Monster Mash was released as a novelty song in 1962 by Bobby “Boris” Pickett and has since become a Halloween classic. I Want A Monster To Be My Friend – En Vogue (sort of) 1. You’ll Never Find A Nessie In A Zoo – Roger and Gavin Greenaway Addams Family Theme – Vic Mizzy And His Orchestra I’m In Love With A Monster – Fifth Harmony Selling expensive flutes has evolved, unfortunately, from thoughtful small businesses creating fine, hand-crafted instruments, offering impeccable customer loyalty, to a giant impersonal car lot of costly instruments for sale focused on sales volume & the highest possible profit margin. They are usually just other flute players who can’t get an orch or teaching job who’ve found they can make a living pushing expensive flutes for a commission to other flutists. The big flute companies often employ sales reps who tend to embed themselves (or at least try to), in the flute community. They’re most likely too busy trying to sell new flutes to address it. Something needs adjusting on your expensive new instrument? Forget taking it back to the company that made it.
THE MONSTER WITHIN SONGS PROFESSIONAL
Makers of expensive flutes are now often short on customer service (limited repair service for those who’ve purchased their flutes, charging for appraisals, not a lot of loyalty or professional support to flutists who’ve spent big bucks to play their brand) & focus heavily just on selling, selling, selling. And because the world is vastly over populated with fine flutists who are mostly out of work, there’s no shortage of buyers who can be convinced that forking over $30K or more for an instrument is necessary for their career.
THE MONSTER WITHIN SONGS PRO
Pro flute sellers (both the companies that make them & the representatives they sell through) are, shall we say, very “present” about marketing their expensive instruments.
I’m sure you’re right about the profit margin on expensive flutes. (Bassoons last a lifetime – so probably equals out anyway)
Depends on your climate/mythology – in the States they get changed much more frequently than in the UK. I have a feeling expensive flutes have much better profit margins than oboes!!Īlso – top oboists do change their oboes every few years.
With flutes, I’m not an expert but I knowing the repair/servicing required from my time selling oboes, I just don’t think the labour cost for making them can be as high as oboes -they are vastly simpler mechanics, set-up, finishing etc. You just pick bits that look smoother, and maybe store it a tiny bit longer. It’s the same wood on a student instrument at 1/5 of the cost. The wood doesn’t cost a lot, to be honest. It’s the fact that there’s a high after-sales warranty cost. It’s the fact that it’s such a small business worldwide every part you use costs more. It’s the labour hours and CNC machinery needed to make it. Some people (depends on country as to how much this happens) choose gold plate which puts the price up a lot but it’s just bling and no difference to tone as that comes from the wood.Īs a former oboe manufacturer employee, let me tell you the cost of the wood is NOT really what impacts the cost of the instrument. It’s actually much better NOT to have one custom made so you can choose on tone from a range. The ‘professional’ range of oboes doesn’t really differ for the true elite from what the music college students use – it’s the same oboes, keys and work involved, you can’t better the manufacture, it just comes down to feel/tone. They’re about the $15000 quoted in this film – give or take.
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