Music Trade Review

Issue: 1921 Vol. 73 N. 9

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
6
THE MUSIC TRADE REVIEW
THE POINT OF VIEW
(Continued from page 5)
•we must satisfy both the elements, appreciation
atid production. But we cannot satisfy the sec-
ond much longer without new and radical im-
provements. These improvements are already
in existence, as every player manufacturer
knows, and only overconservatism prevents their
commercial introduction. It is feared that the
people wili be scared of them. But if we do not
get over that fear and trot out some of the
secrets of the experimental rooms we shall soon
find that whiie we have been waiting the peo-
ple have turned round to look at something
else.
INTERESTING REPUBLIC ROLLS
Some of the Features of the Republic Roll List
for September
The list of Republic player rolls for Septem-
ber contains some particularly interesting num-
bers, among them "South Sea Isles," the lively
fox-trot from George White's "Scandals of
1921," and also "Ilo," the new fox-trot success
by the writer of "Dardanella." Two other rolls
that are expected to prove very popular are:
"Bring Back My Blushing Rose" and "Sally,
Won't You Come Back?" from "The Follies of
1921." Both rolls have been recorded by J.
Milton Delcamp. Still another featured num-
ber is "Little Town in the Ould County Down,"
which is being programmed by John McCor-
GROWING DEMAND FOR LEATHERS
mack, the noted 1 Irish tenor.
BOSTON, MASS., August 22.—White, Son Co., W. R. McAllister, who is at the present time
manufacturers and importers of organ and piano touring western Pennsylvania and the vicinity,
leathers, report that production and sales are reports there is a large demand for these num-
proceeding in a satisfactory manner, with a bers and that the business conditions in this ter-
ritory are rapidly improving.
steadily increasing demand.
AUGUST 27, 1921
• JACK BLISS DENIES SOME RUMORS
Is Still General Manager of Meiodee Music Co.
and Expects to Continue as Such, and Makes
Vigorous Denial of Intention to Engage inifhe
Manufacture and Sale of Cheap Rolls
'.•'.
George H. (Jack) Bliss, general manager of
the Meiodee Music Co., this week denied em-
phatically rumors to the effect that he contem-
plated a business change, and particularly that
he is going to engage in the manufacture of
cheap music rolls. "At no time in my business
career have I been identified with anything but
high-class products," said Mr. Bliss, "and I have
no intention of changing that policy now or at
any other time. I am still general manager of
the Meiodee Music Co. and no changes have
been made nor are any contemplated. Business
with us has picked up remarkably during the
past month, and further increases are distinctly
in prospect. Meanwhile, I am playing a good
game of golf and the goose hangs high."
ADVERTISING OF USED INSTRUMENTS
Music vs. Mechanism
The average man or woman who enters a piano wareroom
neither knows nor cares for the technical refinements or
talking points of the player business. He or she wants just
Music and the Ability
to Produce It Personally
The wise dealer can sell ten times in ten if he recognizes this fact and
sticks to it persistently.
Therefore the wise dealer needs a player-piano, simple, reliable, per-
fected, which completely embodies the principle of the personal pro-
duction of music. That principle is completely embodied in the
M. Schulz Co.
Player-Piano
now in its twelfth year of steady perfecting and constant, undimmed
success.
Schulz dealers throughout the country are daily proving that with the
right player-piano sales can be made now as well as at any other time.
We have interesting and convincing facts to lay before those who are
sincerely interested in finding a completely satisfactory line of player-
pianos.
Full information from
M. SCHULZ COMPANY
Founded 1869
General Offices
Schulz Building
711 Milwaukee Ave.
CHICAGO
Southern Wholesale Branch
1530 Candler Bldg.
ATLANTA, GA.
General Counsel of Music Industries Chamber of
Commerce Offers Opinion That Dealer Cannot
Be Restrained Prom Using Trade-marked
Name of an Instrument in Advertising
The practice of using well-known and respect-
ed trade names in the advertising of second-hand
musical instruments and other goods by dealers
has long been a subject of comment, and, al-
though successful efforts have been made to put
an end to, or at least curtail materially, any
attempts to use such names in a fraudulent man-
ner, there has been little done to prevent the
dealer from using in his advertising the names of
standard instruments, provided, of course, he
had them to sell.
A well-known piano manufacturer some time
ago set out to prevent dealers who were not
authorized agents for his line from using the
trade-marked name of his product in the adver-
tising of such second-hand instruments of his
make as should come into their possession. It
is very possible that the warnings of possible
legal actions sent out by this manufacturer to
various dealers prompted the following inquiry
being offered to the Legal Bureau of the Music
Industries Chamber of Commerce, which was
answered by George W. Pound, general counsel,
to the effect that in his opinion a merchant cannot
be restrained from using the trade-marked name
in the regular course of business without the
adoption of unfair business methods.
The query and Mr. Pound's answer to the
same follow:
Query: Can a piano or other musical instru-
ment manufacturing company so protect its in-
struments through corporate trade-mark ,and
other similar means that a second-hand instru-
ment in the hands of a merchant cannot be ad-
vertised and sold by him under such trade name?
Answer: In my opinion, no.
Assuming that the maker had so protected his
output, had incorporated his company under
such title, had trade-marked his product under
the same title, had by use and exploitation fairly
acquired the trade name used, then sells this
product in the open market, parts with title, and
in due course of trade said instrument is acquired
by a merchant who offers it for sale under its
trade name, at a fair sale value, without any
unfair business methods, and in regular course
of business, I am strongly of the opinion that
such merchant is entirely within his rights, and
cannot be restrained from ' s o doing by the
maker.
In fact, it may well be that the privilege of
advertising and selling such instrument und.er
its well-earned and quality trade name is tihe
essence of value in the transaction to the dealer.
The transaction is without prejudice to the
manufacturer where it is conducted in the due
and regular course of business, without any un-
fair business methods, in good faith, and as above
indicated.
• •
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
AUGUST 27, 1921
MUSIC TRADE
REVIEW
Greater Flexibility in the Player Mechanism Is Necessary if That Instrument
Is to Attain Its Proper Place as a Means of Producing Music, Rather Than as
a Mechanical Device to Be Pumped —Technical Suggestions Along This Line
If we are not mistaken, the player-piano of
the future is to be an instrument especially de
signed to be played, instead of merely to be
pumped. Now that the distinction between re-
producing piano and ordinary player-piano is
becoming marked the latter instrument must be
developed along its own individual and particu
lar lines if it is to progress and not stagnate.
Designers who have been thinking during recent
years mainly of how they can make something
easy, to sell will have to tnink more about mak-
ing something easy to play, which is quite a
different thing. Actually, of course, there ought
to be no distinction between easy to sell and
rasy to play, but unfortunately such a distinc-
tion has been drawn on the absurd supposition
that what was wanted was something as easy as
possible to "work," but as hard as possible to
"play."
Well, to-day we all recognize that there will be
two sorts of player-piano in the future, one of
which will be for reproducing and the other for
first-hand playing. The two will be separate in
every sense of the term and they will in no way
interfere with each other. There will be no com-
petition because it will be understood by every-
body that the two types operate in different
fields, each with its individual and peculiar func-
tion. There is more than enough room for both,
and it is the wickedest waste of time and energy
to get up internecine factional rights about their
respective rights or comparative merits.
This be'ng the case, it is time to point out that
the design and construction of the player-piano
proper have by no means yet been brought to
their finality. There are many bad points to be
corrected, many misunderstandings to be cleared
up, much that is clumsy and ill thought out to be
made clear and clean. Last month we took occa-
sion to point out that manufacturing practice
has been sadly neglectful and indifferent in face
of the absurdit'es wh : ch commonly characterize
the lay-out of the expression devices. Likewise,
more than once we have shown how poorly the
makers seem to realize what the operation of
playing the piano really calls for in the way of
applying and utilizing power. But it is appar-
ently necessary to say the same thing over and
over again, and we shall therefore make no
apology for returning to the latter subject and
discussing one of the aspects of the general prob-
lem of power as applied to the mechanism of
the player-piano proper.
Flexibility
Convenience, immediate availability and suf-
ficiency are, of course, requisites for any scheme
of power production useful for our purposes.
But a greater quality than all these is needed.
That quality is flexibility. If the power sup-
ply is not flexible to the utmost degree it is
worse than useless. And it is just at this point
that the player mechanism so conspicuously
fails. It is no answer to such an indictment to
allege that the player-piano does, in spite of its
supposed defects, succeed in pleasing and satis-
fying most of those who buy it. Even if we
allow a tolerably violent assumption like that we
must still point out that progress depends upon
continually discovering faults and remedying
them. And no conscientious player expert will
pretend that the power supply of any player
mechanism on the market is what it ought to be
in respect of flexibility.
By the term flexibility we mean, of course,
the capacity to deliver, as soon as wanted, and
in needed quantity, power at any one of an in-
numerable number of levels between minimum
and maximum. We may state the minimum to
be that which is needed 1 to overcome action re-
sistance and make a sound as feeble as possible
on one tone of the piano. The maximum is
whatever power is needed to sound a chord of
utmost practical width (four octaves, perhaps)
at a hammer velocity equivalent to a pressure
The highest class player
actions in the world
upon the action of not. less than ten pounds. Of
course, neither the maximum nor the minimum is
commonly called for. Extremes only are repre-
sented here. The commonly used levels are not
much above or below a geometric means be-
tween the two extremes. But the need is for
immediate transference from any one level
of power between the extremes to any other be-
tween them. It is not merely that one should
be able to work up to a power approaching
the maximum or down to one approaching the
minimum. It is that one should be able, as
rapidly as the pianist can with his finger and
arm action, to go from any one level to any
other without hesitation or difficulty.
Calculation
The solution to the problem which these re-
quirements present is, of course, to be found
in accurately calculating the area of air-content
in the player mechanism and then discovering
means for obtaining the most rapid and me-
chanically practical withdrawal of such propor-
tional quantities of the total content as may be
needed from moment to moment. In order to
do this it is only necessary to examine carefully
the common form of pneumatic stack, when we
shall at once see that in literally numberless in-
stances we have overlooked opportunities for
minimizing waste and have vastly increased,
without realizing it, the amount of atmospheric
air which we have to move. Square corners,
friction-producing channels, needlessly large
chests, leaky joints, excessive size of pneumatics
and valves caused by inability to destroy, leak-
age, these and many other causes can be cited.
All dtsigncrs are well acquainted with them.
But they have been remiss in not realizing that
the existence of these faults makes the player-
piano an inefficient instrument, unable to real-
ize the musical possibilities which ought t^ be
its own.
Waste
In much the same way calculation will reveal
parallel avenues of waste in the motor, the bel-
lows system and the various non-speaking pneu-
matic parts. There has grown up of late years
(Continued on page 8)
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"The valve unit that made the player famous"
TfiE dflPflNESE
sense of becutm has been
developed 6o an> extraordinary
decree
"|ne exauisifce
The new "Amphion Accessible Action" is the last word in scientific player
achievement. It has the complete valve action assembled in a "Demountable
Unit" giving instant accessibility.
.'
AMPHIONWCTIONS
SXKMZVSE
—Your Guarantee
N EW YORK
*
f ^ Svmphonoj&
^ ^ %J
I
plauer -pieno
cppeals do ell lovers of *be
becutiiful. so Ibbab far-cujau
depen demands end bui|s
these superb instruments.
L/ou tuill be proud of i|oor
{cscirjicOiocj Sumphonoic*, cria
I{I will moke tiour house
c home.
PRICE & TEEPLE PIANO CO.
lUIUIIHNIIItllllllinillllUNllllfllUIIIIII
CHICAGO,
U.S.A.
..-.
- ...-.

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