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JUNE 13,
THE
1925
MUSIC TRADE
REVIEW
99
Convention of the National Association of Sheet Music Dealers
By the way, what does the average sheet
music dealer do himself to bring business to
his doors? Does he distribute the literature
the publisher sends him? Does he send out en-
velope enclosures with all his monthly state-
ments? Does he interest himself in making
window displays in behalf of visiting artists
and feature the pieces they play or sing? Does
he go the logical step further and advertise his
business in the local newspaper?
To sum up then, I would say that until con-
ditions change to the extent that as many people
are as interested in buying sheet music as in
"walking a mile for a Camel" or in acquiring
"the skin you love to touch," it will not, in the
long run, be a paying proposition to advertise
music via the national advertising route. Like
the charge of the Light Brigade, it would be
glorious but it wouldn't be—business. It costs
too much for the good it can do. As publish-
ers we feel that we can serve our dealers' inter-
ests and our own most efficiently by concen-
trating our fire on the market in which we are
all supremely interested—the musical public.
Julius P. Wittmark
T S there any good reason why music cannot
be advertised the same as are other kinds of
merchandise? An emphatic no, of course, is
the logical answer to that. Perhaps the ques-
tion ought to read: Is there any good reason
why music should not be advertised? Even so,
the answer it seems to me is the same.
Sheet music is not salable unless backed up
by publicity. Nothing else is, so why should
music be any exception? Publicity means adver-
tising. There never was. a big seller, or indeed
any kind of a seller, that was not advertised.
Of course, the methods of advertising and
publicity in the sheet music business are not
those of commodities like soaps, tobaccos,
meats and automobiles. The billboards and elec-
tric signs are not for us. On the other hand,
merchandise like I have just mentioned, and
plenty more akin to it, is denied some of our
most invaluable mediums, such as the theatres,
picture houses, the concert, lyceum and chau-
tauqua stages. These remain, and will always
be the main channels of sheet music advertising.
In that sense sheet music is nationally adver-
tised. But there are other valuable sources. The
trade organs and certain periodicals, musical
and otherwise, must always be the foundation
of our printed advertising. I have always be-
lieved in advertising sheet music. I need only
point that the Witmark Black and White Series
is consistently advertised. Its position in the
sheet music world to-day is due entirely to its
merits, plus the neverceasing advertising cam-
paign behind it. We are constantly adding to
that campaign. We are interesting the dealer in
the fine possibilities of local advertising and are
ready to supply him with the necessary catalogs
and material at all times. Our idea is to create
in the dealer a sense of the real importance of
his sheet music department, not only for its own
profits, but as a sure business-getter for his
other music merchandise.
To do this, advertising is essential. It must
and should appeal equally to the dealer who
sells and the public- that buys. I see no reason
in the world why sheet music and music books
should not be advertised; and I can see a dozen
good reasons why they should be. Good mer-
chandise should always be advertised, and that
means good music—the kind that sells. To
quote somebody anonymous, "If your business
doesn't justify advertising, advertise it for sale."
I certainly feel that goes for sheet music and
books—and in a double sense, too!
Harvey J. Woods
*T O advertise sheet music and books in news-
papers means display advertising. This kind
of advertising to be effective must be constant
and entails a cost that when applied to the sheet
music business is prohibitive.
Merchants usually select the best medium for
advertising their respective lines. In the case
of those who cater to the general public, news-
paper advertising produces the best results.
However, where the merchant specializes in
lines that appeal principally to a certain class
of trade, I doubt if this kind of advertising
pays. We have obtained far better results by
using a carefully selected list of music buyers
and by sending these our message by mail.
I doubt somewhat if even the display adver-
tising of the publishers in music magazines is
successful. We have endeavored to watch the
effect of the publishers' advertisements on our
business, but have found little or no response to
them from music buyers in this locality.
Most music is bought for some specific use
and the need of it cannot always be anticipated.
Display advertising is seen and then forgotten,
but we find that thematic lists sent direct to
the musician are retained and subsequent selec-
tions made from them.
The fact that a certain piece of music is new,
or that some artist is using it, does not mean
that musicians and music lovers will buy it.
They must see and hear it. The music dealer
must therefore do most of his advertising over
the counter. If his clerks are aggressive and
well informed, the music buyers will soon find
their way to his store.
Harry B. Crosby
as the music industry, with its intricate
J UST
problems of selling, differs radically from
general lines of merchandising, so does the
advertising of educational music differ abso-
lutely from ordinary lines of publicity.
Reverting to the ancient maxim that "a satis-
fied customer is the best advertisement," the
strongest form of advertising for the publisher
and retailer is the good will and confidence of
the dealers and teachers. Gallons of printers'
ink, used in whatever form it may be, will not
prove satisfactory without creating confidence
and good will on the part of the purchasers.
It, therefore, follows that whatever form of
publicity concentrates on this end is good. We
in the music business realize that the customary
medium of general advertising, the daily news-
paper, does not pay.
Maurice Richmond. President
Max Mayer, Treaiurer
I understand that some few years ago a very
prominent firm spent a good many thousands
of dollars in daily newspapers to create a de-
mand for their classical novelties, and I believe
that the results were practically nil. Direct ad-
vertising by circulars, special letters, thematics,
sample copies and special offers for introduc-
tory purposes is undeniably very valuable but
it must be taken into account that the publish-
er's advertising is twofold: he is in duty bound
to create a demand for his music and to secure
that demand by means which will absolutely
protect his agents against any encroachment on
their particular territory.
1 remember, many years ago, we sent out
over 60,000 circulars offering reduced prices for
one order on a lot of our sheet music. We re-
ceived about 100 replies and it took me many
years to smooth out the ruffled feelings of a
number of very good dealers. It was mighty
poor advertising on our part. Another firm, I
remember, sent out over 80,000 special offers
with most discouraging results. In my opin-
ion, from the publisher's viewpoint, the one
form of advertising which is most generally
satisfactory is the on-sale music, and I always
consider this branch of our business as good
advertising. From the publisher's viewpoint,
the aim is to place the music in the hands of
the buyers, and we prefer to do it through our
agents. Where we have no agents, we do it
direct.
For many years, musicians, and this covers
the general field, have been accustomed to re-
ceive on-sale music, and they will not buy in
large quantities until they examine it. It is a
very difficult matter to create a demand for your
goods without this form of advertising. It
seems obvious to me that the on-sale depart-
ment, supplemented by the trade literature
which the publishers supply free, circulars, the-
matics and other catalogs, especially those of an
explanatory form, making the selection of music
easy for both music clerk and customer, is the
most important form of advertising. The pro-
fessional department should also be considered
very seriously. Some time ago, a very promi-
nent firm in the West requested quantities of
complimentary octavo music, together with a
lot of samples of other numbers. Judging by the
increased orders for these numbers, it most
certainly pays the retail dealers to give more at-
tention to publicity of this character. This sort
119 Fifth Avenu«. at
Street, New York
19th
DEAR FRIENDS:
Did you enjoy the convention--and upon returning home,
having brushed off the dust of Father Knickerbocker's side-
walks, did your little girl or boy come running to greet you
and ask what you brought them and mother from the big city? We
hope they were pleased.
And the question of your own personal gain. No doubt you
will benefit by applying the suggestions and ideas disclosed
at the recent convention to your own business. Your business
is what you make it—good or bad. There is a mistaken idea
that business takes an extreme slump during the summer. The
active and live dealer can always stimulate his sales through
some new angle.
To the dealer who did not attend the convention--do you
realize the value of association with your fellow business
men? Promise yourself to attend the next convention, even if
you have to climb "Pikes Peak" or "Jacob's Ladder" to do it.
Cordially yours,
RICHMOND MUSIC SUPPLY CORP.
N. B.—Lett you forget—whether or not we have met you per»onally, you can always depend upon the RICHMOND
MUSIC SUPPLY CORPORATION at your personal representative in New York City for every requirement in music.
Which reminds us of the fellow who enjoyed hit delicious omelet although he had never met the hen.