The piano, as we now have it, has limitations and defects, some of which can be reduced or eliminated by the adoption of new principles of action and activation, and by construction according to acoustical specifications, based upon the measurement of the effect of each feature upon qualitative and dynamic values of tones. For example, the characteristic tone of the piano as distinguished from most other instruments comes to a dynamic peak immediately after the hammer stroke and falls off rapidly. We have learned to make allowance for this so that in hearing music we have a tendency to hear a quarter note as of a given even loudness although the sound fades off sharply during that period. It is well known that with the drop in the loudness of the tone there is a corresponding change in the quality of the tone, which change again we have, of necessity, practically learned to ignore. If it should prove desirable, it is now quite easy to provide a mechanism which will sustain the piano tone at even loudness, and therefore uniform tone quality, during the time value assigned to it. The distribution of resonances of the instrument can be greatly improved by balancing. The necessary mechanical noises which accompany the production of tone in a piano may be largely eliminated if that should prove desirable. The acoustical engineer can now point out dozens of features in the piano which might be improved in future construction based upon analysis of the output in sound. In the same manner the organ, the king of instruments, if it is to maintain its pre-eminence in competition with substitutes, demands improvements in the light of new facilities. The more complicated the instrument, the more possibilities there are for improvement. During the last hundred years there has been a steady betterment in the mechanisms of practically all the leading musical instruments; but this movement will rise to great heights in view of the new tools for investigation and new materials and principles of construction.