Music Trade Review

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Talking Machine Trade Situation
Is Analyzed by George R. Madson
His Observations on Current Conditions and His Suggestions Regarding Prac-
tical Methods of Merchandising Worthy of Consideration
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The general talking machine situa-
tion and developments that are to be
expected in that branch of the indus-
try were set forth at considerable
length by- Geo. R. Madson, of the
Cheney Phonograph Sales Co., Cleve-
land, before the convention of the
Music Merchants' Association of Ohio
in Columbus. Mr. Madson's broad ex-
perience in the merchandising of talk-
ing machines serves to lend weight to
his opinions, which are offered in full
on this page. V£
5¥
$H
$&
47
THE MUSIC TRADE REVIEW
SEPTEMBER 17, 1921
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"I have been asked many times, during the
last twelve months, what is the matter with the
talking machine? Why has the slump been
all out of proportion to some other lines of
musical merchandise? The market for talking
machines is satisfactory; what the industry needs
is a change in merchandising methods, and the
merchants who have recognized the change have
no complaint to make. Every merchant and manu-
facturer should welcome this change. During
1918 and 1919 the majority of homes were able to
purchase talking machines, so that the novelty
period has passed and to-day the talking ma-
chine has reached a high place in the musical
merchandise world. The talking machine has
reached the piano stage of merchandising. The
buying public must be shown, the goods must
be right, prices must be right; talking machines
are not readily sold to-day at any price just
because they are talking machines; you must
help create the desire and go out and get the
business.
"The talking machine industry is very fortu-
nate in having high-grade manufacturers create
and build up the business, keeping it clean, pro-
tecting the merchants and with very few excep-
tions advertising honestly and without mis-
representation. However, now that competi-
tion is becoming keener considerable nonsense,
or, what is worse, false information along musi-
cal lines, is being put out by some manufac-
turers, either through national advertising or
through advice to dealers. For example, the
advertising manager of one of the large talk-
ing machine companies, to show its careful
attention to detail, states that when calling on
one of its high executives he noticed several
plates containing rosin and upon asking for an
explanation was informed: 'We are having a
noted violinist make records to-day and I have
been testing rosin; we want him to have the
very best rosin obtainable.' The artist prob-
ably had a Cremona violin worth thousands
and bow worth hundreds, but it was the rosin,
according to that manufacturer, that was neces-
sary for fine records.
"Another notice to dealers was brought to
my attention. The manufacturer seemingly
wished to explain to his dealers the saying,
'No person can do two things equally well,'
evidently forgetting that the maxim conveys
the meaning that no person can do two things
equally well at the same time. The company
explained, in its house organ, that its orchestra
director, for example, could only do one thing
well—direct the orchestra; therefore, he was a
great director; this advertising manager had
evidently never heard of Ysaye, Gabrilowitsch
or Sokoloff, really great directors and also
amone our crreatest instrumental artists. It is
such piffle that, when used by music dealers,
keeps the talking machine from being taken
seriously by the really musical public.
"Every successful piano merchant knows his
pianos thoroughly, can explain every detail and
method of construction. What do you know
about the talking machine, except that it plays
records? The talking machine is a mechanical
device following well-known natural and me-
chanical laws allowing a full explanation. There
is nothing mysterious about it.
"In selling a piano you sell tone and cabinet.
In a talking machine for tone you sell natural-
ness of reproduction, and this is where the talk-
ing machine is confusing to a great many
dealers.
"In the piano you have in every instrument
the characteristic piano tone. You can only
secure hi different instruments a sweeter more
mellow or more brilliant tone. You' merely
compare one instrument with another. The
talking machine has no tone of itself, it en-
deavors to reproduce the tones of other instru-
ments and voices as nearly like the original
as the manufacturer can make it.
"Are you capable of recognizing the charac-
teristic tone of different instruments? You who
are piano salesmen should be able to judge the
correctness of piano reproduction; if you are
a thorough violinist to judge the correctness of
violin tones, and as the talking machine is not
temperamental any instrument that reproduces
any one instrument correctly will reproduce all
instruments or voices correctly. As a mechani-
cal device it is not capable of discriminating
between the vibrations of piano, violin, cornet
or voice and on the other hand any talking ma-
chine that is faulty in its reproduction of the
voice or any one instrument will be equally
faulty \\\ its reproduction of all.
"If you need advice as to which instruments
are the best get the advice of one who knows,
taking into consideration that some saxophone
or trap players are not musicians.
"I recently heard a discussion of different
makes of talking machines in one of the large
music houses. One of the salesmen was ex-
plaining that a certain make reproduces violin
records (he was a violinist) better than the
other make, but, he said, the other make plays
a well-known singer's records better. One of
the salesmen asked my opinion. I explained
that I was not sure; I had only heard that singer
two or three times and that to judge I would
have to be more familiar with that singer's voice.
The salesman who made the assertion said, 'I
have never heard him, but I like it better.'
"That is a sample of the knowledge displayed
by the majority of talking machine salesmen in
our music stores. 'It must be the best because
I like it better.' Don't forget you frequently
have customers that know almost as much as
you do. An instrument sold by misrepresenta-
tion, even if unintentionally, will make a poor
booster of a customer when knowledge comes
to him.
"Know the design, construction, material and
finish of the talking machine cabinet. A promi-
nent talking machine manufacturer said to me,
'We are selling music, not furniture.'
"Suppose one of our great sopranos ap-
peared before a concert audience dressed in a
pink dress, red sash, high, black shoes and
white hose. Would the concert be a success?
Assuredly not. We insist on harmony. A piano
merchant recently said to me, 'I cannot sell
period cabinets; they are too new.' He forgot
his pianos were period designs and that he
would not think of buying the gingerbread
designs of twenty years ago. Our architects
and designers are trying their best to make us
forget the monstrosities they forced on us dur-
ing the past fifty years. We have begun to
realize that the designs created and improved
upon by artists for centuries are still the best.
"What is the finish of your talking machii*e
cabinets, construction, metal parts? Are you
giving your customers their money's worth on
a piece of merchandise? Your firm should be
the court of last resort for musical instruments.
You must know thoroughly what you are buy-
ing. Give your talking machine department the
same amount of attention you give your piano
department, employing just as high grade a
sales force. Work for your talking machine
business and you will surely get it—wait for it
to come to you as in the past and you will
always be asking what is the matter with the
talking machine situation.
"As talking machine merchants we are doing
this world a great good or a great harm, de-
pending upon the class of records we are sell-
ing. Unfortunately, we must cater somewhat
to the popular demand; but it is up to us as
music merchants to co-operate with the differ-
ent associations for the advancement of music,
such as the Federation of Women's Musical
Clubs, who are offering scholarships and prizes
for American compositions and do our share
in educating the public to what is good in
music. As someone has said, 'Music sweeps
away the dust of every-day life'."
JONES PIANO CO. ADDS VICTROLAS
Ohio Firm Remodels Talking Machine Depart-
ment—Coulter Jones Assumes Management
MANSFIELD, 0., September 10.—A Victor talking
machine department was recently added to the
music business of the Jones Piano Co., of this
city. The company, which occupies two floors
of the building in which it is housed, has re-
modeled and redecorated its talking machine de-
partment. Several demonstration booths have
been constructed. The new Victor department
will be in charge of Coulter Jones, son of W. E.
Jones, proprietor. A complete line of high-
grade pianos and musical accessories are also
carried in stock.
The establishment, which is considered one
of the largest in this section of the State, con-
tains every comfort for patrons and lovers of
music. A rest room for visitors and a room
in which music instructors may meet for con-
ferences are features of the store.
VICTOR AD IN 'PHONE BOOK
CINCINNATI, O., September 12.—For the first time
in the history of the Cincinnati telephone direc-
tory there appears in this month's issue a full-
page advertisement in color, separating the main
section from the classified section. The Wind-
sor Music Shop, advertising the Victor line,
has one side of the page.
PLANS VICTOR DEPARTMENT
The Duncan-Schell Furniture Co., of Keokuk,
la., is planning a modern Victor department in
its new store which will be opened at Fort Madi-
son in September. Six demonstration booths,
outside salesmen and experienced girls to handle
record sales are included in the plans. The en-
fire stock of two Fort Madison Victor dealers
has been purchased by the company.
Albert A. Gesthausen, an organist and piano
expert of Astoria, N. Y., died recently after a
long illness.