While digging through a filing cabinet of automatic musical instrument
materials, I came across an eighteen-page booklet entitled, "The Ampico
Reproducing Piano Salesman's Manual".

Packed into that eighteen pages is more hype for the Ampico than I have
ever read anywhere.  It is far too long to quote verbatim, but I am
going to give you bits and pieces, without any personal comment of my
own.  The caps are theirs.


  What is a Reproducing Piano?

  In the first place the Ampico is NOT a "player piano," and must
  under no circumstances be offered as such.  It is true that the
  Ampico may also be used as a player, but this is purely incidental
  to its unique distinction as a REPRODUCING PIANO.  It is of the
  utmost importance that this distinction be kept clear in the
  prospect's mind.  The Ampico must never be referred to as an
  electric piano.  It is a REPRODUCING PIANO, an instrument which
  reproduces so faultlessly the playing of eminent concert pianists
  that the artist seems to play again. [in italics!]  The reproduction
  is not distinguishable from the public performance of the artist
  himself.

  When the artist makes his master roll for the Ampico, the record
  shows not only what notes were struck, but also exactly how long
  each string vibrated.  Each note perforation in an Ampico roll
  represents the length of time that the string vibrated when the
  artist made the record.  It is the Ampico's ability to reproduce
  the "singing tone" of the artist that has amazed musicians and
  music lovers alike.

  Crescendo and diminuendo effects and accents are obtained by means
  of devices controlled by the side perforations on the rolls.  By
  means of these devices the Ampico can pick out the melody and also
  obtain special accenting effects simultaneously (in italics) with
  crescendo or diminuendo effects.

  The Ampico is simply without any limitations whatever, so far as
  expression is concerned.  It can and does reproduce the artist's
  interpretation touch for touch, tone for tone, and phrase for
  phrase, with such uncanny fidelity that all the individual
  characteristics of the artist's style are clearly recognizable.


(Ed's note:  I'm biting my tongue.)

The book is divided into sections:

  Tone Color, New Demands Upon the Salesman,  How to Make the Ampico
  Sell Itself, Attitude Toward the Ampico ("Always try to keep alive
  the original freshness of your enthusiasm for the really
  extraordinary nature of the Ampico's achievement.  Within the Ampico
  lies hidden away the music of centuries, the faces and forms of the
  world's great masters of music, whom the Ampico makes to live again
  through the art of some great contemporary pianist"), Stock Display
  (Ampico should be displayed in a room separate and apart from other
  instruments, where the customer may sit down comfortably and be at
  ease, undisturbed by noises or unnecessary talking.),  A Model
  Demonstration, (Recommended rolls for this: Ornstein's interpre-
  tation of Liszt's "Liebestraum" or Buhlig's playing of "The Lark",
  or for a lighter piece, Kmita's "Shades of Night.")

Continuing with the chapter headings:

  The Reproducing Feature, Points for the Demonstrator, "The Automatic
  Encore" ['Repeat' to us mortals], Suggested Demonstration Rolls
  (divided by category), Catalogue of Records, Read the Ampico
  Inspector's Instruction Book, An Explanation of the Musical Terms
  Used in the Manual, and finally a pronunciation guide for the names
  of Ampico artists.

Makes wonderful reading.

Ed Gaida


 [ Editor's note:
 [
 [ I bit my tongue, too, and preserved the all-capitals in the original
 [ text above.  Wonderful article, Ed, and I think that this is a fine
 [ place to end discussion of the topic.  Please, authors: no more
 [ about the hyperbole and distorted claims in the advertising of
 [ pianos and piano rolls!  It's history, but not much else.  :-)
 [
 [ -- Robbie