One of the reasons Frank Milne opposed the merger with American was
the extended perforations.  They weren't real, they weren't actual
reproductions of the artists performances, and he didn't want to code
for them.  Extended perforations were to be used to mimic the effects
of the non-existent sostinuto pedal.

Milne had come on staff at Aeolian in 1918, and headed the recording
and repertoire department there through the 1920s.  He began his series
of "Outstanding Hits" before the merger with American Piano Co., and
he grudgingly began cross-coding for the Ampico.  He was not impressed
with the automatic crescendo or how it reacted when the speed of the
roll varied from precisely what was called for.

Bruce Grimes