Music Trade Review

Issue: 1923 Vol. 76 N. 10

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
4
REVIEW
(Registered in the U. S. Patent Office)
PUBLISHED BY EDWARD LYMAN BILL, Inc.
President and Treasurer, C. L. Bill, 373 Fourth Ave., New York; Vice-President,
J. B. Spillane, 373 Fourth Ave., New York; Second Vice-President, Raymond Bill, 373
Fourth Ave., New York; Secretary, Edward Lyman Bill, 373 Fourth Ave., New York;
Assistant Treasurer, Win. A. Low.
J. B. SPILLANE, Editor
RAY BILL. B. B. WILSON, BRAID WHITE, Associate Editors
WH. H. McCLEARY, Managing Editor
CARLETON CHACE, Business Manager
L. E. BOWERS, Circulation Manager
Executive and Reportorial Stati
E. B. MUNCH, ARTHUR NEALY, V. D. WALSH, EDWARD VAN HARLINGEN, LEE ROBINSON,
Jos. A. MULDOON, THOS. A. BRESNAHAN, E. J. NEALY, C. R. TIGHE, A. J. NICKLIN
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Entered as second-class matter September 10, 1892, at the post office at New York, N. Y.,
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NEW YORK, MARCH 10, 1923
MARCH 10,
1923
ufacturer of a trade-marked or branded article may, for the purpose
of protecting his good will, mark his product with an established
uniform retail price, and, by contract with his vendee, prescribe
uniform prices and matters of settlement.
This is the latest measure designed to permit retail price main-
tenance on trade-marked articles. It has the endorsement of the
American Fair Trade League and other commercial organizations.
The trouble has been that for several years past there has been
introduced at practically every session of Congress some measure,
generally similar to the original Stephens bill, designed to legalize
the maintenance of resale prices on trade-marked articles. Each
time such a bill comes up for consideration various commercial
bodies, including the piano and talking machine associations, endorse
the bill strongly and there the matter rests.
If this and other industries really desire a measure legalizing
price maintenance, something will have to be done beyond simply
endorsing the idea. The Chamber's letter to the House Committee
is a move in the right direction, but it should not be the final one.
If the principle is worth fighting for, members of the trade as indi-
viduals should impress their Senators and Congressional representa-
tives with the desirability of the measure and the fact that it
should pass.
The arguments of this policy's opponents are chiefly to the
effect that price maintenance leads to monopoly and is a burden on
the public. These have been shot to pieces on numerous occasions,
for it has been proven that price maintenance under proper regula-
tion really protects the public by preventing price-cutters from using
reductions on nationally known trade-marked articles as a bait to
draw customers to the store where they may be influenced to buy
articles of inferior quality at excessive prices. It is significant that
most of the troubles of the talking machine trade came after the
courts had placed the ban on price maintenance.
CLEAN PIANO-SELLING METHODS DO PAY
No. 10
piano merchant with a store in the foreign
A SUCCESSFUL
quarter of one of the large Western cities was criticized for
THE AUTO MAN AND THE "TRADE-IN"
ANY members of the music industry are inclined to emphasize
the similarity of the problems of the automobile dealer and
of the piano merchant generally, with special emphasis upon the
clever manner in which the automobile man handles those problems
as compared with his piano-selling brother.
In view, therefore, of the attention given to the used-piano
problem in the trade and the efforts being made to develop a depre-
ciation schedule that will serve to check excessive allowances, the
fact that automobile men are seriously engaged in a discussion of
the used-car problem is most interesting.
The originality of the automobile men is evident in the sugges-
tion made at a recent meeting that there be established a general
clearing house for used cars to relieve the dealers of the work of
reselling them from their own showrooms; that dealers refuse to
make any allowance on used cars, but simply act as selling agents
for the customer and give him his return in cash, and that a definite
schedule of used-car resale prices be prepared for the use of dealers
and this be kept up to date by a readjustment each six months.
All these plans have been discussed and in certain instances
tried by piano men who are still searching for some plan that will
solve the used-piano problem once for all. It will be interesting,
therefore, to see how the automobile men make out in carrying out
the same idea.
Perhaps the piano men may gain some solace from the fact
that, although the average automobile depreciates greatly or wears
out entirely within a period of three or four years, the replacement
problem is already a serious one for the dealers. A piano of fair
quality will, with proper use, last two decades or more, so the used
ones are not piling up so fast as are used cars. The answer, of
course, is the fact that one automobile factory alone will turn out
this year close to four cars for every piano that can ]X)ssibly be
produced.
a number of years upon his sales and advertising methods, and
because of the fact that he featured the low-price appeal in a sensa-
tional way. In explanation the dealer maintained he had to adopt
such methods to get any real business from the class of people to
which he catered, and the explanation was in a measure accepted.
It happened, however, that this particular retailer became am-
bitious and moved to the main business center of the city, where he
established elaborate warerooms and added several new lines of
high-class pianos. The new agencies were given him under an
agreement that he would adopt high-grade methods and get away
from the sensational.
This retailer kept to his promise and went after the cream of
the trade in a way that was beyond criticism and which produced
results. The interesting feature, however, is that since changing his
methods the retailer still continues to do a surprising volume of
business in the foreign section where he was originally established.
He is selling more grands than uprights and within the first six
months after his removal his total business with the foreign popula-
tion alone exceeded that done in his former store during any similar
period.
The experience of this particular retailer is further proof of
the fact that it is possible to meet competition and build business in
the piano trade through the adoption of high-class methods. A list
of those retailers prominent in the trade to-day who have had the
same experience would prove an impressive argument to use on
those who believe that sensationalism and low-price competition
must be met along the same lines.
Vol. LXXVI
M
I
PRICE MAINTENANCE AGAIN TO THE FORE
HE Music Industries Chamber of Commerce has addressed a
T
letter to all members of the House Committee on Interstate and
Foreign Commerce urging the support of the bill introduced by
Representative Merritt of Connecticut which provides that the man-
PROPER DISPLAY FOR THE REPRODUCING PIANO
page of this issue of The Review is an article deal-
O N ing another
with the proper display of the reproducing piano in the
dealer's warerooms. This instrument is the most expensive thai
the average dealer carries and its appeal is directly to those people
who are accustomed to shopping in the highest class atmosphere.
The examples which are pictured with the article are striking in
the way in which these dealers have secured rich and harmonious
effects without subordinating the reproducing piano itself in the
background created to show it off. They are well worthy of the
attention of the dealer.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
MARCH 10, 1923
THE MUSIC TRADE
REVIEW
The Retail Reproducing Piano Studio
Leading Dealers Find the Atmosphere in Which This Instrument Is Displayed to the Prospective Customer
an Important Factor in Closing the Sale—Some Striking Examples of Properly Planned Repro-
ducing Studios in the Warerooms oi Some of the Country's Dealers
The advent of the reproducing piano, espe-
cially the high-grade grand, has brought into
greater prominence than ever the importance of
atmosphere in the retail piano warerooms, and,
as a consequence, has posed problems in in-
terior decoration which require considerable
planning and attention to solve. To show this
instrument properly, to give the prospective cus-
tomer a visualization of how it will appear when
finally placed in the home requires a consider-
able modification of the ordinary commercial
appearance of a wareroom, and the choice of
a happy medium between over-decoration and
the suggestion of a room in which the average
person would be content to live.
Over-Elaboration an Evil
In endeavoring to achieve this, the piano mer-
chant too often falls a victim to the lures of the
interior decorator, who works out a decorative
plan for the reproducing studios that throws the in-
strument itself into the background. A reproducing
piano studio, decorated and furnished in such a
fashion that the first impression of the prospect upon
entering is the elaborate furnishings, is a posi-
tive detriment to the sale, for it distracts the
customer's attention from the main object and
imposes upon the salesman the extra labor of
once more bringing it back. This may seem
a fine point, but in making a sale that may
range as high as $4,500 in amount, the dealer
and salesman cannot afford to disregard any
factor, no matter how finely drawn it may seem
to be.
In every decorative scheme the reproducing
piano, the instrument which is to be sold, should
dominate. In planning the studio for its dis-
play this fact should always be carried in mind.
The decorative plan should be built around the
instrument and not the instrument fitted to the
decorative plan. Decorations in a wareroom are
essentially selling factors and they should be
treated in this fashion.
Some Successful Examples
The illustrations with this article show four
different ways in which dealers have met this
problem successfully. They include one of the
Ampico Studios of the Knabe Warerooms in
New York, a corner of the reproducing piano
display room of Sohmer & Co., in New York,
one of the reproducing piano rooms of the
San Francisco house of Sherman, Clay & Co.
and the display room of the Meiklejohn Co.,
of Providence. In each of these cases it will
be noticed how the reproducing piano is in the
foreground, how the instrument itself dominates
and how the decorative schemes simply serve
as a background, just as the scenic investiture
of a play serves but to accentuate the work of
the actors when the producer knows his busi-
ness. Characteristic of these examples also is
NEW MEHLIN DEALER IN FLORIDA
Maxey, Grunthall & Bros, Secure Distribution
Rights to Mehlin Pianos in Northern Florida
—Plan Big Campaign
JACKSONVILLE, FLA., March 6.—Maxey, Grunthall
& Bros., 710 Cedar street, this city, have been
placed in charge of the distribution of the Meh-
lin line of pianos in the northern Florida terri-
tory. This concern is one of the most promi-
nent music houses in the northern portion of
the State and' has an organization fully capable
of doing justice to the Mehlin line. Each mem-
ber of the firm is familiar with piano building
in a practical way and the fact that the concern
has one of the largest repair departments in the
country indicates that dealers who do business
the creation of that home atmosphere to as
great an extent as is possible in a commercial
establishment, which, as pointed out earlier in
this article, gives the prospective customer a
for the basis of the plan in decorating the room.
The greatest danger run in planning a retail
reproducing piano display room, and this can-
not be repeated too many times, is the tendency
Four Retail Reproducing Piano Studios
(1) One of the Duo-Art Rooms of Sherman, Clay & Co., San Francisco. (2) A Corner of the Ampico Studios, Knabe
Warerooms, New York. (3) Reproducing Room of the Meiklejohn Co., Providence, R. I. (4) One of the Rooms of
Sohmer & Co., New York, Displaying the Sohmer-Welte (Licensee)
complete picture of the way the instrument
itself will appear in the home.
With the growing popularity of the period
style instrument, the problem of decorating the
reproducing piano display room has become
more complicated. No pronounced period deco-
rative style can be used, but rather one that
will harmonize with the periods embodied in
the cases. A certain degree of neutrality is
thus required, which calls for a greater artistic
sense than when a defined period can be used
towards over-elaborateness. This has cost the
retail trade a good deal of money in the past
on which there has been no return. For it has
aided in killing sales.
A proper background for the display of the
reproducing piano is a profitable investment for
the dealer, for the instrument, especially in its
more expensive models, requires it, and such
a background should always be a matter of
careful planning, for without that it defeats its
own purposes.
with this house will get service of a high order.
The concern also has a large retail depart-
ment, which, through aggressive merchandising
methods, has grown to large proportions. The
Mehlin, of course, will be the leader here and
will occupy a prominent place in the warerooms.
STEADY BUYS_BARLEY CONCERN
THEARLE MUSIC_C0. ELECTS
SAN DIEGO, CAL., March 6.—Alfred D. LaMotte,
formerly vice-president and general manager of
the Thearle Music Co., of this city, was elected
president to succeed the late F. G. Thearle. He
will also continue as general manager. Other
officers elected were Harry E. Callaway, man-
ager of the talking machine department, vice-
president, to succeed Mr. LaMotte. Mrs. Lillie
E. Burton was re-elected secretary-treasurer.
BERLIN, N. H., March 5.—With the buying of
the stock, rights and title of the Barley Music
Rooms, this city, by E. A. Steady & Son, this
well-known and long-established business re-
verts to its original owners, for it was Mr.
Steady who was the pioneer in the music busi-
ness here. The first store of this kind in this
city was started by Mr. Steady in the Fall
of 1896.
WENTWORTH CO. BANKRUPT
WATERVII.I.E, ME., March 5.—Liabilities of $46,-
340.22 were listed in the U. S. District Court
in Portland recently by the Wentworth Music
Co. in a voluntary petition of bankruptcy.

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