Lars Kirmser's Music Trader -Buying Musical Instruments

CONSUMER'S GUIDE TO BUYING A MUSICAL INSTRUMENT

The following discussion is meant only to be used as a general guide when purchasing a musical instrument. I will attempt to isolate the most common scenarios that today's shopper might be faced with, and offer some suggestions how one might approach the transaction more safely. This will be a long document, so you may wish to copy it and read it at your leisure.

You should be made aware that the following is only one man's opinion, and may not cover all the bases all the time. So, always approach each transaction prudently.

NEW INSTRUMENTS

When buying new instruments the consumer is faced with any number of rather important considerations. After you have settled on a specific type of instrument, you will want to select the music company which will sell you your instrument. Your choices will be limited essentially to two avenues; a retail music store or a (discount) mail order music company. A further distinction might be whether or not the business is located close to you, or far enough away that you would have to transact your purchase via the phone, or mail. Both considerations could be consequential to you in time. For example, if you were to deal with a local business, you might be able to take advantage of your service and warranty needs more easily, and without added handling and shipping expenses (if indeed, the local retail business maintains a service department). Additionally, you would be able to take advantage of the store's technical staff when the need presents itself. These services would be difficult, if not impossible to use when dealing with some distant mail order business offering you rock-bottom discount prices. Then again, if you are already in a position to obtain these benefits locally, then perhaps buying through a distant mail order business may make more economical sense for you.

There is something to consider further, however. Mail order companies will insist that they sell the identical instruments that may be purchased from your local music stores, however, it is my opinion that this is not entirely true. For example, responsible retail music dealers routinely run each and every newly received instrument through their service department PRIOR to releasing an instrument to a customer. This practice has become necessary for dealers, as the consistency of manufacturers quality control efforts has become less and less diligent over the years. Retail music stores also routinely inspect EACH instrument very carefully when they receive shipment in case a damage claim must be made. Mail order companies, on the other hand are simply unable to provide these important quality control elements because of the large volume of business they do. Often, in the case of mail order operations, an instrument isn't even removed from its case prior to shipping it out to a buyer. In addition, some of what they sell is in fact drop shipped directly from the manufacturer where they don't even have the opportunity to examine the merchandise. Please don't misunderstand me, I do believe that mail order companies make an effort to provide their customers with top quality products, however, they are by their very nature further removed from their customers AND the products they sell to be able to provide as intimate a service as local store front retail music stores. A second consideration to think about: I do know that in many manufacturing environments, products which are on the low end of quality acceptance are sent to the volume discount (warehouse) accounts, while those products possessing a higher level of quality are reserved for the (retail) customer who is more likely to carefully scrutinize the quality of each product and consequently more likely to return a marginal product for replacement or credit.

Both retail and wholesale businesses have their place in the music business, and often, because of the savage competition going on between these two entities, the purchase price of your new instrument is driven down substantially, that is, for the consumer who wants to pay for the instrument up front (ie. cash, Visa, MasterCard, etc.). For the customer who rents, rents-to-buy, or purchases their instrument on an installment loan basis, they will likely end up spending quite a bit more of their hard earned dollar in the final analysis.

Another condition you could be frustrated by, is that you can come across significant variations when comparing one retail music business to other retail music businesses. The same is true of course when comparing mail order businesses. One can make no safe assumptions when dealing in any business transaction these days. There are honest dealers and crooked dealers in the music business, it's no different than any other type of business. CAVEAT EMPTOR

PRE-OWNED INSTRUMENTS

When one purchases a pre-owned musical instrument, any number of additional considerations may be introduced into the picture. For example, more often than not, we will be dealing with private citizens, as opposed to registered businesses with reputations to protect. Which means of course, that we will be left pretty much to our own devices and knowledge of the specific instrument we wish to purchase. We may not necessarily be able to expect an individual to be as open or honest as we would normally expect a business to be, after all, a business' reputation means everything to its ongoing success. An individual, on the other hand, may or may not feel an obligation to be totally honest and up front with you. I personally feel, however, that the vast majority of private sellers are honest and honorable people. Nevertheless, it pays to be cautious.

In addition, when buying from an individual we are investing in something which will NOT come with any guarantee or warranty whatsoever; so, what we buy is what we get. Therefore, we have to acquire a better than average understanding of the common problems that often plague the particular instrument we are purchasing. After all, there will be no salesperson explaining things and pointing out the important aspects of our purchase.

WHAT IS THIS CRAZY THING CALLED THE MUSIC BUSINESS ANYWAY?

Naturally, one of the first considerations will be to determine whether or not the price an individual is asking for an instrument is a fair and reasonable one. This is where the waters become a bit murky. For on one hand, the asking price will be largely affected by the prevailing value of similar instruments having recently been sold in the marketplace, combined of course, with the laws of supply and demand. On the other hand, the price will be significantly affected by the perceived intrinsic value its owner places upon it. This, of course, is where the confusion (or battle) really begins. The reality becomes: the closer and the sooner the owner's perceived value gets to the established market value, the more likely the instrument will attract a buyer. For one to ask an unreasonably high price for an instrument only means that you will continue to be the proud owner of that instrument for a long, long time, and what purpose does that serve?

In the music industry, the retail merchant is generally able to purchase instruments from manufacturers at a discount rate of between 50% (for student grade) down to approximately 25% (for professional grade) off the suggested retail price. Larger retailers are able to get additional discounts when they purchase larger volumes of inventory from some manufacturers, so their discount rate will sometimes exceed the 50% rate. This of course means, that if a retailer purchases a student model clarinet from the manufacturer for $300, he would then advertise a suggested retail price somewhere in the neighborhood of $600.

If the parents of a young musician contract to rent that instrument with the intent to purchase it later, they will likely be paying the full $600 plus the legal interest and carrying charges for the term of their installment account. On a 24 month account at an interest rate of 18% the total cost of the clarinet would be over $700 ($29.95 per month), and on a similar 36 month contract the total cost would be a little over $780 ($21.69 per month)!

The current market value of a used student model clarinet in good condition is approximately $175. This would be sad news for the owner of the student model clarinet which cost them $780. Naturally, they would feel that they should be able to recoup more of their investment, and would be inclined to ask an unusually high price for it if they were to try to resell it. This example alone demonstrates the merits of purchasing a good used instrument, as an alternative to spending 4 or 5 times the cost for a new one! Furthermore, when you want to sell that same used clarinet, you will be able to recoup most of the investment if it is still in good condition.

Now, if the parent just wanted to rent that same instrument for $20 per month without an obligation to purchase it, their monthly rental fee would eventually cover the merchant's original wholesale cost of the clarinet in a little more than one year. Beyond that period of time, the monthly rental rate would be mostly profit for the dealer, excluding routine maintenance and indirect costs of course.

If a parent of a young musician comes into that same music store and offers to purchase that same instrument for cash, the dealer would undoubtedly offer them a much more attractive price, perhaps for as little as $500 for that same new student clarinet. The reason the dealer is often willing to discount a cash purchase to that degree is because in reality he is in direct competition with the mail order discounter who deals in great volume and is willing to sell that clarinet through the mail to anyone who has the cash for less than $300. Of course, once you get the instrument, and they get the cash, you are pretty much on your own. Pretty crazy business huh!

ESTABLISHING THE FAIR MARKET VALUE OF PRE-OWNED INSTRUMENTS

Generally speaking, musical instruments are marketed in three basic categories: Student Models, Intermediate Models and Professional Models. The distinctions separating each of the levels is not always so easily identifiable, however, manufacturers will tend to offer similar, if not identical products, at prices which are generally within a few dollars of one another. This is a natural condition which is present in all competitive markets. The average consumer is usually not aware of the listed prices of musical instruments, at least not until they find a need to purchase one. This information is usually obtained after they visit the local retail music store as they begin the "shopping phase" of acquiring their instrument. It can be an eye-opening experience for the uninitiated . . . . .kind of like buying a new car 10 years after your last car purchase. But, the average buyer will be surprised what a small amount of profit the manufacturer actually gets from each unit they sell to the retail music store. The only reason that it can be profitable for them, is because they are able to sell a large volume of instruments to their dealers, but then again, ONLY if their product remains competitive in the market.

In establishing the value of a pre-owned musical instrument, you are then governed, in essence by the retail prices of instruments similar to the ones we are trying to sell. For example, if you are trying to sell that used student clarinet, you are able to place a range of value on your instrument somewhere between $1 and the retail cost of a new one. As it turns out, the average retail cost of a new student clarinet currently happens to be about $550, and than the average dealer is able to purchase this new clarinet for approximately 50% of $550, or $275.00. Earlier, I mentioned that you also could by a new student clarinet for less than $300 from a mail order discounter. You might wonder how the mail order business can sell a new clarinet for nearly the same price that many retailers must pay for the same instrument. Well, the nationally advertised musical instrument discount wholesaler buys and sells a lot of instruments and is able to get additional discounts from the manufacturers based on their enormous volume. So, knowing this, we are able to narrow our value range down to somewhere between $1 and $300 for a used clarinet. To further isolate the resale value of our clarinet we must determine its relative condition as compared to a similar new instrument. At best, if the clarinet we virtually undistinguishable from a new instrument, it still wouldn't be worth as much, simply because it is used. So, how much value would we have to give up simply because it is used? In my humble opinion, somewhere in the range of 25%, or about $75, and that's only if you would be hard pressed to tell the difference between the used instrument and the new one (including the case and accessories). If you had a used student clarinet fitting this description, then I would place a value of $225, tops.

We have now brought our value range down to somewhere between $1 and $225 for our used student clarinet. Next, we have to decide how much to discount the value of a used instrument based on it relative condition, if less than As New. I have developed a rating system where I place the instrument's relative condition into 6 categories: AS NEW, EXCELLENT, GOOD, FAIR, POOR, and LAMP MATERIAL. Let's begin by establishing a bottom value for a student clarinet, in other words what is the value of a clarinet in the worst possible condition (the instrument is complete, but it beat to heck). As a technician, I would probably pay $10 for any old junker horn just to be able to cannibalize it for parts. So that will be our bottom range - $10, and with our top range of $225, we will divide the difference by 5 to account for the five levels of reduced value. This will give us a reduction in value by $43 for each level in condition we must go down. So, the possible values we might have for a student model clarinet would be:

$225 --- AS NEW (could not be distinguished from a new instrument)
$182 --- EXCELLENT (no scratches or dents - plays perfectly)
$139 --- GOOD (slight blemishes - the inst. plays well, and is in good adj.)
$ 96 --- FAIR (shows some wear and may need some routine servicing)
$ 53 --- POOR (significant wear and/or requires major servicing)
$ 10 --- LAMP MATERIAL (it is ready for some tech's bone pile)

"VISUAL CHECK LISTS FOR WOODWINDS:"

CLARINET VISUAL INSPECTION

CHECK:

For missing or damaged (worn) pads
That all pads are covering (seating) properly
That all mechanical combinations operate properly
For missing, unhooked, or maladjusted springs
For missing or damaged adjustment corks and felts
For lateral key movement between posts or adjacent keys (requiring swaging)
For missing or maladjusted pivot screws (backed out?)
For missing or maladjusted adjustment screws (backed out?)
For sluggish key action due to loose or binding posts
For sluggish keys due to bent screws, pivot screw pilots, or key hinge tubing
For corroded steels (long screws) or pivot screws
For oil and dirty accumulations on the body and key mechanism
Body sections for cracks or checks ( wood bodied instruments)
For loose body or bell rings (dehydration)
For chipped, cracked or porous tone holes
For damaged or improperly fit tenons and tenon corks
Key alignment
For sticky pads or corks
For correct key opening (travel)
That all bearing surfaces (pivot points and hinge tubes) are lubricated
For the accumulation of residue in the bore
For the accumulation of residue in the tone holes (esp. ring key tone holes)
For the accumulation of residue in the register pip
The instrument's case for insecure blocking
The instrument's case for broken or malfunctioning latches or hinges
The instrument's case for loose articles which may damage the instrument

SAXOPHONE VISUAL INSPECTION

CHECK:

For missing or damaged (worn) pads
That all pads are covering (seating) properly
That all mechanical combinations operate properly
For excessive key noise when the key mechanism is operated rapidly
For missing, unhooked, or maladjusted springs
For missing or damaged adjustment corks and felts
For lateral key movement between posts or adjacent keys (requiring swaging)
For missing or maladjusted pivot screws (backed out?)
For missing or maladjusted adjustment screws (if present)
For corroded steels (long screws) or pivot screws
For oil and dirty accumulations on the body and key mechanism
For sluggish key action due to bent screws, pivot screw pilots, or key hinge tubing
For sluggish key action due to misaligned posts
For bent or damaged tone holes
For significant body dents
For body alignment (esp. Bari's)
For unsoldered tone holes (i.e. old Martins)
For damaged or improperly fit neckpiece tenon
Key alignment
That all key rollers are free and lubricated
For sticky pads or corks
For correct key opening (travel)
For "lost motion" in the key action
That all bearing surfaces (pivot points and hinge tubes) are well lubricated
For the accumulation of residue in the bore and tone holes
For the accumulation of residue inside the neckpiece
For the accumulation of residue in the octave pips
The instrument's case for insecure blocking
The instrument's case for broken or malfunctioning latches or hinges
The instrument's case for loose articles which may damage the instrument

FLUTE VISUAL INSPECTION

CHECK:

For missing or damaged (worn) pads
That all pads are covering (seating) properly
That all mechanical combinations operate properly
For missing, unhooked, or maladjusted springs
For missing or damaged adjustment corks and felts
For lateral key movement between posts or adjacent keys (requiring swaging)
For missing or maladjusted pivot screws (backed out?)
For missing or maladjusted adjustment screws (combinations)
For corroded steels (long screws) or pivot screws
For sluggish key action due to misaligned body posts
For oil and dirty accumulations on the body and key mechanism
For sluggish keys due to bent screws, pivot screw pilots, or key hinge tubing
Body sections for cracks or checks (wood bodied instruments)
For bent or damaged tone holes
Continuity on soldered or brazed tone holes
For significant body dents
Key alignment
For body alignment
For damaged or improperly fit tenons (especially the foot joint)
For lost motion in the key mechanism
That the rollers are free and operational
For sticky pads
For correct key opening (travel)
That all bearing surfaces (pivot points and hinge tubes) are well lubricated
For the accumulation of residue in the bore
For the accumulation of residue in the tone holes
The embouchure hole for blemishes, dents, or accumulation of residue
For a loose or missing head joint crown
The head joint cork adjustment
The instrument's case for insecure blocking
The instrument's case for broken or malfunctioning latches or hinges
The instrument's case for loose articles which may damage the instrument

OBOE - ENGLISH HORN VISUAL INSPECTION

CHECK:

For missing or damaged (worn) pads
That all pads are covering (seating) properly
That all mechanical combinations operate properly
For missing, unhooked, or maladjusted springs
For missing or damaged adjustment corks and felts
For key movement between posts or adjacent keys (requiring swaging)
For missing or maladjusted pivot screws (backed out?)
For missing or maladjusted adjustment screws (backed out?)
For corroded steels (long screws) or pivot screws
For sluggish key action due to loose or binding posts
For oil and dirty accumulations on the body and key mechanism
For sluggish keys due to bent screws, pivot screw pilots, or key hinge tubing
Body sections for cracks or checks ( wood bodied instruments)
For loose body or bell rings (dehydration)
For chipped, cracked or porous tone holes
For damaged or improperly fit tenons (joints)
Key alignment
For sticky pads or corks
For correct key opening (travel)
That all bearing surfaces (pivot points and hinge tubes) are well lubricated
For the accumulation of residue in the bore
For the accumulation of residue in the tone holes
For the accumulation of residue in the register pips
The instrument's case for insecure blocking
The instrument's case for broken or malfunctioning latches or hinges
The instrument's case for loose articles which may damage the instrument

BASSOON VISUAL INSPECTION

CHECK:

For missing or damaged (worn) pads
That all pads are covering (seating) properly
That all mechanical combinations operate properly
For excessive key noise when the key mechanism is operated rapidly
For missing, unhooked, or maladjusted springs
For missing or damaged adjustment corks and felts
For key movement between posts or adjacent keys (requiring swaging)
For missing or maladjusted pivot screws (backed out?)
For missing or maladjusted adjustment screws (backed out?)
For corroded steels (long screws) or pivot screws
For sluggish key action due to loose or binding posts
For oil and dirty accumulations on the body and key mechanism
For sluggish keys due to bent screws, hinge pins, pivot screw pilots, or key hinge tubing
Body sections for cracks or checks ( wood bodied instruments)
For loose body or bell rings (dehydration)
For chipped, cracked or porous tone holes
For damaged or improperly fit tenons (joints)
The boot gasket for deterioration
For dry-rot in tone holes near boot crook area (wood bodied inst's)
Key alignment
For sticky pads or corks
For correct key opening (travel)
That all bearing surfaces (pivot points and hinge tubes) are well lubricated
For the accumulation of residue in the bore
For the accumulation of residue in the tone holes
For the accumulation of residue in small lined tone holes (trills)
Condition of bocal(s) (bent? cork fit OK?, etc.)
The instrument's case for insecure blocking
The instrument's case for broken or malfunctioning latches or hinges
The instrument's case for loose articles which may damage the instrument

Your Comments Are Welcome!

Last modified:
May 23, 2002
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