Music Trade Review

Issue: 1916 Vol. 62 N. 19

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TRADE REVIEW
T H E QUALITIES of leadership
were never better emphasized
than in the SOHMER PIANO of
to-day.
The World Renowned
SOHMER
Sohmer & Co., 315 Fifth Ave., N. Y.
BAUER
PIANOS
MANUFACTURERS 1
HEADQUARTERS
3OS SOUTH WABA8H AVENUE
The Peerless Leader
Thm Quality
Go€» In Bmform thm Namm Goma On,
GEO. P. BENT COMPANY, Chicago
One of the three
GREAT PIANOS
of the World
CHICAGO
ESTABLISHED 18«7
QUALITY
DURABILITY
BOARDMAN
& GRAY
Manufacturers of Grand, Uprigkt and Player-Pianos
of the finest grade- A leader for a dealer to he
proud of. Start with the Boardmaa ft Gray and
your success is assured.
Factory:
ALBANY, N. Y.
CINCINNATI NEW YORK CHICAGO
Own.r. of the Everett Piano Co., Bo.ton.
KIMBALL VOSE PIANOS
BOSTON
Grand Pianos
Upright Pianos
Player Pianos
Pipe Organs
Reed Organs
They have a reputation of over
FIFTY YEARS
for superiority in thoie qualities which
are most essential in a Firit-clast Piaao.
Straube Piano Co.
Factory and Offices: HAMMOND, IND.
Display Rooms: 209 S. State St., CHICAGO
VOSE & SONS PIANO CO.
BOSTON, MASS.
QUALITY SALES
of the Kim-
bal1 product
shown by the verdict of the World's Co-
lumbian Jury of Awards; that of the Trans-
Mississippi Exposition; the Alaska-Yukon-
Pacific Exposition; and of the masters
whose life-work is music.
developed through active and con-
sistent promotion of
BUSH & LANE
Pianos and Cecilians
W. W. Kimball CO., CHICAGO
NEW
433 Fifth Ave
SING THEIR
OWN PRAISE
: HARDMAN, PECK &
Manufacturers of the
HARDMAN PIANO
The Official Piano of the Metropolitan Opera Co.
Owning and Operating the Autotone Co.. makers of the
Owning and Operating E.G. Harrington & Co., Est. 1871, makers of the
AUTOTONE (SSJS&!)
HARRINGTON PIANO
The Hardman Autotone
The Autotone The Playotone
The Harrington Autotone
The Standard Player-Piano
"A LEADER
AMONG
LEADERS"
PAUL G. MEHLIN & SONS
Faotorles:
27 Union Square, NEW YORK
BUSH & LANE PIANO COMPANY
.HOLLAND, MICH.
(Supreme A mo?ig IStoderately Priced Instruments)
The Hensel Piano
The Standard Piar
MEHLI1M
Main Otflo* and Wardroom s
insure that lasting friendship between
dealer and customer which results in
a constantly increasing prestige for
Bush & Lane representatives.
Broadway from 20th to 21st Streets
WEST NEW YORK, H. J.
HADDORFF
CLARENDON PIANOS
R. S. HOWARD CO.
PIANOS, PLAYER-
PIANOS and
ELECTRIC PLAYERS
In 1889, twenty-six years ago, the R. S. Howard
Piano was introduced to American buyers and since
that period their lasting parity of tone and remarkable
ability to stand all changes of climate, their fiaithed
beauty of exterior and supreme excellence of workman-
ship have made the Howard Pianos world famous.
The Best in the World for th4 money.
Novel and artlstlo oat*
designs.
Splendid tonal qualities.
Pottett surprising value
apparent te all.
Manufactured by tha
HADDORFF PIANO CO.,
Roekford, - - Illinois
R. S. HOWARD CO., 35 W. 42d Street
N E W YORK, N . Y.
CABLE
& SONS
Plmnom mnd Plmym* Plmnom
SUPERIOR IN IVIRY WAY
Old Kstabllshad Hsns*. Prodtiotlon Limited «•
Quality. Our Playara Arm Parlaotad to
th« Limit of Invention.
|CABLB * SONS, tSt West S8ife St., H.Y. i
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
Ffflffl
THE
VOL. LXII. No. 19 Published Every Saturday by the Estate of Edward-Lyman Bill at-373 4th Ave., New York, May 6, 1916
The Question of
Sin
% e J o £ rs
& Cents
£
One Price
T
WO thousand years ago Plato said that nearly all the misunderstandings that ever exist would disappear
if people would but take the trouble to discover, before beginning to argue, whether each side means the
same by the terms it uses. Half the loose and inaccurate conduct in the world is just the result of loose
and inaccurate thinking, brought about by meaning one thing when one's antagonist supposes one means
something else. The piano business is filled with examples of this sort of thing, as is evident in the excessively
futile discussions that have raged and are still raging around the question of One Price.
If we would all begin arguments of this sort by deciding what we mean by the words "One Price," we would
save nearly all the misunderstanding, and have some chance of coming to agreement on a matter quite vital to our
interests.
Like many other things, nothing is easier than this to define until you come to try defining it. Then trouble
begins. Which is perhaps why scarcely any one takes the trouble to know what he means by "One Price" before
he starts in talking about it.
Still one can make an attempt. It is plain that a business which cannot give the same deal to every one is not
a business at all; it is a lottery. Every one has equal rights to a square deal and the very foundation of a square
deal would seem to be one price to all.
Now, that statement has more sound than sense when it is applied to the piano business. Complications begin
to set in from the start. Suppose you mark all your pianos and player-pianos*at one price and find that one half
of the player sales involve trade-ins. If you adopt a sliding scale based on what the customer will stand in each
case, for valuing the trade-ins, then plainly the price to each customer is not identical; simply because the cash
or deferred-payment difference is not always the same for the same instrument.
Some one will say that neither are the trade-ins of equal value. True; but all practice and experience show
that the public universally expect valuations on old pianos in excess of their real value. In perhaps one-fourth
the total number of cases a sale hangs on the valuation question. If then you stick to one price as marked, you
run the risk of either losing your sale by refusing, or losing the profit by granting an excessive valuation.
Again, what about musicians and teachers? What about terms in relation to the price? How much should
long time pay for the accommodation? Does not a discrimination here virtually abolish the one price? What
about secret understandings? And so on, to much length.
The whole trouble arises in a misunderstanding as to what is meant by one price. If it is meant that in all
cases cash and time customers are treated alike, that is one thing. If it is meant that trade-ins are valued on a
fixed scale by some standard of appraisal applying to all, then that means something else. If it means that the
listed prices absolutely stand for cash in all cases, that is still a third meaning. If it means that the nominal
prices, and even the nominal money differences in trade-in deals, are allowed strictly to stand, but that to the
favored or the hard-to-sell customer there will be given scarfs and stools and music rolls and music lessons and
a wagon load of other miscellanies, then again something else is meant. Yet the whole point is, what do we mean
when we say one price ?
.
One Price means just what it says—"One Price to All!" That means that the ticketed cash price in plain
figures is maintained on each piece of goods, whether piano, player, music roll or bench. It means that in addition
to this a computed scale of charges for time payments is maintained, so that on each ticket may be also the
terms for deferred payments; not a fresh price for time, but an addition in plain figures for the accommodation,
together with the plain statement as to what monthly terms and what down payment are required. This
"terms-scale," it is to be understood, applies proportionately to every piece of goods of whatever value, and is best
(Continued on page 5.)

Download Page 2: PDF File | Image

Download Page 3 PDF File | Image

Future scanning projects are planned by the International Arcade Museum Library (IAML).

Pro Tip: You can flip pages on the issue easily by using the left and right arrow keys on your keyboard.