Music Trade Review
Issue: 1920 Vol. 71 N. 16 - Page 3
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MU SIC TIRADE
VOL. LXXI. No. 16
Published Every Saturday by Edward Lyman BUI. Inc., at 373 4th Ave., New York. Oct. 16, 1920
Single Copies 10 Cents
fX.OO Fer Tear
ARSIGHTEDNESS is undoubtedly a virtue, but it sometimes has the disadvantage of distorting 1 the
vision of the business man to a certain degree, causing him to lose his perspective and overlook matters
close at hand. Farsightedness on the part of some members of the music industry appears to be having
just that effect, for these individuals are so engrossed in studying the great problems of the country's
industries at large that they are prone to lose sight of their individual problems and allow important home
matters to shift for themselves.
The question for the average music merchant to answer is not that of how the process of readjustment
of business and of prices is working out, but rather what he can and must do to keep his business going on a
sound basis. While it is right and proper to give some time to looking into the future with a view of meeting
any situation that may develop, the main consideration is to take care of the present—to build so solidly as to be
able to resist successfully the effects of any country-wide business depression that may perchance develop
some time in the future.
No matter how unsatisfactory business conditions may become, the retailer's problem is that of taking
care of himself. To do this he must realize, first, that there must be a vigorous sales policy, an aggressive
advertising campaign and a closer attention to credit terms and merchandising generally. If between now and
the first of the year there should come an unexpected business boom then these preparations will result in a
huge volume of business. If on the other hand there comes a dull period these same preparations can be relied
upon to keep the retail business on a normal basis or close to it.
An aggressive salesman declared in The Review a few days ago that he was having the time of his life,
and explained his remarks by stating that for the first time in several years he had been called upon actually
to sell some pianos. "I haven't forgotten how to sell," said this man, "but I have almost forgotten the thrill
that goes with selling. The members of our sales staff are on their toes and seem keener than ever to do busi-
ness just because it requires some effort to bring in results. Simply shifting retail prices to a certain degree is
not going to increase the volume of sales to any appreciable extent unless there is energy back of the movement,
and if the energy is there in the first place it is much better to take the percentage of profit sacrificed in price
cutting and put it into a straight sales campaign."
The majority of the retailers of the country are fairly well supplied with instruments, and it is logical
to believe that the more complete the stock the stronger the incentive for a real sales campaign. This cam-
paign should include publicity that emphasizes the value of music, and the quality of the instrument offered,
rather than simply prices and terms. The price argument has been and is being featured so frequently that
the public can be excused for being a little skeptical regarding values offered, whether on pianos or on any
other merchandise.
As a general rule the price equation does not enter as strongly into piano selling as it does into some
other lines, for pianos have always been sold at what may be considered substantial amounts, and the increased
prices have not been so noticeable. The piano purchaser almost invariably depends upon the dealer to give
him an instrument of a quality commensurate with the price he is paying; in other words, he places his con-
fidence in the dealer's honesty.
Under such conditions, it remains for the retail salesman to convince the prospect that he needs a piano
—needs it at once and can afford it. The argument of price is not going to bring about the purchase of a
piano if there is not first a desire to own the instrument, and the work of the musical instrument salesman is pri-
marily to inculcate and develop that desire. In short, now is the time for the display of practical salesmanship
rather than for idle speculation.
F
THE
MU SIC TIRADE
VOL. LXXI. No. 16
Published Every Saturday by Edward Lyman BUI. Inc., at 373 4th Ave., New York. Oct. 16, 1920
Single Copies 10 Cents
fX.OO Fer Tear
ARSIGHTEDNESS is undoubtedly a virtue, but it sometimes has the disadvantage of distorting 1 the
vision of the business man to a certain degree, causing him to lose his perspective and overlook matters
close at hand. Farsightedness on the part of some members of the music industry appears to be having
just that effect, for these individuals are so engrossed in studying the great problems of the country's
industries at large that they are prone to lose sight of their individual problems and allow important home
matters to shift for themselves.
The question for the average music merchant to answer is not that of how the process of readjustment
of business and of prices is working out, but rather what he can and must do to keep his business going on a
sound basis. While it is right and proper to give some time to looking into the future with a view of meeting
any situation that may develop, the main consideration is to take care of the present—to build so solidly as to be
able to resist successfully the effects of any country-wide business depression that may perchance develop
some time in the future.
No matter how unsatisfactory business conditions may become, the retailer's problem is that of taking
care of himself. To do this he must realize, first, that there must be a vigorous sales policy, an aggressive
advertising campaign and a closer attention to credit terms and merchandising generally. If between now and
the first of the year there should come an unexpected business boom then these preparations will result in a
huge volume of business. If on the other hand there comes a dull period these same preparations can be relied
upon to keep the retail business on a normal basis or close to it.
An aggressive salesman declared in The Review a few days ago that he was having the time of his life,
and explained his remarks by stating that for the first time in several years he had been called upon actually
to sell some pianos. "I haven't forgotten how to sell," said this man, "but I have almost forgotten the thrill
that goes with selling. The members of our sales staff are on their toes and seem keener than ever to do busi-
ness just because it requires some effort to bring in results. Simply shifting retail prices to a certain degree is
not going to increase the volume of sales to any appreciable extent unless there is energy back of the movement,
and if the energy is there in the first place it is much better to take the percentage of profit sacrificed in price
cutting and put it into a straight sales campaign."
The majority of the retailers of the country are fairly well supplied with instruments, and it is logical
to believe that the more complete the stock the stronger the incentive for a real sales campaign. This cam-
paign should include publicity that emphasizes the value of music, and the quality of the instrument offered,
rather than simply prices and terms. The price argument has been and is being featured so frequently that
the public can be excused for being a little skeptical regarding values offered, whether on pianos or on any
other merchandise.
As a general rule the price equation does not enter as strongly into piano selling as it does into some
other lines, for pianos have always been sold at what may be considered substantial amounts, and the increased
prices have not been so noticeable. The piano purchaser almost invariably depends upon the dealer to give
him an instrument of a quality commensurate with the price he is paying; in other words, he places his con-
fidence in the dealer's honesty.
Under such conditions, it remains for the retail salesman to convince the prospect that he needs a piano
—needs it at once and can afford it. The argument of price is not going to bring about the purchase of a
piano if there is not first a desire to own the instrument, and the work of the musical instrument salesman is pri-
marily to inculcate and develop that desire. In short, now is the time for the display of practical salesmanship
rather than for idle speculation.
F
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