Music Trade Review

Issue: 1918 Vol. 66 N. 18

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
THE
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.
4, 1918
BAUER
PIANOS
MANUFACTURERS' HEADQUARTERS
3O5 South Wabash Avenue
CHICAGO
The Peerless Leader
The Quality
MAY
•trauhr pattoa
Goes in Before the Name Goes On
GEO. P. BENT COMPANY, Chicago
HARDMAN,PECK&CO.( F Tr) ffi
Manufacturers of the
HARDMAN PIANO
The Official Piano of the Metropolitan Opera Co.
SING THEIR
OWN PRAISE
Straube Piano Co.
Factory and Offices: HAMMOND, IND.
Display Rooms: 209 S. State St., CHICAGO
Owning and Operating the Autotone Co.. makers of the
Owning and Operating E.G. Harrington & Co., Est. 1871, makers of the
AUTOTONE (K5JM
HARRINGTON PIANO
VOSE BOSTON
PIANOS
The H ardman Autotone
TS19 Autotone The Playotune
(Supreme A mong Moderately Priced Instruments)
The Hensel Piano
The Standard Piano
They have a reputation of over
The H a rritvgton Autotom*
The Standard Player-Piano
FIFTY YEARS
"A LEADER
AMONG 1 1
MEHLIN
LEADERS
PAUL G. MEHLIN & SONS
Factories)
Broadway from 20th to 21st Streets
WEST NEW YORK, N. J.
1 Main Office and Wareroom:
4 East 43rd Street, NEW YORK
for superiority in those qualities which
are most essential in a First-class Piano
VOSE & SONS PIANO CO,
BOSTON, MASS.
QUALITY SALES
developed through active and con-
sistent promotion of
BJUR BR6S7CO.
: B S T A.JB LtKIf-UDv.V-. 1S 8 T
Makers of
Pianos and Player-Pianos of Quality
.,:,-, ,,. . :w5: ; 705-717 WIlHtoefc
Avenue,:fitm,M>f^Mu^:^iii.,.iiA
DECKER & SON
Pianos and Player-Pianos
by leading
697-701 East 135th St., New York
Boston,
BUSH & LANE PIANO COMPANY
HOLLAND, MICH,
'SoeyythmaJfitio
Mass.
of a century
CHICAGO
I
Made on Honor and | l / | C l l " l . r \ . l I Have Been Manufactured
in Boston since 1837
Sold on Merit
PIANOS
O f A M » T \ f**i~\
insure that lasting friendship between
dealer and customer which results in
a constantly increasing prestige for
Bush & Lane representatives.
PIANOS
artists more than three-quarters
"KM n i l A TY
M. M c P H A I L
A . UK
Pianos and Cecilians
Established 1856
HALLET & DAVIS
Endorsed
BUSH & LANE
GENERAL OFFICES, 120 BOYLSTON ST.
P I A N O CO M BOSTON MASSACHUSETTS
Jbriatest Catalogs
Known the World Over
HADDORFF
CLARENDON PIANOS
Novel and artistic case
designs.
Splendid tonal qualities.
Possess surprising value
apparent to all.
Manufactured by the
HADDORFF PIANOCO.
Rockford, - Illinois
R. S. HOWARD CO.
PIANOS ana
PLAYERS
Wonderful Tone Quality—Best
Materials and Workmanship
Main" Offices
Scribner Building, 597 Fifth Ave., N. Y. City
Writ* a« for Catalogue*
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
flUJIC TRADE
VOL. LXVI. No. 18
Published Every Saturday by Edward Lyman Bill, Inc., at 373 4th Ave., New York.
May 4, 1918
slng
llSo$£
Erroneous Ideas Regarding Piano Profits
S
OME extraordinary ideas prevail among the general public regarding the profits made by piano merchants
and manufacturers. And the general public evidently includes lawmakers, for it was pointed out in our
Washington correspondence last week that Representative Cary, of. Wisconsin—who has introduced a
bill in Congress which, if passed, would work a serious injury to the sales of musical instruments on
instalments in the District of Columbia—is obsessed with the idea that instalment merchants, piano dealers
included, are making exorbitant profits. He informed The Review representative that "many of them arc
getting a margin of profit from one hundred to three hundred per cent.," and he places little reliance on the
figures submitted to him by piano men regarding the average profits in the retail department of the industry
today, which are very far from agreeing with his.
The views of the Representative from Wisconsin have undoubtedly been influenced by the erroneous general
opinion that profits in piano manufacturing are enormous. The sales methods of piano dealers in the past have
also placed the retail branch of the industry under the suspicion of piling up excessive wealth. It must be
admitted that the practices of some members of the industry in years agone could not help but lead to this
viewpoint, which may be attributed in a large measure to the lack of a definite one-price policy, and a tendency
on the part of some members of the retail trade to indulge in puzzle contest and "prize" schemes of sales pro-
motion that gave the general public an idea of enormous profits and brought selling methods to a low level in
the public mind.
These sales methods, of course, were the exception rather than the rule, but the lurid advertisements in
the daily papers, and the sensational methods of publicity indulged in generally, tended to fill the public mind
with the idea that there was no stable basis for prices in the piano field, and that profits in piano sales were
like the profits we hear about when "war babies" are discussed.
Where there is a lack of uniformity in prices there is undoubtedly a lack of confidence, and it can be
naturally assumed that if a dealer asks $400 for a piano, and finally consents to take $300 for it, there is some-
thing wrong with the value of the piano, or with the man who upholds such a sales system. In other words,
this old-time, elastic system of sales was absolutely wrong, and it has taken some time to succeed in educating
the trade away from this form of salesmanship.
Representative Cary should realize that trade ethics, and trade profits to-day, are far different from those
that prevailed some years ago, and that there is a decided reaction against the practices which came in at that
time for such continuous criticism and censure from The Review.
It is unfortunate, however, that the lack of adherence to the one-price principle of doing business—the
indulgence in questionable sales methods in the past—should blind the critics to the fact that the music trade
industry to-day is, we are glad to say, making strong and steady strides along the right road in the retail sales
domain.
Price cutting in every line to-day is becoming decidedly unpopular. Enterprises in which the most clastic
conditions prevailed a few years ago are now becoming more and more rigid in insisting upon the maintenance
of one price and shorter terms in time sales. This is due not only to a general sentiment among business men
that price cutting is not "good business," but it also may be attributed to public opinion, which is supicious of
stores wherever undue elasticity of price exists.
Houses in the music trade industry which have been identified in the past with the one-price policy have
made it pay; moreover, they have the confidence of the community in which they do business, while those
houses that have held to the old elastic price system and sensational price-cutter's methods of publicity have
lost ground.

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