Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TIRADE
VOL. LXII. No. 14 Published Every Saturday by the Estate of Edward Lyman Bill at 373 4th Ave., New York, April 1, 1916
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H E interesting article on "Music Roll Problems," which appeared in the Player Section of last week's
Review, has aroused considerable comment of a favorable nature among music roll manufacturers
and dealers.
The subject brings to mind afresh the questions: Are the dealers doing what they should to
interest the ow r ners of player-pianos in the music rolls that are issued monthly by the various companies?
Are they concentrating on quality instead of cheapness?
We fear not.
Little is being done to-day, at least in a systematic way, to interest the public in what the music roll
manufacturers are putting forth each month, particularly in the better grade rolls.
As a matter of fact, even the manufacturers themselves have apparently been swept away on a wave
of price competition, although they are now, for the most part, realizing the mistake and considering steps to
substitute the quality argument for the price question.
Too many dealers look upon the music roll as a necessary evil, to be considered after the player-piano is
sold, and lose sight of the fact that the good music rolls, properly and interestingly featured, really promote
sales of player-pianos.
The better grade of music rolls, those selling at substantial prices, will have to be featured for the very
logical reason that the cost of everything that enters into the manufacture of music rolls is going up in
price—particularly paper, which is costing more each day. This, however, is only one of a number of items
which emphasizes that producing costs have reached a point where higher prices must be secured, if any
profit is to be made out of the business.
Analyze the advertising of hundreds of piano houses throughout the country, and there will be found
therein a lamentable indifference to the trade possibilities of the music roll.
Each month music roll manufacturers are putting forth large and attractive lists. In them are to be
found compositions that may be termed standard classics, altogether apart from the popular numbers of the
day. The lists as printed in The Review each month constitute an imposing array, and it would seem that
they contain sufficient material and talking points to warrant bringing them to the attention of the public.
However, this is seldom done, and people wonder why the music roll business is dull, while the talking
machine business is alive.
The reasons are obvious: When the names of great artists are associated with the monthly lists of
talking machine records, the matter is emphasized in intelligent, constructive educational advertising. The
attention of the public is constantly called to these records, by means of national advertising in magazines
and newspapers, as well as by window signs and posters. But little is heard about music rolls.
Comparatively nothing is being done to promote public interest in their behalf. If anything is attempted,
it is done with a tendency to emphasize the cheaper products, forgetting that the exploitation of the quality
music roll dignifies the industry and gives many people a new conception of the player-piano.
There is room for a big educational campaign in this connection. It calls for the earnest consideration
and co-operation of manufacturers and dealers. The music roll business cannot be built on the basis of
indifference and inactivity on the part of those who have a direct monetary interest in the business.
The manufacturer has his responsibilities in an educational way. H e must be the suggester, as well as
developer, of ideas that can be taken up by the dealer for exploitation.
While the dealer has many faults in the way of inactivity, yet it is only right that he should receive
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