Music Trade Review

Issue: 1924 Vol. 79 N. 5

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TRADE
REVIEW
AUGUST 2,
1924
THE POINT OF REVIEW
A Fiftieth Anniversary
IFTY years ago on July 27 George W. Armstrong entered the
F employ
of the Baldwin Piano Co. in a minor position. To-day,
as president of that great institution, he has completed a half
century of continuous service with it, an anniversary which was
marked with a celebration by his co-workers in the great Cincinnati
firm. When he entered the service of the Baldwin house it was
known as D. H. Baldwin & Co., and was a retail concern. Besides
the store which it had in Cincinnati, it had but two other branches,
those in Louisville and Indianapolis. To-day the firm has factories
in Cincinnati and Chicago, numerous branches in different parts of
the United States and sales organizations in thirty-two foreign coun-
tries. This great development has taken place during Mr. Arm-
strong's connection with it and in its progress he has played a most
prominent part.
««
K
ft
T
HE contributions of the Baldwin house to the American piano
industry have been many. It was one of the leading pioneers
in the development of the artistic side of the Western section of
the American piano industry, for many years being one of the very
few houses in that section of the trade which produced a concert
grand. It carried the fame of the American piano abroad when
it exhibited and took high prizes for it at great foreign exposi-
tions in competition with the best productions of the piano factories
of the world. It has been chosen and used upon the concert plat-
form by such great artists as Vladimir de Pachmann, Wilhelm
Bachaus, Feodor Chaliapin, Raisa and Rimini, Mason and Polacco,
Florence Macbeth, Raoul Pugno, Xavier Scharwenka and Alfredo
Casella, to say nothing of many others. It was a pioneer in the
development of the player-piano. To-day its Eden Park plant in
Cincinnati is a model of what a modern piano factory should be in
its arrangements for swift and quality production and is invariably
visited by foreign manufacturers who come to study American
factory productive methods.
X
&
Hf
T
HERE is little to be said of Mr. Armstrong save in the terms
of the institution of which he is the head. A retiring man, he
has been content to see his efforts and his work visualized in the
achievements of the Baldwin plant and in its world-wide fame.
There he has always been a man who has approached the building
of a piano purely from the standpoint of an artist, an attitude which
is essential in creating the modern piano of the highest grade. To
those who have co-operated with him in striving for his ideals he,
in turn, has given support and that support with intense conviction
that in the long run commercial success in the piano industry can
come alone from that basis. That his attitude has been justified, the
short and inadequate sketch given at the beginning of this article of
the present standing of the Baldwin house is the best of evidence.
&
% M
N Sunday, July 27, the co-workers of Mr. Armstrong gathered
in his country residence at Remington in an effort to give
expression to the honor in which they hold their chief. They pre-
sented him as a token of their esteem with a handsome set of Rook-
wood ware, the product of perhaps the most famous of American
potteries, consisting of a large platter and a dozen plates decorated
with illustrations to remind him of incidents and places intimately
associated with his successful career. The celebration was an op-
portunity for many reminiscences, a review of the interesting events
of his business life and the history of the company which is a
monument to it. In that celebration the entire industry unites and
congratulates, first, Mr. Armstrong himself, and, secondly, the Bald-
win Co., of which he is the head.
O
$S
%
%
What Is a Good Salesman?
piano man, who has had no little experience
A WELL-KNOWN
in directing retail sales forces, made the flat statement the
other day that only once in his long experience had he ever seen
a retail piano salesman make good from the start in a new position.
The exception was that of a salesman who, upon his third call in
a new position (and he was doing cold canvassing at that), received
from the lady of the house the welcome question: "How did you
know we had just made up our minds to buy a piano ?" The sales-
man found an adequate excuse for his apparent knowledge and
brought the prospect to the warerooms where he closed the sale the
same day.
was chance, of course, and chance is a very slim founda-
tion upon which to depend for sales. What this statement
does show is the necessity of the house giving every possible support
to the new salesman during his probation period, training him in
the proper way to sell pianos, and doing all that it can. to keep him
going during that discouraging time which lasts until the first sale
is made. The first month in a new job is the time that tells the
tale as to whether or not the novice salesman is going to be a
producer for the house which employs him in the future. It is the
time when he depends most upon support from the man who is direct-
ing his efforts and the time when that support is the most valuable.
This may cost the sales manager a good part of his time and the
house a certain amount of expense, but if the man has any pos-
sibilities at all, there is no question that it is time and energy
well invested.
to
x
ve
A LL of this brings up the question of why there are not more
*• *• good retail piano salesmen. In The Review a few weeks ago
a letter from a retail salesman placed the responsibility for this
condition squarely at the door of the dealer himself and produced a
good deal of evidence to support this contention. There are retail
piano merchants, and not a few of them in the trade, whose sole
idea is volume of sales and who consider the man as best in their
selling organization who turns in the largest number of unit sales,
irregardless of the terms and conditions on which they are made.
It is a natural enough attitude for the dealer to take, but one that
in the long run is going to prove entirely mistaken, as an analysis
of the books of such a dealer will almost invariably show. Gross
sales are by no means a criterion of actual worth in the piano busi-
ness ; there are too many other elements which must be taken into
consideration.
%
%
Vi
\ I 7 " H A T is a good piano salesman? The good salesman is the
» ' man whose average of sales shows the highest percentage of
profit to the house which employs him. Invariably when a sales-
man's sales show an average high percentage of profit, he will be
found well up among the leaders in the number of units to his
credit. Now to make a good sale in the retail piano business means,
first, that the prospect must he a good credit risk, and, second, that
the terms on which the instrument is sold are such that the customer
can meet them with no undue strain on his resources. Poor credit
almost invariably means a repossession ; overselling invariably means
past due. Both of these are the greatest of reducers of the net
profit. Furthermore, terms must be within reason, thus reducing
the average time of the outstanding lease paper and increasing the
turnover of the house.
tt? Mf
£
A
' I HE salesman who is trained in his first position to take all
*• these factors into consideration is the good salesman in every
sense of the word. The house which turns out such men is an
asset, not only to itself but to the entire industry as well. But it is
only in the first period of a salesman's experience that he can be
made to see the importance of these factors. After all is said and
done, the salesmen in the piano industry are pretty much what the
dealers who employ them make them. If there is a dearth of good
men it is the dealer's fault. The reform must come from that
direction, for that is the only place from which it can come. The
sooner that is realized the sooner will the cry for more good sales-
men disappear, for then the demand will be filled as the industry's
needs warrant it.
T H E REVIEWER.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
AUGUST 2,
THE
1924
MUSIC TRADE
REVIEW
5
Co-operation and the Trade-in Evil
George Q. Chase, President of Kohler & Chase, San Francisco, Before the First Annual Convention of the
Western Music Trades Association, Points Out How the Piano Dealers Can Eliminate Losses
in This Direction by Co-operating Along These Lines
H E trade-in problem is a bigger and more
important one than most of us have real-
ized. The term "trade-in" seems to have
acquired in the piano business great potency as
a pain-killer. We complacently accept losses la-
beled trade-in that would startle us under any
other name. This rose by any other name
would not smell so sweet.
Should your bookkeeper make a mistake
some month and put your loss on trade-ins
under the heading "Salesmen's Expense" there
would be some excitement around your office
until the loss was labeled "trade-ins," whereupon
everything would be calm once more. If the
erring bookkeeper happened to place this loss on
trade-ins under the heading "Taxes" and the
error was rfot immediately detected, most violent
language would be directed at Uncle Sam. I can
hear the words confiscation, ruin, outrage, in the
conversation you would have over the phone
with your attorney. I can hear you appealing to
the chamber of commerce and other organiza-
tions, and certainly those in the internal revenue
department at Washington would wonder why
their ears burned.
On the other hand, supposing the bookkeeper,
after a night spent in making a monkey out of
Mr. Volstead, should by error get the loss on
trade-ins entered in with the "Net Profit." How
rosy the world would look. What a fine busi-
ness the piano business would be, and I fear
before the error could be detected you would
have purchased a new automobile or have sent
the family to the country so that you could
celebrate in fitting style your amazing new pros-
perity. But when this error was ultimately dis-
covered and labeled "Loss on Trade-ins," I be-
lieve the old pain killer would do its work and
the bookkeeper alone would get all of the
cussing.
But blessings often come in disguise, and if
this innocent error of the bookkeeper would
only set the owner thinking, it might be that
with a little intelligent effort properly directed
he could transfer that loss on trade-ins, or most
of it, into his net profit column. At leSst, the
mere possibility of such a thing should suggest
that a sincere effort should be made to accom-
plish so desirable a result.
If you look at the matter another way. Sup-
pose a wealthy eccentric should go to you and
say, "I will give you your store or stores rent
free." You would surely feel that a good profit
on your business would thereby be rendered
certain. Your road to success would look
smooth and easy, and yet, if we compare our
losses on trade-ins and our rent bills, I am sure
that in many instances you will find that we are
losing more under the heading "Loss on Trade-
ins" than we are paying the landlord for store
rent.
Loss in Twin
We mustn't overlook the fact that loss on
trade-ins is twin. We have first the direct loss,
the difference between the amount we allow and
the amount at which the trade-in is placed in
stock. Secondly, we have all the usual handling
and bookkeeping charges against this second-
hand instrument, plus mechanical charges, added
to the fact that we rarely get a full profit when
the used instrument is resold.
I have heard dealers say: "Oh, I make a profit
on my trade-ins." But I find that what they
generaHf mean is that they make a small gross
T
Highest
Quality
profit above what they have allowed. The gross
profit rarely is large enough to take care of the
selling, service and office expense, to say nothing
of other indirect losses they have failed to
figure.
Our trade has a worthy and necessary public
service to perform. Music is a necessity, the
third in importance to human beings, following
after food and shelter, although a banker told
me the other day that the automobile seems to
have crowded music into fourth place.
The public demands prosperity in those who
serve it. The rules of the game of business laid
down in the public interest are plain and strict
on this point—you must make a profit or cease
to exist. The public provides jails for those who
take what doesn't belong to them, and provides
bankruptcy courts for those who don't take
what belongs to them.
Over-Allowance
Over-allowances are destructive of legitimate
profits and are therefore against public policy.
"But," say some dealers, "over-allowances don't
destroy our profits. We boost the prices to pro-
tect ourselves." They forget that the best mer-
chandisers long ago learned the folly of trying
to flim-flam the public. Did Armour, Swift,
Ford, Marshall Field, John Wanamaker, Wool-
worth or any of the great merchants attempt
to bamboozle their patrons? They did not.
None of them would have been smart and
shrewd enough to succeed on that basis. Just
try to remember the names of those clever,
sharp, horse-trading fellows who were the com-
petitors of those merchants. You would have
to search the graveyards and potters' fields of
failure for their names, and even there you
would find no monuments to their memory.
"Ah," one might say, "but didn't many of these
great merchants get together and form combina-
tions, thereby making large profits, and espe-
cially didn't the packers co-operate to control
prices and profits?" Of course, they did. They
had the brains to see the enormous wasteful
losses of destructive competition on the one
hand and, on the other hand, the enormous
legitimate profits to be derived from intelligent
co-operation, and they were big enough and
broad enough to forget personalities and get to-
gether. Otherwise you would never have heard
their names and you would be paying more
money to-day for less wholesome meats. The
packers gave better public service and profited
greatly.
Pioneers
These men were pioneers in regulation
through co-operation, and the opportunities for
gain were so limitless that they probably went
too far—took too much profit—so Uncle Sam
stepped in and said: "You are getting too rich
and too powerful through this co-operation. So
I will lay down certain laws and rules to limit
you." But the laws were made liberal and the
packers have gone on piling up profits and, I
think, are serving the public well.
Many other groups of merchants, small and
large, are now operating within the rules of
the game until this intelligent regulation of busi-
ness through co-operation has come to be the
modern method. Yet, we in the piano business,
while co-operating in many worthy ways, have
not yet learned how to regulate the evils of our
business through association.
It seems to me that the trade-in evil lends
'ONKBENCH
itself easily to such regulation, as would also
the secret commission evil (which, by the way,
is illegal in England) and the crooked adver-
tising evil. It seems to me that our failure in
the past to regulate the trade-in problem has
been due largely to the fact that we have not
recognized it as a local problem. We have
looked for some national solution. The activity
of the National Association in investigating the
trade-in problem and classifying the various
makes as to their second-hand value is a worthy
effort and the information secured should be a
valuable guide to any local group of piano deal-
ers. But the National Association, it seems to
me, cannot furnish the answer to the problem
along these lines. It is the local dealers in each
town and city who in their competitive fields are
cutting each other's throats, while incidentally
cutting their own, and these competitive dealers
are the ones who should get together and by
eliminating the trade-in as a competitive factor
should find a way out.
Wake Up Locally
We must wake up locally. I do not believe
we have found as yet the right plan for local
organization but I think we can learn something
from other lines of business. Take the base-
ball business, for example. In that business they
found that, due to the extreme rivalry of the
owners of the various clubs in a league there
were many matters affecting them all which
they could not collectively agree upon. Neither
could one of their number act as president be-
cause his personal interests were involved and
he would become the object of suspicion. So
they found a man of unquestionable integrity
and good business judgment and a man worthy
of their confidence, employed him on a yearly
contract at a good salary and placed in his
hands arbitrary power over a certain part of
their business specified in the league by-laws.
In the piano business we have in each com-
munity an intense rivalry almost paralleling that
of the ball club owners. For a long time it has
seemed to me logical that we should organize on
similar lines. That is, we should elect a neu-
tral president of high standing and place in his
hands arbitrary control over such matters as
trade-ins, secret commissions, crodked advertis-
ing, instalment legislation and possibly other
matters which affect all of the dealers col-
lectively.
Handling the Trade-in Problem
A local association so organized would handle
the trade-in problem, I believe, with very little
difficulty. All of the appraising should be done
by one appraiser under the supervision of the
president. Dealers would accept the association
appraisal without the loss of time or expense
in sending their own men, thus eliminating the
question of allowance as a competitive element.
Customers could be closed on the first call with-
out waiting for an appraisal on being assured
that they would be allowed a valuation set by
the association. The cut-price dealers could still
cut prices, but they would be out in the open
and not cutting prices by the underhand method
of over-allowance. There would be no danger
of information leaking as the pianos appraised
would be carried in the association office by
name and number only. Dealers could secure
the information regarding the amount of an
appraisal by giving the name and number of the
instrument.
Highest
Quality

Download Page 4: PDF File | Image

Download Page 5 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.