Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
SPEAKING
than the price asked today and. was, ostensibly at least, made
to bring a higher price.
Opinions differ as to the average selling prices of grand
pianos. Some insist that $1,000 is the line of demarcation
between the higher class or perhaps higher priced instruments,
and the others, which, although good, are priced to reach a
mass market. In some localities higher prices are obtained
without unusual difficulty considering current conditions. In
other sections the average price trend is low with the better
grades of pianos suffering accordingly. It is significant that
the bargain hunter is not so prevalent among those seeking
pianos at $1,000 or more, as among those who expect a
concert grand in period model case with a bench thrown in at
considerably less than $500.
Reports indicate that the grands made especially to meet
the low price appeal have made very effective bait in some
cases. The sales of the instruments themselves have not been
impressive, but they have brought about the sale of larger and
better pianos. The public wants price concessions in pianos,
but at the same time it wants those instruments to have every-
thing which should go into the making of a good piano. The
compromise is not possible.
IS THE PLAYER REALLY DEAD
OR IS IT SIMPLY NEGLECTED
I
S the player piano really dead? From the cold standpoint
of business the decrease in the demand for that type of
instrument during the past few years as compared with
the percentage of dropping off in straight pianos seems
to lead to the conclusion that the player trade is at least sick
enough to require some strong tonic to enable it to continue,
if not to recover.
On the other hand, however, there are sections of this
country where there appears to be a very definite demand for
players, due no doubt to the efforts of dealers in emphasizing
the possibilities of those instruments. Not long ago a West-
ern concern bought and sold six carloads of players, at a very
attractive price, of course, but nevertheless they sold them. It
may be argued that the price was the appeal, but even the
bargain-crazy public require that they have some use for
what they buy.
It is a matter of common knowledge that various dealers
are doing very well with player pianos as compared to their
straight instruments, selling them to those who feel that they
are too old [ to learn to play and yet are fond of piano music,
as well as to other types of families who really like their music
ready-made. These dealers have proven that it is' quite feasible
to exploit the player in its special field without in any way
jeopardizing the campaign for the encouragement of oersonal
expression in music.
From the standpoint of roll sales one concern, at least, has
enough confidence in the potential demands for good music
rolls to launch a strong campaign in their interest. The ar-
gument is that there are thousands of players in homes that
are silent because the owners have ceased buying rolls auto-
matically and no effort has been made to sell them. Just
what dealers can do with music rolls if they will merchandise
THE
MUSIC
TRADE
REVIEW,
August, 1931
them with some energy, rather than treat them as necessary
evils, remains to be seen. The music roll men believe that
there are sales for several million rolls each year possible if
the proper effort is expended. As it stands now the trade as
a whole insists upon reversing itself. Twenty years ago it
cast aside the straight piano in favor of the player. Now its
members are just as enthusiastic about the straight piano and
personal expression and are inclined to deride the player.
Why not a compromise to the end of exploiting to the in-
dividual customer that type of instrument which best suits
his needs? There is a market for both straight pianos and
players, but it will not be realized in the full if one type is
promoted to the exclusion of the other. Certainly those who
want their piano music ready made had better get it direct
from the player piano and indirect from the radio. At least
it should seem that way to the piano man.
W H O MAKES GOOD FOR THE
POOR SUPPLY CREDITS
A
CCORDING to the records of some liquidations
of piano manufacturing concerns within the past
few years, and the same rule might be said to have
held good for a quarter of a century or more,
certain supply houses seem to feel that sales are sales whether
they are paid, for or not, and 1 that an account on the books is
an asset regardless of how uncertain it may be.
The efforts of the Musical Supply Association, now de-
funct, to improve credits appeared to help matters on the
surface at least, but apparently the results have not been as
far reaching as hoped, and there are supply men that still
take chances that would embarrass the purchaser of a ticket on
an Irish Sweepstake.
The unfortunate part of it is that a manufacturer who is
sound financially and pays his bills also pays very directly for
the poor credit risks, and. in the long run the manufacturer
who doesn't pay is underselling the other type with the very
money that the latter is paying for his supplies. It may
appear a little involved but it is nevertheless true.
THE ONE W H O IS DOING THE LEAST
GENERALLY TALKS THE LOUDEST
F
ROM more or less general observation it would appear
that a majority of trade members who complain loudest
about conditions are doing the least to improve them. It
is the manufacturer who sits at his desk and makes little
or no attempt to sell, except perhaps by mail, who damns the
retailers for not buying and likewise it is the dealer who stands
by waiting for something to happen who is the prize pessimist
in his field. No one today, apparently, buys much voluntarily.
All must be sold, and sold hard and it isn't done from the
office desk.