Moving Picture World (Jan-Mar 1914)

10/2 aiif THE MOVING PICTURE WORLD Music for the Picture Conducted by CLARENCE E. SINN THE name of Seeburg has long been familiar in connection with first class automatic musical instruments. Recently I received a most artistic catalog from this house announcing that the J. C. Seeburg Piano Co. had just completed and placed on the market something of interest to moving picture theaters and musicians — a combination "orchestra and organ instrumentation" called the "Style M. Photoplayer." I found the instrument to contain many excellent features. First, a really first class piano of seven and a half octaves, strongly built and with a beautiful resonant tone. Second, a ninety-two pipe organ, containing a practical selection of the most useful voices in organ work. These stops represent violin, flute, and piccolo (2 foot stops), melodia; 8 foot stop (echo— 8 foot stop) clarinet, 8 feet and an 8 foot bass. The practical organist will recognize the value of these and the combinations possible therewith. The flute stop especially is worthy of more than passing mention for its beautiful quality of tone. Played as a solo with piano accompaniment (left hand) the effect was that of an exceptionally fine big toned flute accompanied by a harp. The organ has, of course, a separate manual (or keyboard) which is placed just above the piano keyboard. Either instrument may be played independently of the other. The piano has a mandolin attachment which is very useful, not only for accompaniments for music of certain character, but also for sound effects when the picture calls for such; as for example, mandolin, guitar. banjo, etc. In connection with this part of the subject, 1 found a very good imitation of the bag-pipe in the clarinet and violin stops of the organ. Also a Chinese fiddle or oboe There is a xylophone attachment which can be thrown on by a stop the same as the organ pipes. I found this could be used with effect in the Chinese music. This xylophone, by the way, is an independent instrument (though a part of the whole), and can be used as a solo or in combination with any or all of the other instruments or stops. The "photoplayer" contains also bass drum, snare drum, tympanni, cymbal, triangle and castinets. To these are added tom-tom, crash-cymbal, fire gong, steamboat whistle, locomotive whistle, cow-bell, thunder effect, wind siren, bird call, baby cry, telephone and door-bell, horse trot and automobile horn. These instruments and effects are operated by pressing buttons at right and left of organ manuals and by foot pedals — all within convenient reach of the operator. The instrument taken as a whole is really a good practical musical instrument. The sound effects noted are merely accessory — good as they can be made, of course — but Mr. Seeburg is to be congratulated particularly on his foundation for the photoplayer; viz: the piano and the organ. In the hands of an ordinarily good pianist the result it seems to me is bound to be satisfactory. I have regarded Mr. Seeburg's photoplayer solely from the standpoint of a pianist, because I cannot conscientiously commend any instrument whose chief value lies in its possibilities of cutting musicians out of work. For those who think otherwise, however, Mr. Seeburg has provided an attachment which makes the "photoplayer" automatic. Perforated rolls containing ten selections each (note the length of these rolls), are made to be used with this instrument. These rolls can be stopped or started from any place in their length; can be rewound from any part or run forwards or back, making it possible to play any part of the roll at any time. To those who favor automatic players, this is a feature not to be overlooked. To run the photoplayer only as a mechanical instrument does not require a skilled musician; merely intelligence enough to insert the rolls and read the directions thereon is all that is needed to operate it. But, as I said before, I do not regard Mr. Seeburg's as being merely designed to supplant musicians in picture theaters. I should look upon it more as an adjunct — a help to those now engaged in this line of work. Many exhibitors, especially in the smaller places, would like sometliing more than piano music with their pictures, provided it could be had at a reasonable expense. A pipe-organ by reason of its cost is often out of the question. The business of the house does not warrant putting in an orchestra. So perforce they must content themselves by getting a good piano and as good a pianist as possible and let it go at that. Numbers of combination instruments have been put on the market to meet their need, but the impression exists (whether justly or not I am not prepared to say), that the "combination" is likely to consist of a tin-panny piano and cheap set of organ pipes, neither of which last long enough to pay for putting them in. I want to say that the instrument I looked at in Mr. Seeburg's rooms contained a first-class piano and good set of organ pipes. In a way it can take the place of an orchestra in a picture theater and it ought to be a valuable addition to an orchestra where one is used. It stands 5 feet 3 inches in height; 3 feet 3 inches in width, and 12 feet 3 inches in length. Saxe's Lyric, Minneapolis. We are pleased to show you this week an excellent picture of the Lyric theater orchestra, Minneapolis. This h-ouse is one of the popular "Saxe" string and is under the management of P. F. Schwie. Readers of the Moving Picture World know that the Lyric Theater has the reputation of presenting motion pictures in a high class manner with correct accessories— musical and othcru ise. The director of the orchestra is Saxe's Lyric, Minneapolis, Concert Orchestra. Director, W. E. Dirks; Organist, Julius K. Johnson; Manager, Posper F. Schwie. W. E. Dirks, and the organist Julius K. Johnson. You will doubtless remember these two gentlemen as being callaborators in the special music for Selig's big three reel production "The Coming of Columbus." I used to live 'm Minneapolis: was a charter member of the old M. P. A. in that city, have a good many friends in the twin cities, and through some of them have heard mighty good reports of the Lyric Theater and its popular orchestra. I Wouldn't Rag "The Vampire." Comes a letter which for obvious reasons shall be anonymous, reading as follows: After talking over the following incident with several musical critics I thought it might interest H