In the research laboratory. SYDNEY V. JORDAN, Superintendent, at right, 37 years service,
and ERNEST J. MUNCK, Master Technician


AKIN TO THE STRADIVARIUS VIOLIN
IN THE NOBILITY OF ITS CONCEPTION

The Mason & Hamlin has, been called "The Stradivarius of Pianos." Antonio Stradivari made violins in Cremona,
Italy, two hundred years ago. He brought his delicate craft to the highest point of perfection and his instruments
became the standard by which all subsequent efforts in violin making are judged. The Stradivarius violins existing
today are in the hands of the greatest masters of their art. Treasured beyond price, each one is known for its
individual and transcendent beauty of tone and construction. There is unquestionably an analogy between
the Mason & Hamlin and the creations of the immortal violin maker of Cremona. Both are the
creation of master builders of noblest ideals. Both have attained an un-companioned pinnacle
of perfection. The Stradivarius violins are the finest known. The Mason & Hamlin is
what its creators plan it to be, the most magnificent piano in the world.

Piano manufacture is not an exact science. In the making of fine pianos scientific knowledge, while essential, carries the operation only so far. Beyond that the maker is dealing in art, and it is the art of the individual. Hence in the making of the Mason & Hamlin the personal equation is all important. There are individuals of long experience and thoroughly trained in those peculiar processes and methods that are responsible for the individual tone quality that has won this great piano its fame. In the manufacture of the Mason & Hamlin there are an infinite number of details each one of which has a bearing upon the

tone result. All of these details are interrelated each assuring a form and substance so to speak, important to the result only when fitting the form and substance of other details. While the scale of a piano is a highly important basic factor in the tone result the scale is only the foundation. It is the subject and outline of the picture upon which the individual artist must spread his pigment to produce the tone colors he desires. That piano making is an art is proven by the fact that it is no more possible to copy a fine piano, and get the same tone result, than it is to copy the work.



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