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36
THE TALKING MACHINE WORLD.
BIG MONEY AN]
The prestige and profit in the higher priced Columbia Graphophones (especially the Symphony Grand) and in classic and operatic records, is being demonstrated by hundreds of dealers every day.
The trend of trade right now is unmistakable:
The Columbia Graphophone has won its way well past the 'novelty" stage — and is fast coming into its own as the one musical instrument that is best ■worth while.
The higher-cost types are getting a stronger hold every week, and progressive dealers are building for the future with this idea in mind.
Our files of new orders for the Symphony Grand Columbia Grai)hophone are enough evidence to us — and the proportion of re-orders tells the same story.
The dealer who gets known by his high-grade goods will cash in a good deal more than his share of the rest of the business of his town every time. Those stores that command the operatic record business are pretty certain to have a standing that brings in the popular record business also.
There is a heap of satisfaction in selling the Symphony Grand Columbia Graphophone. The owner is so proud of it that he does a good share of your advertising for you, and if he has musical taste enough (as he usually has) to be well equipped with the matchless Fonotipia Series of Columbia Grand Opera Records, you've gotten one good customer who is worth a dozen small casual buyers.
This doesn't mean that popular music is being supplanted in the record business. Not by a long shot. It means that you are dealing xmtli a new customer — doing business that never came near you before — business of the sort that the piano-player has pretty nearly monopolized for quite a while heretofore.
Meantime your Columbm "hits" are getting the guick money. On s=ale as soon as made — and well made, too — they are going like baseball extras with four teams tied for the p.^nnant.
Columbia Phon«
TRIBUNE
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