Music Trade Review

Issue: 1920 Vol. 71 N. 22

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE
NOVEMBER 27, 1920
REVIEW
Wherein the Editor of This Player Section Confuses and Puts to Rout the
Apostles of Gloom, and Concludes to the Satisfaction of Himself at Least
That the World Is a Pretty Good Sort of a Place to Live in After All
in selling pianos and player-pianos on prices
and terms and not on their functions and abil-
ities, it is to be expected that the profits of
"And the orators orated and the air was filled with cries,
the
business shall remain limited. The mere fact
But all of it was piffle and most of it was lies."
In very truth we are doing extraordinarily that, no matter whether times are hard or soft,
well. At a time when "basic industries" are whether it be a lean or a fat year, the same
crying bitterly because they cannot keep their number of pianos and player-pianos manages
cake and eat it too, when the profiteers are to get itself made an'd sold furnishes the best
screaming to high heaven because they have to possible evidence that there is something lack-
get out and work again, the good old music ing in our methods of selling. Either the
business goes on in its good old way, and quiet instrument itself or the manner of selling it
though it has been it shows decided signs of de- must be to blame. It cannot be the piano or
clining to remain dead to suit anybody's con- the player-piano. Certainly it cannot be the
venience. The fact of the matter is, of course, player-piano, which, naturally speaking, ought
that business men are the most nervous crea- to sell itself on its own abilities. It must be the
tures on earth. They are either up in the seventh manner of selling.
heaven or down in the lowest circle of what
The Steady Old Hoss
Dante politely called the Inferno. To remain
on earth between the two extremes of wild
Really there is no getting away from that
bliss and wild despair seems to be beyond their conclusion. The people may lay off from buying
capacity. Perhaps there is more than usually for a few weeks at a time, as they have been
something apt in the music industries feeling doing lately, but in the end, before the year
slightly peeved when things began to slack up is over, they have always come back into the
this Fall, for the music industries have been market in sufficient numbers to make up the
experiencing a rather unusual prosperity. deficiency of earlier months. Year by year the
Pianos and player-pianos, as it happens, are ex- output shows nearly the same figures. Year
pensive and beautiful articles of commerce, but by year that output is consumed. Plainly the
they are not, and never have been, articles on few who buy pianos because they want to play
which enormous profits can be made. More- them, and the many who buy pianos and player-
over, as long as the music retailers will persist pianos because they want something to furnish
We Keep Plugging Along
UDELL
Ike
Cabinet
of
Distinction
ana
Quality
Tie
Udell Works
1204 28tn Street
Indianapolis, Indiana
dance accompaniments and to look nice in the
parlor, between them consume the whole output
year after year. Yet these two classes of the
population certainly do not include all. There
are many thousands, nay hundreds of thou-
sajids, of persons who do not buy straight pianos
because they cannot play, and do not buy
player-pianos because they cannot stand the
racket which their neighbors set up with their
player-pianos. If we were reaching these classes
now in any considerable proportion, we should
be assured of enough business to keep us going
even if all the present sources were entirely
dried up. When men who sell player-pianos
complain about business in this line being bad
they simply show that, allowing for the general
mental condition of the entire people at any
time, they are not looking after the oppor-
tunities which lie all around them, but are con-
tinuing to trust to the old unsystematic ways
of advertising and salesmanship. One axiom,
though it seems to be paradoxical, applies with
peculiar force just now. It is this: "When
there is a lag in buying don't advertise cut
prices." Once cut prices are advertised the
people will wait to see them come down still
further. In such a case, if there has been no
profiteering, advertise merits, functions, ad-
vantages, and above all values. That is the only
sort of advertising to be undertaken in slack
times by an industry which has no profiteering
to explain away. That industry is the player
industry if it is any.
No Down to Come
At a recent meeting of the Chicago Piano
Club the whole question of prices was brought
up before a large gathering of salesmen by one
of the best-known superintendents in the trad',
namely, by E. J. Fishbaugh, of the A. B. Chase
Co. The discussion was begun in the direction
of piano construction, but in the course of
question asking and question answering it got
around quite naturally to prices. It was, we
think, Eugene Whelan, of the W. W. Kimball
Co., who focused the entire matter by saying
that the retail salesmen have been allowing their
customers to believe that piano prices have been
'way up and are bound to come 'way down. As Mr.
Whelan well said, customers have been coming
in to look at pianos and player-pianos and ask-
ing when prices are to come lower. A recent
visitor to Mr. Whelan's warerooms had re-
marked, "You'll soon be d
d glad to give them
away." This attitude is partly due, of course,
to the extraordinarily foolish newspaper propa-
ganda in respect to high prices, propaganda
which might have its justification in some
directions, but certainly has had none in respect
to the piano trade. If retail salesmen would only
take the trouble to acquaint themselves with
the extraordinary cost of making pianos and
player-pianos to-day it would be a good deal
better for everybody, for then they would be
able to show more convincingly than most of
them appear now to be able to show that piano
prices are not too high just now, money having
its present value, and that in consequence there
is not a chance of any lowering in prices until
labor consents to take smaller wages and the
world-wide shortage of manufactured goods in
distinction to the world-wide superfluity of
{Continued on page 8)
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
NOVEMBER 27, 1920
TNE NEW FOXTROT NIT
low t h e «Wrrters
^BUBBLES
LONESOME:
THE POINT OF VIEW
(Continued from page 7)
tokens called money has in some way or another
been remedied. It only needs a little nerve on
the part of retail salesmen everywhere. When
these gentlemen realize that the people are really
interested in pianos and player-pianos, but have
come to regard them as articles which can al-
ways be bought at a bargain if one is wise, there
will be some improvement in their methods, per-
haps. At present the one big thought in every
merchant's mind should be that now, if ever, he
must advertise music, music, and again music.
No Play, No Sell
Yet how, one may cautiously inquire, is the
merchant to sell player-pianos on the basis of
music unless he can persuade the prospective
purchaser that the player-piano is really a worth-
while producer of the kind of music the prospect
considers all right? And how, in turn, is this
persuasion to be made possible unless the sales-
man can actually show the prospective purchaser
how to play the player-piano in a manner which
shall satisfy that prospect's sense of the fitness
of things? There is every sign that the wild
craze for overjazzed music is dying out and
that we are in for a reaction. Along with this
reaction it surely will be possible to bring
salesmen to see that when an abnormal craving
like that is killed the tastes which survive will
have to be satisfied in a much sounder fashion.
There is not the least sense in arguing that
the prospect usually does not understand music.
That statement may be perfectly true, but it
is also perfectly true that the prospect buys a
foot-played player-piano (the vastly greater
number of player-pianos are foot-played) be-
cause he or she wants what he or she believes
to be suitable music' To teach that prospect
how to produce that music should be the aim
of the salesman. It is because we have neglected
this sort of salesmanship that we find the pub-
lic willing to look aside from us whenever there
is a flurry in their course of thinking, as now
is the case. If we build on the strong founda-
tion of music, of the personal production of
music, we cannot possibly i>o wrong. It is
only if we try to treat the player-piano as a
mere piece of goods, costing a lot of money, and
to be sold on some easy-payment persuasion,
that we find ourselves building on the sands.
We have the rock in front of us and can begin
to build on it now. Houses built on rocks do
not fall when the storms beat on them. Not
only so, but business houses built that way do
not have to wait years for their reward. There
is now at this moment just as big a public wait-
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The world certainly wants quiet and calm, and
this Christmas it wants it worse than ever. A
word to the wise is- sufficient.
NEWSPAPER CRITIC PRAISES AMPICO
Jas. Davies, in Minneapolis Sunday Tribune,
Pays High Tribute to Performance of That
Instrument in Recital in That City
The Ampico comparison recital given recently
in Minneapolis evidently made a strong impres-
sion upon the musical critics of the various
newspapers in that city, judging from the favor-
able comments written by them.
James Davies, for instance, reviewing the musi-
cal events of the week in the Minneapolis Sun-
day Tribune, wrote regarding the performance
of the Ampico:
"It is impossible to think of the recent con-
cert given at the Auditorium by Godowsky,
Copeland, Mirovitch and Marguerite Namara
without feeling a sensation of wonder and awe
that the mind of man could conceive and create
an instrument like the Ampico, that would abso-
lutely reproduce the interpretations of the
greatest masters of the piano. Three great
pianists participated in the concert and one great
vocalist. The audience heard the masters per-
form and then, as if invisible hands were manipu-
lating the keyboard, heard the same selections,
with reduplication of every tone nuance with the
same shading of tone, the same delicate turn of
phrase. It was uncanny, and in some respects
is one of the most startling things that the world
of music has ever experienced. In one instance,
when Godowsky played the Chopin 'Scherzo,'
the reproduction was immeasurably superior to
the artist's interpretation. There were certain
extraneous circumstances that in a measure ac-
count for the apparent discrepancy, particularly
a degree of nervous tension on account of a re-
calcitrant key, but the fact remains that the re-
production in its full completeness overshadowed
the artist's performance on the stage.
"The creation of this instrument, or whatever
it is called, opens up a vista of possibilities in
many directions, chiefly of a pedagogical char-
acter, for embraced in its potentialities is the
fact that it can be installed in every music school
in the country and by the mere touch of a tin-
gi-r the performances of the greatest artists down
to the smallest detail become subjects for the
intimate study either of a class or an individual.
"The possibilities are illimitable, leaving but
one source of regret, and that is that such a crea-
tion did not come into the musical world a half-
century earlier when we of to-day could have
learned something of the personality of past
great players through this medium, for in reality
it does seem to possess an individuality, appeal-
ing alike to the understanding and to the emo-
tions."
••

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