Classic Mode

Presto

Issue: 1920 1790

PRESXO
PRESTO
PUBLISHED EVERY SATURDAY AT 407 SOUTH DEAR-
BORN STREET, OLD COLONY BUILDING, CHICAGO, Editors
ILL.
C. A. DANIELL and FRANK D. ABBOTT
Telephones, Local and Long Distance, Harrison 234. Private Phones to all De-
partments. Cable Address (Commercial Cable Co.'s Code), "PRESTO," Chicago.
Entered as second-class matter Jan. 29, 1896, at the Post Office, Chicago, Illinois,
under Act of March 3, 1879.
Subscription, $2 a year; 6 months, $1; Foreign, $4. Payable in advance. No extra
charge in U. S. possessions, Canada, Cuba and Mexico.
Address all communications for the editorial or business departments to PRESTO
PUBLISHING CO., 407 So. Dearborn Street, Chicago, III.
Advertising Rates:—Five dollars per inch (13 ems pica) for single insertions.
Complete schedule of rates for standing cards and special displays will be furnished
on request. The Presto does not sell its editorial space. Payment Is not accepted for
articles of descriptive character or other matter appearing in the news columns. Busi-
ness notices will be Indicated by the word "advertisement" In accordance with the
Act of August 24, 1912.
Rates for advertising in Presto Year Book Issue and Export Supplements of
Presto will be made known upon application. Presto Year Book and Export issues
have the most extensive circulation of any periodicals devoted to the musical in-
strument trades and industries in all parts of the world, and reach completely and
effectually all the houses handling musical instruments of both the Eastern and West-
ern hemispheres.
Presto Buyers' Guide is the only reliable index to the American Pianos and
Player-Pianos, it analyzes all instruments, classifies them, gives accurate estimates
of their value and contains a directory of their manufacturers.
Items of news and other matter of general interest to the music trades are in-
vited and when accepted will be paid for. All communications should be addressed to
Presto Publishing Co., 407 So. Dearborn Street, Chicago, III.
SATURDAY, NOVEMBER 13, 1920.
TO CORRESPONDENTS.
PRESTO IS ALWAYS GLAD TO RECEIVE NEWS OF THE
TRADE—ALL KINDS OF NEWS EXCEPT PERSONAL SLANDER
AND STORIES OF PETTY MISDEEDS BY INDIVIDUALS. PRESTO
WILL PRINT THE NAMES OF CORRESPONDENTS WHO SEND IN
"GOOD STUFF" OR ARE ON THE REGULAR STAFF. DON'T SEND
ANY PRETTY SKETCHES, LITERARY ARTICLES OR "PEN-PIC-
TURES." JUST PLAIN NEWS ABOUT THE TRADE—NOT ABOUT
CONCERTS OR AMATEUR MUSICAL ENTERTAINMENTS, BUT
ABOUT THE MEN WHO MAKE MUSICAL INSTRUMENTS AND
THOSE WHO SELL THEM. REPORTS OF NEW STORES AND
THE MEN WHO MAKE RECORDS AS SALESMEN ARE GOOD. OF-
TEN THE PIANO SALESMEN ARE THE BEST CORRESPONDENTS
BECAUSE THEY KNOW WHAT THEY LIKE TO READ AND HAVE
THE OPPORTUNITIES FOR FINDING OUT WHAT IS "DOING" IN
THE TRADE IN THEIR VICINITY. SEND IN THE N E W S -
ALL YOU CAN GET OF IT—ESPECIALLY ABOUT YOUR OWN
BUSINESS.
LETTERS BY MR. BENT
Mr. Geo. P. Bent has kindly volunteered to contribute a series of
letters descriptive of his experiences and observations during his trip
around the world. Mr. Bent will sail from Seattle, on November 19th
and his communications will be anticipated with unusual pleasure by
every reader of this paper. His long experience and unusual facility
as a writer will render Mr. Bent's letters of very special usefulness
also to manufacturers who are reaching for an export trade. Any-
thing that readers abroad may do to assist Mr. Bent in gathering ma-
terial for his letters will be appreciated by this paper and will have
such attention as that gentleman may suggest.
NO PIANO MAKERS
There may be interest to the piano industry in the fact that the
immigration occupational tables, recently issued by the government
statisticians show that not a piano maker came into this country
during the past year. Practically all the other departments of skilled
labor and professions received large enlistments by foreign arrivals
during the twelve months. From actors to clergymen, and from
editors to musicians the lists of professionals were long ones, the en-
tire aggregation of fortune seekers for the year ending- June 30th
reaching in number 173,133. Of that army of more or less skilled
workers, 12,442 belong to the professional ranks, 69,907 are factory
workers, 7,341 are merchants, and 81,732 laborers. There isn't a single
piano maker in the entire crowd.
To be sure, the term "piano maker" is not as lucid in its meaning
as shoemaker, carpenter or plumber. The world at large still has an
idea that any man with a hammer and hand-saw can make pianos.
The only skill usually recognized by music lovers, in connection with
the piano, is that of the tuner, the teacher and, above all, the salesman.
Behind these three, and the first payment, the average piano buyer
seldom looks. And so, when it is said by the newspapers that among the
173,133 immigrants there are 627 musicians, 162 cabinet makers, 110
November 13, 1920.
woodworkers and 12,681 clerks and accountants, there seems nothing-
lacking to insure a good supply of instruments, with an ample force
of salesmen to dispose of them. That is about as far as the tables of
the in-coming workers can be expected to interest the average citizen
of musical inclinations.
But to the piano manufacturer who has been on the look-out for
skilled workers in his factory, who has been struggling through years
of lack-labor and threatened strikes, the absence of piano makers in
the occupational lists of new arrivals, may have a real significance.
The cabinet makers and the workers in wood, may promise some-
thing-. But even there a glance at the column of out-going skilled
laborers shows that during the year 70 cabinet makers left these
shores and were accompanied by 20 wood workers. And of common
laborers, while 81,732 arrived, 183,820 departed, leaving quite a void
in the potentialities of the workers should piano-making schools be-
come so urgently needed as to cause them to be established.
In England, France and Germany, industrial schools in which
piano making is a part have been in existence for very many years.
There has been a good deal of talk on the same subject in this country.
One large New York industry conducts a player action school which
has been taken advantage of by hundreds of expert piano men and
practical tuners. It is believed that to the Danquard school a great
debt is due for what has been done to protect playerpianos in every
•part of the country. And several of the foremost piano tuning
schools have also inaugurated playerpiano departments which are
doing good work along the same line.
But there seems to be need of a systematized school of practical
piano making. We are making in this country more pianos than all
the rest of the world combined. This may not remain true after the
old-world countries get back into full industrial swing. But the
United States will always be the greatest piano making country, and
the need of skilled labor will always be felt. With so many other
phases of the industry and trade to take care of, it would be too much
to expect the Music Industries Chamber of Commerce to include vo-
cational training in its activities, but it would pay private or indi-
vidual enterprises to try it. There are schools, or departments of
schools, devoted to other branches of industry, and they seem to be
thriving institutions. The active, going piano factories can not afford
to take in apprentices and let them "grow up" to the requirements of
skilled workers. Labor conditions in these times render the old
methods impractical and too expensive for any but wealthy philan-
thropists. But the tables of occupational immigration for the last
year seem to imply that piano workers, in the old countries of musical
instrument expertness, prefer to stay at home. And this suggests
the need of some means by which to produce that kind of skilled
labor within easy reach of the factory walls.
A HAPPY CLIMAX
As a corollary of industrial and trade conditions, for which the
great war was responsible, came the attitude of indifference, amount-
ing at times to insolence, displayed by some classes of employes. How
far the music trade has been afflicted by the condition it is not the
purpose here to discuss. No one who observes at all will deny that
the art of being- civil was for a period almost lost to the world of
trade, and the unfortunate buyers in many busy marts were subjected
to annoyances and inconveniences surpassing the woes of the Salem
witches. That is nearly passed now, however, and if any trace of
it remains it has to do more with a mild degree of incivility which
compared to the older condition is almost a delight.
Nevertheless, there are evidences at times which seem to show
that, even in the music trade, the effects of the conditions to which
we have referred have not yet been wholly forgotten. In a recent
newspaper advertisement of the old house of Lyon & Healy the fol-
lowing statement is made conspicuous: "We try to make every one
who enters our store glad they came in." That is fine. It is, also,
characteristic of the conduct of the selling departments of the "largest
music house in the world." It is the very spirit that actuated the late
founder of the house, whose personality was one of radiant geniality.
And there is in the Lyon & Healy declaration a key-note which
might to advantage be adopted by many other business houses in the
same line of industry. In a recent Presto editorial direct charges were
brought against big business houses whose marked evidences of in-
civility had been noted. That editorial has brought to this paper sev-
eral communications in which the writers tell of other instances of
the repellant and inexcusable indifference of employes in high places.
One of these complaints so strongly gives emphasis to what was said
in these columns that, were it less credibly related, it might be hard
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
November 13, 1920.
STO
to believe. For it pertained to the branch of business which, above
all, should be the place of affability and courtesy—the advertising de-
partment.
"I had called," says the letter writer, "to consult the advertising
manager about a new window sign device in which I was interested.
I was directed to the assistant manager of publicity. I told him why
I had called, and this is what he bellowed forth: 'An electric sign, eh ?
Well, about nine out of every ten men who come here have electric
window signs! We don't care to see it!' And he shut the door in
my face."
If that is not an exaggeration, then the advertising manager is
not a profitable employe. He is not doing the right kind of adver-
tising. He is driving away trade. For of all callers, perhaps the ad-
vertising solicitor is the one who should be made welcome. It is his
business to advertise. He is a "mixer." He circulates. He talks.
And what is he likely to say about a house whose representative, in
his own line of work, greets him with an insult and shuts the door
in his face ?
But this has little or nothing to do with the fine ending of the
Lyon & Healy advertisement. If every business house would extend
the same invitation and assurance, the unpleasant flavor of the in-
civilities which were due to the unrest of the great war, and its at-
tendant discomforts, would soon become entirely extinct and per-
haps in time be forgotten.
ART AND ADVERTISING
An irrepressible conflict among writers on musical matters has
been, like that of the doctors and some other professionals, whether it
is a violation of ethics to indulge in advertising. There has been a
sentiment in the music world that an executive or creative musician
has no business to do business at all in a business way. The degree of
real reasoning that has been injected into the delicate subject has
never been enough to swim a warboat, and to thinking individuals of
average intelligence there doesn't seem to be much reason in it any-
way.
And so once more, for a moment, suppose we look at the proposi-
tion of the musician who, having something more than an understand-
ing of the tonic and sub-dominant, the high C and the low B-flat,
deems it well to do a little publicity work. Svippose some artist be-
lieves that he might as well break through conventionalities and in-
vest in some -publicity concerning his proposed performances, or what
he may have actually already done to startle the musical world.
What's the harm? Why permit the newspaper critics to tell it when
perhaps they know nothing at all about it ? Some of them can talk
intelligently about a stock show or even a prize fight, but few of them
really have the capacity to feel good music and describe the manner
of its making.
The late Marc A. Blumenberg conducted both a critical journal
and a trade paper. It was his habit to boldly declare that if any artists
wanted notoriety he would give it to them at the regular advertising
rate. He had a habit of making his trade paper an adjunct to his
critical journal, and so intermingling the influence of the two that, to
get anywhere by the editor's aid, it was well to invest in both publica-
tions. And his plan worked because it was good common sense.
Since then other critical—more or less—music journals have adopted
WEAVER WORKERS
ARE ALL PEPTOMISTS
Enlivening Enthusiasm Marks the Written and
Spoken Words of Dealers and
Employees.
Enthusiasm is certainly sparking right with the
representatives of the Weaver Piano Company, Inc.,
York, Pa. Here is a sample of cheery correspon-
dence from Walter Gleitz, a son of R. A. Gleitz,
tone expert for the York industry, who is doing
some special work for George Porch, dealer, Johns-
town, Pa.:
"Mr. Porch certainly is a first-rate fellow and a
Weaver booster. The Weaver goods top all of the
rive or six different makes of pianos here. When
they are placed beside another piano for a test they
invariably come out first. It certainly makes me
feel proud to be an employe of the firm. Our little
York makes some of the artist grade goods sit up
and take notice. Mr. Porch says the tone of the
York is much better than some of the artist grades."
G. Keagle & Son, Canton, Pa., is enthusiastically
Mr. Blumenberg's plans of publicity with the ethical problem some-
what eliminated.
In short, it has come to pass that the critical journals in the line
of music no longer hold their little noses high and refuse to see that
their comments and criticism are simply a species of more or less con-
scious advertisements. If the criticism is flattering it helps and if suf-
ficiently uncomplimentary it may help even more, especially if the
one advertised is said to possess some eccentricities of a kind to make
him interesting, or has particularly long and beautiful hair.
In any event, the critical journal of music no longer withholds the
secret that it is out after advertising, and all it can get of it. A re-
cent and very stalwart illustration has just come in the "Twentieth
Anniversary Number" of the Pacific Coast Musical Review, of San
Francisco. The journal named is one that deserves its evident suc-
cess. It has made a great struggle and its editor, Mr. Alfred Metzger,
is several inches taller, in his capabilities and musical knowledge, than
any of his contemporaries at the other end of the continent. New
York has no weekly musical journal to compare, in substantial inter-
est, with the one in San Francisco. And in the special number of the
Pacific Coast Musical Review it is cheering to notice quite a number
of fine advertisements of large music houses. Sherman, Clay & Co.
have a full page in front; the back cover is possessed by Kohler &
Chase; Geo. J. Birkel Co., "the Steinway House," Wiley B. Allen Co.,
The Baldwin Piano Co., and other substantial piano houses are also
liberally represented.
Art unadvertised would soon drop to the zero point and locally,
perhaps, even die. The "critical" musical journal can not live upon
art alone, and the musicians do well to support it
Both political parties agree that there is promise of a protracted
period of business prosperity ahead. It will depend upon the piano
trade, largely within itself, to insure a good share of that prosperity.
The individual dealer is the chief factor in piano trade success as in
few other lines of trade. And no matter how small his business may
be, each dealer's influence is considerable.
* * *
If you have a local demand for grands cultivate it to the fullest.
If the call is for players, extend your energies along that line. And
if the demand is still for the "straight" uprights, don't discourage it,
but give your neighbors what they want and let them be proud of
their purchase, no matter what it may be, so long as it is an instru-
ment good enough to be proud of.
* * *
A trade editor declares that if the Republican party meets its
great responsibilities "fairly and squarely" there will be prosperity;
but if "on the other hand, flushed with success, the Republican lead-
ers do not meet the issue, we are likely to have a reaction within the
next few years." Remarkable perspicacity. In other words, if it does
it will and if it doesn't it won't.
* * *
The advice to keep up collections is good. But don't put so much
time into collections that you can't sell and so may have nothing to
collect. As with marriage, consider in advance whether it is a good
move and try not to sell to people who may make it necessary to sac-
rifice time in making collections.
handling "The Leading Line," including Pathe
phonographs and records. The extent of his enthu-
siasm for the line of the Weaver Piano Company,
Inc., may be gauged from the following letter to the
York manufacturers:
"We are enclosing a letter of recommendation
from Mr. Nils A. Nelson, pianist and accompanist
for Miss Cecil Arden of the Metropolitan Opera
Company, who is now on Edison Tone Test Recital
Tour. They were very appreciative of the fine tone
and wonderful action of your instruments. They
used a Weaver Adam style for their tone test. Mr.
Nelson is a very fine pianist, and we know that if
you could hear him you would appreciate his wonder-
ful mastery of the piano."
Mr. Nelson's letter alluded to is as follows.
"I hereby certify that I have examined the Weaver
Upright Grand and York pianos and find them in
every respect most excellent instruments."
A. R. FARMER MAKES WESTERN TRIP.
A. R. Farmer, representing the Standard Pneu-
matic Action Co., left New York last Wednesday
evening for the West. Mr. Farmer intends to make
Chicago his headquarters, and will stay in the West
three weeks.
ST. LOUIS MUSIC TRADES
REORGANIZE ASSOCIATION
Enthusiasm of the New Officials and Membership
Generally Marks Meeting at American Annex Hotel.
New enthusiasm has been injected into the Music
Merchants' Association of St. Louis, which has been
reorganized and equipped with a new set of officers,
while retaining the advantages of advice from the
old and experienced men who have from time to time
directed the association. The spirit expressed at
the recent meeting in the American Annex Hotel
was to promote and encourage the association until
it became one of the leading and most influential or-
ganizations of the trade in the country.
The new officers elected were: P. A. Lehman,
president of the Lehman Piano Co.; vice-president,
Maik Silverstone, president of the Silverstone Music
Co.; secretary, J. F. Ditzell, manager of the Famous
& Barr Co., and treasurer, John J. Kleekamp, of the
Kleekamp Bros. Piano Co. The officers named and
P. E. Conroy, E. A. Kieselhorst and A. F. Mengel
comprise the board of directors, which also serves
as an executive board.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/

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