad),
Adrian Rollini
54528 Hop, Skip and Jump. Fox-trot. (Dy-
son)
J. Milton Delcamp
54628 Sweet Little Stranger (Jim Jam
Jems). Fox-trot. (Htmley),
J. Milton Delcamp
54728 When I Lost You, Mother of Mine.
Ballad. (.Osborne)......Irene D'Giovanni
54828 Moon of Love (Hitchy-Koo). Fox-trot.
(Kern)
Adam Carroll
54928 Feather Your Nest. Fox-trot. (Ken-
dis-Brockinan)
Adam Carroll
55028 Drifting
Along.
Novelty
Song.
(Friend),
J. Milton Delcamp-Adam Carroll
55108 Midsummer. Novelette. (Maquarre),
Irene D'Giovanni
55208 Basket of Roses. Novelette. (Albers),
Irene D'Giovanni
Republic Player Roll Corp.
PAUL B. KLUGH, Pres.
75th Street at Broadway
N. Y. CITY
of the player-piano. Indeed, impartial observers
say quite frankly that the people are not yet by
any means thoroughly wakened up. For quite a
long time yet we shall have to remind the trade
that they have not yet begun to sell the music
roll to the people in the right way. That is to
say, any increase or expansion in consumption
of music rolls can up till now be traced quite
easily to the natural growth of population. It
is authoritatively said that ten million rolls were
made last year. That amounts to about ten new
rolls for every player-piano and piano player in
the country. If the export shipments be de-
ducted this number will become noticeably
smaller. One cannot regard such a record as
indicating that the player roll business has
achieved all the success which is due its merits.
There is still a long way to go.
There is no doubt at all that the heavily
jazzed roll is declining in popularity and that we
shall soon begin to hear of something new to
take its place. No one ought to mind. It en-
tailed a great deal too much in the way of labor,
both of arranging and of editing. If, however,
we begin to ask ourselves what will take its
place the answer is not quite so easy. There
is no sense in trying to invent any new compli-
cation. The only possible remedy lies in trying
to find a new simplification. One wonders
whether it will not be possible after a while to
get back to the old simple melodies, with simple
treatment. Is it really necessary to abandon
melody altogether? Only a few years ago it
was customary to say that the public disliked
classical music because it wanted "melody."
Now, in truth, overjazzed rolls are just as ob-
scure as to melody as any modern orchestral
fantasy or tone-poem. So when we start to get
away from the overjazzed roll we are simply
working towards melody again. And why not?
The dancing masters say that the dance crazes
of the past year or two are being gradually elimi-
nated in favor of more subtle steps. The new
cat-step is certainly less jerky than the fox-trot,
and the waltz is being heard of again. All this
can only mean that the public taste is going
through another change and that the music roll
men will do well to remain on the lookout lest
they find themselves caught with overstocks of
unsalable goods. Fads come up very rapidly,
but they just as rapidly subside.
The news that the company which has been
making and marketing the Rythmodik rolls will
in future confine itself to rolls for the
Ampico reproducing, piano shows that the ten-
dency toward specialization is becoming notice-
able as well throughout our own branch of the
music industries as elsewhere in them. It also
indicates, of course, that the reproducing piano
is becoming very important. So much care is
needed in the preparation of the music for the
reproducing piano that, there is no wonder the
Rythmodik folk decided to stick to the one job
in the future. There is, of course, an immense
possible future for,the reproducing piano, and
hence also for the roll which goes with it. The
possibilities of improving such rolls and of ren-
dering the process of editing them more certain
and accurate are very great and we need not
PLAYER--ORGAN-PIANO
expect to see the end of progress for many a
year yet. At present it is probable that the most
serious difficulty lies in the matter of editing the
rolls after the original master record has been
obtained. Here the patience of the recording
artist is often strained and here, of course, is the
critical point in the whole process. It is quite
certain that as time goes on all the methods will
be so improved that the labor of editing will be
much reduced, and then we shall see a great
expansion in the reproducing field. Music roll
men should do all in their power to encourage
the production of reproducing pianos and rolls,
for the simple reason that every reproducing
piano is an apostle of # good music and is help-
ing to teach the American people something of
music's charm in the home, under such condi-
tions of beauty and completeness as cannot in
ordinary circumstances be otherwise dupli-
cated. We hope that the reproducing piano will
continue to carry on. Also the reproducing roll.
They are the best helpers we have.
AEOLIAN CO.
The Duo-Art bulletin this month is crammed
with good things, ranging from Harold Bauer's
reading of Handel's- "Largo" and Arthur Shat-
tuck's of a "Norwegian Folk Song," by Sindiug,
to the latest virtuosities of Fox-trotty Frank
Banta and Cliff Hess. The list of artists is be-
wilderingly large and brilliant:
DUO-ART ROLLS
Composer
Played by
Kendis—Feather Your Nest—Fox-trot and Song Roll,
Banta
Sloane—Just Sweet Sixteen—"Greenwich Village Fol-
lies." One-step and Song Roll
Banta
Berlin—-Beautiful Faces. "Winter Garden." Fox-trot
and Song Roll
Banta-Hess
{Continued on page 12)
MUSIC
ROLLS
FOR D E C E M B E R
6898—ALICE BLUE GOWN. From "Irene."
Waltz. (Harry Tleruey.) S. A Perry.
691ft—THE BROADWAY BLUES. Bluet Fox-
trot. (Swanstrom-Morgan.) Joe Gold
6902—CALL ME UP ON THE MASON DIXIE
LINE. Fox-trot. (Pease. Nelson and
Parish.) B. Beeves.
6920—CRAZY
BLUES.
Blues Fox-trot.
(Perry Bradford.) Joe Gold.
6906—DARLING. Fox-trot. (Jaekson-Sdion-
berg.) E. Beeves.
6900—HONOLULU EYES. Waltz. (Johnson
and
Vlollnsky.)
E. Beeves.
6917—I'M GLAD YOU ARE HAPPY AGAIN.
Waltz-Marimba Effects. (Do Witt and
Brandon.) £. Beeves.
6908—I'VE GOT THE BLUES FOR MY
KENTUCKY HOME. Blues Fox-trot.
(Oaskill.) Joe Gold.
6918—OLD PAL. (Why Don't You Answer
Me?)
Fox-trot.
(Lewis, Young and
Jerome.) Joe Gold.
6914—PALESTEENA. Fox-trot. (Conrad and
Bobertson.) S. A. Perry.
6903—PRETTY MISS VIRGINIA.
Waltz-
Marimba Effects.
Interlude—"Carry
Me Back To Old Virginia." (Blng and
Hager.) S. A. Perry.
LEATHERS
GONNORIZED MUSIC GO.
T. L LUTKINS, Inc.
144th Street and Austin Place, New York
1234 Olive Street
St. Louis, Mo.
A Specialty
of Pneumatic
Leathers
6919—WHEN I LOOKED IN YOUR WON-
DERFUL EYES. Waltz. (Dunkerley
and Osborne.) B Beeves.

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