Music Trade Review
Issue: 1923 Vol. 76 N. 22 - Page 12
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12
THE
OUR TECHNICAL DEPARTMENT
(Continued from page 11)
precisely, do the words "standard design" prac-
tically connote? Obviously, they are based on
a general understanding by all concerned that,
in respect of size, all pianos can be classified
into two or three horizontal and an equal num-
ber of vertical types; that, in respect of tonal
apparatus, all horizontal pianos may be classi-
fied in two types; and, lastly, that in mechanical
apparatus all horizontal and all vertical instru-
ments may be regarded as presenting identical
problems, each within its own division.
The point about size will at once be per-
ceived as one notes that, in respect of both hori-
zontal and vertical pianos, there is a certain
point at which a line must be drawn, separat-
ing two non-comparable ideas: the idea of tone
and the idea of shape. In other words, when a
piano, either grand or upright, is built below
a certain level, as it were, of size in critical
portions of its tonal apparatus it ceases to be
interesting as an example of the tonal possi-
bilities of a piano and remains interesting only
because of such considerations as its miniature
measurements, its pretty appearance or its low
price. This statement, of course, docs not ap-
ply in cases where for special reasons and du-
ties pianos are deliberately made undersized.
Now, I do not wish to hurt anyone's feel-
ings and shall, therefore, content myself with
saying that, when we begin to reduce the di-
mensions of a grand piano, we arrive at a point,
expressible in a sound board area of anything
less than 2,500 square inches, where it is no
longer possible to do justice to the tonal re-
quirements of the grand piano. Above this
point, however, it is possible to do substantial
justice; but, at the same time, it is not neces-
sary, at the most, to have more than two sizes
in this classification. So that we may say that
three sizes of grand pianos, connoting three
types of design essentially standardized, fully
cover all possible practical requirements. Of
these two tonally and one in respect of its shape
will be interesting.
Meaning of "Standardized"
It is, of course, understood that, in using the
word "standardized," I am not referring to
inter-factory, but to intra-factory practice.
Standardization in this sense deals entirely with
the internal affairs of each factory, considered
separately and individually.
If, now, it be asked what I mean by standard-
ized tonal designs within each factory I answer
that I mean designs in which the same string-
length at the same weight are invariably used to
produce the same pitch and to exercise the
same effect upon a sound board; any concomi-
tant variations in tonal quality, as apart from
pitch, being due to variations in sound board
area and in hammer specifications. This de-
scription connotes the use of acoustic engineer-
ing methods and exact calculation. It also con-
notes careful co-operation with the iron-casting
shop to the end that the plate shall be exact,
at least, in respect of its critical dimensions
(V-bearings, etc.).
And, speaking generally in respect of size, I
may simply add to the above observations the
additional remark that upright pianos are at
their best when full advantage is taken of a
height of, say, four feet six inches and that it is
possible to have them intrinsically excellent
when they are not higher than four feet two
inches. These two sizes, the first of which may
even be two inches lower, represent the best
for the vertical piano, in my opinion.
The observations already made about the
tonal design of the grand piano apply, with
suitable modification, to the upright.
Summary
This, then, is what I mean by standardized
tonal design within each factory, namely, re-
duction of the number of sizes and styles to
two upright and three (at most) grand, adop-
tion of engineering principles and, consequent-
ly, the beginning of a system of founding the
entire construction upon exact measurement,
MUSIC TRADE
REVIEW
which must not be subject to notable variation
in any instance. This, in turn, leads to the
adoption of permanent scale patterns, bellying
founded upon string-length measurements, to
jigs and templets, in place of the rule and the
pencil, and finally to the multiplication of proc-
esses and their individual reduction to the sim-
plest machine forms.
Of the three key-ideas, then, the first is es-
sential to the existence of the others.
COMMUNICATIONS
Communications for this department should
be addressed to William Braid White, care The
Music Trade Review, 373 Fourth avenue, New
York City, N. Y.
BROWN STORE IN HACKENSACK
Formal Opening Held on May 28—Handles
United Line, Brambach, Milton and Victrola
HACKENSACK, N. J., May 28.—The official open-
ing of Brown's Music Shop at 122 Main street,
this city, took place this evening.
The new store, one of the most attractive in
the city, was profusely decorated and the public
was invited to hear a concert given by the
Hawaiian Quartet and various vocalists, includ-
ing William Robyn and others. Many mem-
bers of both the piano and talking machine
trades were present.
The store is located in the heart of the busi-
ness section of the city and has two large show
windows for the display of both pianos and
Victrolas. Its interior decorations are in good
taste, the walls painted cream color and the
four soundproof booths in harmonizing colors.
To the left of the entrance is the sheet music
department and back of this the record and
music roll department.
The store is managed by E. G. Brown, Jr.,
son of E. G. Brown, the well-known dealer in
Bayonne, N. J., who is also secretary of the
Talking Machine Men, Inc. During the eve-
ning refreshments were served under the super-
vision of Mrs. Brown, Sr.
JUNE 2, 1923
A complete line of pianos and player-pianos
are handled, including the A. B. Chase, Emer-
son and Lindeman pianos, manufactured by the
United Piano Corp., New York; the Brambach
baby grand and the Milton line.
Among the members of the trade present
were Charles McConville, of the United Piano
Corp.; Irwin Kurtz, president of the Talking
Machine Men, Inc.; Albert Galuchic, treasurer of
the Talking Machine Men, Inc.; J. A. Johnson,
of the Blackman Co.; Charles D. Mason, sales
manager of the 'New York Talking Machine
Co.; H. S. Maraniss, of Ornies, Inc.; George
Thaw, of the Blackman Co.; Carleton Chace,
of The Review, and others.
ALTERING LOESER DEPARTMENT
A sale of used pianos is meeting with suc-
cess in the piano department of Frederick
Loeser & Co., one of Brooklyn's largest depart-
ment stores. This is the third successful sale
held by the Loeser store this season. Simul-
taneously with the clearing up of their floor
space in the piano showroom alterations on the
walls and demonstration rooms have been start-
ed. It is planned to tear down the partitions
between several of the rooms, making a much
larger space for reproducing demonstrations.
American
Piano Wire
"Perfected"
"Crown"
Highest acoustic excellence dating back to the
days of Jonas Chickering. Took prize over whole
world a t Paris, 1900. For generations the
standard, and used on the greatest number of
pianos in the world.
Services of our Acoustic Engineer always available — free
Illustrated books—free
American Steel & Wire
ACOUSTIC DEPARTMENT
208 S. LA SALLE ST., CHICAGO
Tuners and Repairers
We have just issued a little 20
page price list of
PIANO MATERIALS AND TOOLS
and will send a copy upon request.
It is in convenient form and of in-
terest to every Tuner and Repairer.
Simply ask for Circular No. 244
L
HAMMACHER, SCHLEMMER & CO.
PIANO AND PLAYER HARDWARE, FELTS AND TOOLS
NEW YORK SINCE 1848
4th Avenue and 13th Street
12
THE
OUR TECHNICAL DEPARTMENT
(Continued from page 11)
precisely, do the words "standard design" prac-
tically connote? Obviously, they are based on
a general understanding by all concerned that,
in respect of size, all pianos can be classified
into two or three horizontal and an equal num-
ber of vertical types; that, in respect of tonal
apparatus, all horizontal pianos may be classi-
fied in two types; and, lastly, that in mechanical
apparatus all horizontal and all vertical instru-
ments may be regarded as presenting identical
problems, each within its own division.
The point about size will at once be per-
ceived as one notes that, in respect of both hori-
zontal and vertical pianos, there is a certain
point at which a line must be drawn, separat-
ing two non-comparable ideas: the idea of tone
and the idea of shape. In other words, when a
piano, either grand or upright, is built below
a certain level, as it were, of size in critical
portions of its tonal apparatus it ceases to be
interesting as an example of the tonal possi-
bilities of a piano and remains interesting only
because of such considerations as its miniature
measurements, its pretty appearance or its low
price. This statement, of course, docs not ap-
ply in cases where for special reasons and du-
ties pianos are deliberately made undersized.
Now, I do not wish to hurt anyone's feel-
ings and shall, therefore, content myself with
saying that, when we begin to reduce the di-
mensions of a grand piano, we arrive at a point,
expressible in a sound board area of anything
less than 2,500 square inches, where it is no
longer possible to do justice to the tonal re-
quirements of the grand piano. Above this
point, however, it is possible to do substantial
justice; but, at the same time, it is not neces-
sary, at the most, to have more than two sizes
in this classification. So that we may say that
three sizes of grand pianos, connoting three
types of design essentially standardized, fully
cover all possible practical requirements. Of
these two tonally and one in respect of its shape
will be interesting.
Meaning of "Standardized"
It is, of course, understood that, in using the
word "standardized," I am not referring to
inter-factory, but to intra-factory practice.
Standardization in this sense deals entirely with
the internal affairs of each factory, considered
separately and individually.
If, now, it be asked what I mean by standard-
ized tonal designs within each factory I answer
that I mean designs in which the same string-
length at the same weight are invariably used to
produce the same pitch and to exercise the
same effect upon a sound board; any concomi-
tant variations in tonal quality, as apart from
pitch, being due to variations in sound board
area and in hammer specifications. This de-
scription connotes the use of acoustic engineer-
ing methods and exact calculation. It also con-
notes careful co-operation with the iron-casting
shop to the end that the plate shall be exact,
at least, in respect of its critical dimensions
(V-bearings, etc.).
And, speaking generally in respect of size, I
may simply add to the above observations the
additional remark that upright pianos are at
their best when full advantage is taken of a
height of, say, four feet six inches and that it is
possible to have them intrinsically excellent
when they are not higher than four feet two
inches. These two sizes, the first of which may
even be two inches lower, represent the best
for the vertical piano, in my opinion.
The observations already made about the
tonal design of the grand piano apply, with
suitable modification, to the upright.
Summary
This, then, is what I mean by standardized
tonal design within each factory, namely, re-
duction of the number of sizes and styles to
two upright and three (at most) grand, adop-
tion of engineering principles and, consequent-
ly, the beginning of a system of founding the
entire construction upon exact measurement,
MUSIC TRADE
REVIEW
which must not be subject to notable variation
in any instance. This, in turn, leads to the
adoption of permanent scale patterns, bellying
founded upon string-length measurements, to
jigs and templets, in place of the rule and the
pencil, and finally to the multiplication of proc-
esses and their individual reduction to the sim-
plest machine forms.
Of the three key-ideas, then, the first is es-
sential to the existence of the others.
COMMUNICATIONS
Communications for this department should
be addressed to William Braid White, care The
Music Trade Review, 373 Fourth avenue, New
York City, N. Y.
BROWN STORE IN HACKENSACK
Formal Opening Held on May 28—Handles
United Line, Brambach, Milton and Victrola
HACKENSACK, N. J., May 28.—The official open-
ing of Brown's Music Shop at 122 Main street,
this city, took place this evening.
The new store, one of the most attractive in
the city, was profusely decorated and the public
was invited to hear a concert given by the
Hawaiian Quartet and various vocalists, includ-
ing William Robyn and others. Many mem-
bers of both the piano and talking machine
trades were present.
The store is located in the heart of the busi-
ness section of the city and has two large show
windows for the display of both pianos and
Victrolas. Its interior decorations are in good
taste, the walls painted cream color and the
four soundproof booths in harmonizing colors.
To the left of the entrance is the sheet music
department and back of this the record and
music roll department.
The store is managed by E. G. Brown, Jr.,
son of E. G. Brown, the well-known dealer in
Bayonne, N. J., who is also secretary of the
Talking Machine Men, Inc. During the eve-
ning refreshments were served under the super-
vision of Mrs. Brown, Sr.
JUNE 2, 1923
A complete line of pianos and player-pianos
are handled, including the A. B. Chase, Emer-
son and Lindeman pianos, manufactured by the
United Piano Corp., New York; the Brambach
baby grand and the Milton line.
Among the members of the trade present
were Charles McConville, of the United Piano
Corp.; Irwin Kurtz, president of the Talking
Machine Men, Inc.; Albert Galuchic, treasurer of
the Talking Machine Men, Inc.; J. A. Johnson,
of the Blackman Co.; Charles D. Mason, sales
manager of the 'New York Talking Machine
Co.; H. S. Maraniss, of Ornies, Inc.; George
Thaw, of the Blackman Co.; Carleton Chace,
of The Review, and others.
ALTERING LOESER DEPARTMENT
A sale of used pianos is meeting with suc-
cess in the piano department of Frederick
Loeser & Co., one of Brooklyn's largest depart-
ment stores. This is the third successful sale
held by the Loeser store this season. Simul-
taneously with the clearing up of their floor
space in the piano showroom alterations on the
walls and demonstration rooms have been start-
ed. It is planned to tear down the partitions
between several of the rooms, making a much
larger space for reproducing demonstrations.
American
Piano Wire
"Perfected"
"Crown"
Highest acoustic excellence dating back to the
days of Jonas Chickering. Took prize over whole
world a t Paris, 1900. For generations the
standard, and used on the greatest number of
pianos in the world.
Services of our Acoustic Engineer always available — free
Illustrated books—free
American Steel & Wire
ACOUSTIC DEPARTMENT
208 S. LA SALLE ST., CHICAGO
Tuners and Repairers
We have just issued a little 20
page price list of
PIANO MATERIALS AND TOOLS
and will send a copy upon request.
It is in convenient form and of in-
terest to every Tuner and Repairer.
Simply ask for Circular No. 244
L
HAMMACHER, SCHLEMMER & CO.
PIANO AND PLAYER HARDWARE, FELTS AND TOOLS
NEW YORK SINCE 1848
4th Avenue and 13th Street
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