Music Trade Review
Issue: 1912 Vol. 54 N. 17 - Page 13
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MU3IC TRADE
REVIEW
AN EVOLUTION IN TRADE OPINION.
As the Industry Becomes Settled the Need of Certain Changes Becomes More Apparent Trade
at Large Only Beginning to Appreciate the Functional Aspects of the Player The Theory
and the Fact of the Matter—Why the Full Realization Has Come Slowly to Some—Planning
for the Future and What Must Be Considered.
It will probably be admitted by every observer
of player trade conditions that a very considerable
change is coming about in the general outlook and
view-point of the industry.
As a result of this, certain important and highly
desirable changes in methods and manner are be-
coming inevitable. It will be the purpose of the
present article to trace some of these to their
source, and to discern, if possible, what the future
trend of things ought to be; whether in accordance
with or opposed to what we see happening at the
present moment.
The player-piano is a peculiar proposition, in
that it requires for its complete comprehension,
and therefore for its successful manipulation, that
one should consider it functionally as well as ob-
jectively. It is not merely a piece of goods, a fac-
tory product, a thing to sell. It is also a means for
the production of something else. Taken by itself,
and without consideration of its functions, of the
things it does, it is a mere machine. But while it
may conceivably be made from this standpoint,
it cannot be sold at all except from the entirely
different position that it is a means for doing
something. You may make the player mechanism
if you will merely as a piece of ingenious ma-
chinery. But you can only sell it as a means
for producing music.
Now, .the most striking feature, externally speak-
ing, about the rise and development of the player
mechanism lies in the fact that the functional as-
pect is only to-day beginning to be perceived by
the trade at large. A few years ago the opinion
was universal among manufacturers and dealers
that the functions of the player were of absurdly
little importance. The only matter of any interest
was to make something that could be worked off
on consumers. There was absolutely no notion of
studying the mechanism in its musical aspect. That
was supposed not to be "practical." The idea was
"get something to sell." It made little difference
whether the thing finally would do anything at all
like what was claimed for it in the advertising.
The notion was held with utmost tenacity that
people w6uld be perfectly satisfied with something
that would grind out some sort of music. And it
was further held that anybody who thought differ-
ently., or who insisted that the player mechanism
must be improved till it could really "play" the
piano, was a crank, a theorist (dread word) and no
business man.
This would not have been so bad if only the
mechanism had been advertised and sold for what
apparently its makers and sellers believed it to be.
But the facts were just contrary. The mechanism
was advertised as a real, true, genuine means for
making everybody a master pianist. Musical terms
were used in great profusion and with greater con-
fusion.
Theory and Fact.
And then suddenly we all waked up. We have
found that we must think of the player-piano propo-
sition quite differently. We have found that, while
the sale of a piano may be merely the disposal of
a handsome case with a keyboard sticking out
from it, the selling of a player-piano is the dis-
posal of (1) musical instrument, (2) of the means
for playing it, and (3) of everything that comes
with the direct playing of musical possibilities with-
in the hands of one who before has not had them.
In other words, we have realized, with consider-
able suddenness, that the player-piano cannot be
handled except we take into consideration its sub-
jective as well as its objective side, its functional
•as well as its mechanical aspect, its musical as well
as its commercial properties.
What has been the cause of this realization?
Largely, it would seem, the discovery by the public
that the player-piano is, in truth, quite different
from that which it has been said to be. The fact
that a player-piano must be "player," that it cannot
just be "operated," has penetrated public conscious-
ness. The fact that a child cannot play the player-
piano and get real music out of it has become
known. And we have begun to realize that these
things are very decidedly known.
One cannot captiously blame the trade for a mis-
apprehension which, after all, was natural enough.
We are not all musicians, nor can it be expected
that the mysteries of piano playing should be
known to those who have not studied them. Noth-
ing but hard experience could have taught us that
the player-piano needs to be studied and developed
ao a musical instrument in the light of exact
knowledge. We have no one to blame, not even
ourselves.
At all events the realization has come. And the
question for us to decide is as to our future atti-
tude ; as to the manner in which we are going to
conduct this player business in the time to come.
Shall we continue in the light of our recent awak-
13
ening, or shall we go back to sleep again? These
are important and momentous questions.
Only One Solution Possible.
There can only be one right answer. Progress
cannot be backward. We must go on. We must
realize that the player business in future will have
to be conducted along definitely musical lines, and
that people will require this of us. We must learn
to respect our player-piano proposition. We must
learn also to respect public opinion concerning it.
We must learn the lesson that the player-piano can-
not be sold on the basis of giving the public some-
thing not up to sample. We must, in short, either
tone down our descriptions or bring our product up
to correspond with them.
i
Of the two possible courses the former is the
only one practicable. We have exaggerated the
possibilities of the player-piano as a giver of music
to the novice in things tonal. We have not exag-
gerated the mechanical possibilities, for these are
unlimited. We have simply claimed things that
would be unnecessary even if the/" were possible.
Let this be marked well—that the player-piano
mechanism as it stands to-day is a triumph of
{Continued on page 15.)
Practical Pointers on the Player Proposition
' By GULBRANSEN-DICKINSON
Number Two.
The Player Proposition has Commercial as well as Mechanical
aspects. These are just as important. In fact, they are also among
the Big Essentials. So in this second talk we draw attention to a
commercial side of the Player Proposition. We call it
BIG ESSENTIAL NUMBER TWO—RIGHTNESS.
The cheap player mechanism has no legitimate place in the
industry. A player mechanism that is not absolutely right is abso-
lutely wrong. A commercial piano needs a right and perfect player
mechanism as much as an artistic piano does. Neither can afford
to deal with a player mechanism that is not absolutely.right.
TO TAKE CHANCES WITH A PLAYER MECHANISM IS
FATAL TO SUCCESS.
The GULBRANSEN PIANO PLAYER is absolutely right.
And the best proof of this is that it is to be found in pianos of more
than one grade, but always in pianos which are the best in their
grade. For all these pianos need the best. If commercial, they
need a right player mechanism to give them the durability and re-
liability without which any player-piano is doomed in advance. If
artistic they need a right player mechanism to do justice to their
merits.
There can be, and are, successful "commercial" piano?, but
there are not, and cannot be, successful commercial player mech-
anisms.
The Gulbransen Piano Player Mechanism is more advanced
than any other in the Big Essentials of Design, Construction,
Workmanship and Material.
The Gulbransen does not rely on assertion; it demonstrates.
Easiest Pedaling, Highest Vacuum Expansion, Lightest Running,
Most Powerful and Most Durable Motor, Positive Imperviousness
to Air Leakage, Simplest Control, Most Sensitive yet Most Power-
ful Bellows, Adaptability to any Line of Pianos Without Change
of Case, Keys, Action, Back or any other Vital Element—these are
the Gulbransen Features which give it a claim to meet the re-
quirements of Big Essential Number Two—Rightness.
'>}
GULBRANSEN - DICKINSON COMPANY
Makers of Good Player Mechanisms Only.
"We Can Prove /t"
CHICAGO:
312-316 Union Park Ct.
NEW YORK:
440 W. 42d St.
THE
MU3IC TRADE
REVIEW
AN EVOLUTION IN TRADE OPINION.
As the Industry Becomes Settled the Need of Certain Changes Becomes More Apparent Trade
at Large Only Beginning to Appreciate the Functional Aspects of the Player The Theory
and the Fact of the Matter—Why the Full Realization Has Come Slowly to Some—Planning
for the Future and What Must Be Considered.
It will probably be admitted by every observer
of player trade conditions that a very considerable
change is coming about in the general outlook and
view-point of the industry.
As a result of this, certain important and highly
desirable changes in methods and manner are be-
coming inevitable. It will be the purpose of the
present article to trace some of these to their
source, and to discern, if possible, what the future
trend of things ought to be; whether in accordance
with or opposed to what we see happening at the
present moment.
The player-piano is a peculiar proposition, in
that it requires for its complete comprehension,
and therefore for its successful manipulation, that
one should consider it functionally as well as ob-
jectively. It is not merely a piece of goods, a fac-
tory product, a thing to sell. It is also a means for
the production of something else. Taken by itself,
and without consideration of its functions, of the
things it does, it is a mere machine. But while it
may conceivably be made from this standpoint,
it cannot be sold at all except from the entirely
different position that it is a means for doing
something. You may make the player mechanism
if you will merely as a piece of ingenious ma-
chinery. But you can only sell it as a means
for producing music.
Now, .the most striking feature, externally speak-
ing, about the rise and development of the player
mechanism lies in the fact that the functional as-
pect is only to-day beginning to be perceived by
the trade at large. A few years ago the opinion
was universal among manufacturers and dealers
that the functions of the player were of absurdly
little importance. The only matter of any interest
was to make something that could be worked off
on consumers. There was absolutely no notion of
studying the mechanism in its musical aspect. That
was supposed not to be "practical." The idea was
"get something to sell." It made little difference
whether the thing finally would do anything at all
like what was claimed for it in the advertising.
The notion was held with utmost tenacity that
people w6uld be perfectly satisfied with something
that would grind out some sort of music. And it
was further held that anybody who thought differ-
ently., or who insisted that the player mechanism
must be improved till it could really "play" the
piano, was a crank, a theorist (dread word) and no
business man.
This would not have been so bad if only the
mechanism had been advertised and sold for what
apparently its makers and sellers believed it to be.
But the facts were just contrary. The mechanism
was advertised as a real, true, genuine means for
making everybody a master pianist. Musical terms
were used in great profusion and with greater con-
fusion.
Theory and Fact.
And then suddenly we all waked up. We have
found that we must think of the player-piano propo-
sition quite differently. We have found that, while
the sale of a piano may be merely the disposal of
a handsome case with a keyboard sticking out
from it, the selling of a player-piano is the dis-
posal of (1) musical instrument, (2) of the means
for playing it, and (3) of everything that comes
with the direct playing of musical possibilities with-
in the hands of one who before has not had them.
In other words, we have realized, with consider-
able suddenness, that the player-piano cannot be
handled except we take into consideration its sub-
jective as well as its objective side, its functional
•as well as its mechanical aspect, its musical as well
as its commercial properties.
What has been the cause of this realization?
Largely, it would seem, the discovery by the public
that the player-piano is, in truth, quite different
from that which it has been said to be. The fact
that a player-piano must be "player," that it cannot
just be "operated," has penetrated public conscious-
ness. The fact that a child cannot play the player-
piano and get real music out of it has become
known. And we have begun to realize that these
things are very decidedly known.
One cannot captiously blame the trade for a mis-
apprehension which, after all, was natural enough.
We are not all musicians, nor can it be expected
that the mysteries of piano playing should be
known to those who have not studied them. Noth-
ing but hard experience could have taught us that
the player-piano needs to be studied and developed
ao a musical instrument in the light of exact
knowledge. We have no one to blame, not even
ourselves.
At all events the realization has come. And the
question for us to decide is as to our future atti-
tude ; as to the manner in which we are going to
conduct this player business in the time to come.
Shall we continue in the light of our recent awak-
13
ening, or shall we go back to sleep again? These
are important and momentous questions.
Only One Solution Possible.
There can only be one right answer. Progress
cannot be backward. We must go on. We must
realize that the player business in future will have
to be conducted along definitely musical lines, and
that people will require this of us. We must learn
to respect our player-piano proposition. We must
learn also to respect public opinion concerning it.
We must learn the lesson that the player-piano can-
not be sold on the basis of giving the public some-
thing not up to sample. We must, in short, either
tone down our descriptions or bring our product up
to correspond with them.
i
Of the two possible courses the former is the
only one practicable. We have exaggerated the
possibilities of the player-piano as a giver of music
to the novice in things tonal. We have not exag-
gerated the mechanical possibilities, for these are
unlimited. We have simply claimed things that
would be unnecessary even if the/" were possible.
Let this be marked well—that the player-piano
mechanism as it stands to-day is a triumph of
{Continued on page 15.)
Practical Pointers on the Player Proposition
' By GULBRANSEN-DICKINSON
Number Two.
The Player Proposition has Commercial as well as Mechanical
aspects. These are just as important. In fact, they are also among
the Big Essentials. So in this second talk we draw attention to a
commercial side of the Player Proposition. We call it
BIG ESSENTIAL NUMBER TWO—RIGHTNESS.
The cheap player mechanism has no legitimate place in the
industry. A player mechanism that is not absolutely right is abso-
lutely wrong. A commercial piano needs a right and perfect player
mechanism as much as an artistic piano does. Neither can afford
to deal with a player mechanism that is not absolutely.right.
TO TAKE CHANCES WITH A PLAYER MECHANISM IS
FATAL TO SUCCESS.
The GULBRANSEN PIANO PLAYER is absolutely right.
And the best proof of this is that it is to be found in pianos of more
than one grade, but always in pianos which are the best in their
grade. For all these pianos need the best. If commercial, they
need a right player mechanism to give them the durability and re-
liability without which any player-piano is doomed in advance. If
artistic they need a right player mechanism to do justice to their
merits.
There can be, and are, successful "commercial" piano?, but
there are not, and cannot be, successful commercial player mech-
anisms.
The Gulbransen Piano Player Mechanism is more advanced
than any other in the Big Essentials of Design, Construction,
Workmanship and Material.
The Gulbransen does not rely on assertion; it demonstrates.
Easiest Pedaling, Highest Vacuum Expansion, Lightest Running,
Most Powerful and Most Durable Motor, Positive Imperviousness
to Air Leakage, Simplest Control, Most Sensitive yet Most Power-
ful Bellows, Adaptability to any Line of Pianos Without Change
of Case, Keys, Action, Back or any other Vital Element—these are
the Gulbransen Features which give it a claim to meet the re-
quirements of Big Essential Number Two—Rightness.
'>}
GULBRANSEN - DICKINSON COMPANY
Makers of Good Player Mechanisms Only.
"We Can Prove /t"
CHICAGO:
312-316 Union Park Ct.
NEW YORK:
440 W. 42d St.
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