Music Master Company

[BenL]

Christian Wilhelm, the founder of the Music Master Company, was born in Hessen, Germany, in 1860. [1] He apprenticed as a cabinetmaker in the region before immigrating to Pittsburgh, Pennsylvania, in 1881. After a short time working in the local Pittsburgh furniture trade, he married Annie Ihrig and moved to Sturgis, Michigan. [2] Beginning in the mid-19th century, Michigan emerged as a leading furniture manufacturing region in the United States due to its abundance of old-growth forests and convenient access to railroads and the Great Lakes. While Grand Rapids was at the forefront, earning the nickname "Furniture City," Sturgis followed closely behind. [3][4] It was here that Christian Wilhelm accepted a position at the Grobhiser & Crosby Furniture Company, an established Sturgis furniture maker.

 

By 1907, Christian Wilhelm had risen to the position of Vice President at Grobhiser & Crosby. With his experience and saved capital, he set out to establish his own furniture company, acquiring a half-interest in another local furniture maker, the Stebbins Manufacturing Company, prompting its renaming as the Stebbins-Wilhelm Furniture Company. Over the next four years, he gradually bought out Stebbins' remaining interest, fully taking over the company and reorganizing it as the Wilhelm Furniture Company in 1911. Under his leadership, production increased five times, earning the company a strong reputation as a Midwestern furniture maker. [5]

 

 

(Christian Wilhelm, courtesy of the St. Joseph County Historical Society of Michigan.) 

 

As Christian Wilhelm grew his company through the early 1910s, the fundamental patents on the disc phonograph, held by the Victor Talking Machine Company and Columbia (then known as The American Graphophone Company), began to expire. [6] These patents had previously prevented others from effectively manufacturing their own phonographs. As they expired, furniture companies took notice and saw an opportunity, as they had a history of working with the phonograph industry by providing cabinets. While the phonograph companies were initially reliant on furniture makers for said cabinets, they eventually developed the capability to build their own. This led to many furniture companies being left with an abundance of cabinets originally intended for phonographs. Not wanting to waste them, they opted to repurpose them and produce their own. This move not only allowed the furniture companies to profit from an untapped market but also attracted more attention to their businesses in a rapidly growing industry. [7]

 

Christian Wilhelm took note as other furniture companies across the Midwest began producing their own phonographs. In July 1915, he incorporated the Music Master Company of Sturgis, Michigan, setting aside $2,000 in capital and a portion of his factory for phonograph manufacturing. [8] The name "Music Master" had an established history in the phonograph trade, being used as early as 1908 for aftermarket wooden horns created by Stanislaus Moss. [9] Although he used the non-trademarked term for his own purpose, it would soon prove to be somewhat of an industry catchphrase.

 

 

(The Wilhelm Furniture Factory, circa 1910s, courtesy of eBay user PostcardBoyz.) 

 

The first public trade announcement for Music Master was made in September 1915. [10] By this time, and into the 1920s, competing companies had also begun using the phrase "Music Master" as slogans and brand names for their own phonographs, including businesses in New York, St. Louis, and Canada. To distinguish the brand, a trademark for a logo design was filed in November 1915. [11][12]

 

Like most smaller phonograph manufacturers of the time, Christian Wilhelm was responsible only for manufacturing the cabinetry. His oversight led to unique designs in the popular Art Nouveau style, appealing to both middle-class and wealthier customers. The phonograph's mechanical hardware was obtained from suppliers who mass-produced them for any business assembling their own phonographs. The tonearms, which transmitted sound to the horn, were initially supplied by the Crescent Talking Machine Company of New York. Crescent, founded in late 1913, had started selling phonographs under its own name and designed its own universal-style tonearm early on. [13] Crescent realized they could sell them to others looking to assemble their own phonographs, even though the design might infringe on other patents. [14] Crescent knew that any legal challenges would take time to resolve, allowing them to sell as many tonearms as possible in the meanwhile.

 

Music Master included one unique mechanical feature: a custom-designed automatic stop called "The Master Stop." This feature allowed users to set the end of a record, making the turntable automatically stop when the record finished playing.  The first lineup of Music Master phonographs included models, priced from $95 to $300, with specialty-built art cabinet designs exceeding $2,000.[15] All models in the first lineup came standard with a spring-driven motor, though an electric motor was available for an additional cost. The first models were shipped and made publicly available in early December 1915. [16]

 

 

(The Crescent Type "B" uniserial tonearm, could play both vertical and lateral records, was used by a few minor phonograph brands through the mid-1910s.)

(The Talking Machine World, April 1917, p. 68.)

 

The Wilhelm Furniture Company primarily advertised through mail-order catalogs, and similar mail-order businesses discovered that demonstrating a phonograph to potential customers helped sales. [17] To maximize profits, dealers were sought out for Music Master through 1916. By later in the year, the first major dealer was secured: the Morehouse & Wells Company in Decatur, Illinois. [15] Founded in 1859 as a mercantile, Morehouse & Wells had evolved into a wholesale hardware store by the late 19th century. [18] Many local businesses were eager to supply regional phonograph brands, which appealed to local markets more so than national brands. Selling a regional brand also generated higher profits, as mainstream brands earned a larger share of the sale.

 

In February 1917, the company was renamed the "Wilhelm Music Master Co.," likely in an effort to associate it more closely with its parent furniture company. [19] By April, more contracts with retailers were secured throughout Illinois and Indiana. In May, Christian Wilhelm secured what would become Music Master’s most important retailer: the Bouchard-Longden-Geier Company of Chicago, Illinois. [20] This wholesale jewelry store chain, formed in 1914 after several regional jewelers merged. [21] Bouchard-Longden-Geier had stores across the Midwest, with its flagship store located in the prominent Heyworth Building in downtown Chicago. It was not uncommon for a jewelry store to sell phonographs, as many also carried clocks, glassware, and other high-end goods targeted at middle- to upper-class clientele. These stores often sold higher-end phonographs targeted at buyers with more disposable income. [22]

 

 

(Interior of E. O. Little Jewelers, Auburn, Indiana, circa 1910s, courtesy of Carbaugh Jewelers.)

 

Over the following months, Bouchard-Longden-Geier helped cement Music Master’s reputation as a high-end brand with exhibitions at jewelry trade shows, attracting the attention of jewelers throughout the region. [23] In August 1917, Music Master's logo was updated with the trademark office, giving it a more stylized look, reflecting its rising status. [24] The next month, Christian Wilhelm made the executive decision that Music Master would be exclusively distributed through the jewelry trade, with Bouchard-Longden-Geier acting as the distribution agent. [23] In September, the company began running full-page advertisements for Music Master in The Keystone, a national trade journal devoted to the jewelry and optical trades.[25]

 

Unfortunately, an unexpected tragedy struck two months later. Christian Wilhelm contracted sepsis following surgery and died on November 20, 1917. [5] His wife, Annie, and oldest son, Robert, took over the Wilhelm Furniture Company and subsequently Music Master after his passing. [26] Despite his death, the brand continued to expand. By 1918, Music Master was being sold in jewelry stores throughout the Midwest, with some reaching as far as Kansas. [27] By mid-year, Music Master faced its next challenge as legal issues finally caught up with their tonearm supplier, the Crescent Talking Machine Company. Crescent’s tonearm design was found to be too similar to one used by the Sonora Talking Machine Company of New York. Sonora had contracted Paillard, originally a Swiss music box and watchmaker that branched into making phonograph parts. [28] Because of World War I, Europe had relaxed its patent enforcement, allowing Crescent to closely mirror the design without outright infringement. However, as the war progressed, Sonora secured exclusive rights to the design from Paillard, eventually preventing Crescent from selling their variation. [29]

 

Music Master production dropped through the end of the year until a contract with a new tonearm supplier was made. Under Annie and Robert Wilhelm's management, the Wilhelm Furniture Company continued to grow, and soon, furniture sales were outpacing factory output. [26] Given that part of the factory was dedicated to phonograph production, it no longer made sense to have part of their factory not being fully utilized. Between late 1918 and early 1919, the decision was made to sell Music Master and its production rights to Bouchard-Longden-Geier. [30] After acquiring Music Master, production was moved to their display case factory located in Chicago [31][32] They continued the same cabinet designs, while the Fletcher-Wicks Company of Chicago, another phonograph parts supplier, provided the new tonearms. In August, Bouchard-Longden-Geier established the Music Master Sales Company as a subsidiary to manage the brand, later issuing $50,000 in stock for a showroom, more employees, and a national advertising campaign. [33][34] 

 

 

(The Fletcher universal tonearm, was one of the more popular supplier tonearms introduced the in late 1910s, featured a unique tapering design to bypass Victor and Columbia’s patents.)
(The Talking Machine World, Augst 1919, p. 97.)

 

Despite these efforts, the last national advertisements for Music Master ran through the spring of 1920. [35] By that summer, Bouchard-Longden-Geier had largely abandoned the brand, leaving many customers and dealers in the dark. [31] It is uncertain how long Bouchard-Longden-Geier continued to produce cabinets, but based on surviving advertisements, it is likely only until 1920, stopping before 1921, with any remaining stock sold off after being overstocked, as most dealers started closing-out sales by the end of 1920. [36]

 

By 1922, the wider phonograph industry was heading toward a recession, brought on by an oversaturated market and further advancements in radio. [6] This would lead several established phonograph makers to soon exit the market. Bouchard-Longden-Geier, like many high-end businesses, eventually succumbed to economic hardship during the Depression. The Wilhelm Furniture Company survived into 1932 when it merged with another local furniture maker. That company was ultimately liquidated in 1938, and its assets were sold off. [26] While Music Master lasted longer than many smaller phonograph brands of the period, its time was still brief. It reflects the widespread appeal of the phonograph across various industries and its popularity among all social classes.

 

 

(1919 Music Master Sales Co. advertisement.)

 

Models:
(Note: This is an incomplete model list compiled from period advertisements that I was able to find.)

Advertising often switches between Arabic and Roman numerals for the model designations. 

 

Model: 6-VI, Price: $75

 

 Model: 7-VII, Price: $95

 Model: 8-VIII, Price: $200

 Model: 9-IX, Price: Not advertised. 

 Model: 10-X, Price: $300

Model: 11-XI, Price: $140  This model underwent a few alterations after production moved to Chicago in 1919.

 Model: 12-XII, Price: $250

References:
1. Hesse, Germany, Lutheran Baptisms, Marriages, and Burials, 1661-1957. Custodian: Evangelisches Zentralarchiv in Berlin. Film Number 594081, Pages 12– 13.
2. History of St. Joseph County, Michigan. United States: Lewis Publishing Company, 1911, p. 468.
3. Carron, Christian (1998). "THE GRAND RAPIDS FURNITURE INDUSTRY". project.geo.msu.edu. Retrieved 2025-02-06.
4. City of Sturgis, Robert Hile, Mark Dvorak, Jon Good, Jeff Mullins, Richard Bir, Justin Wickey, et al. City of Sturgis Master Plan, 2020.
5. Furniture Manufacturer and Artisan. United States: Grand Rapids Furniture Record Company, 1917, p. 282.
6. Wakeman, R. J. "Off Brand Talking Machines." Antique Phonograph Society, February 13, 2020.
7. Fabrizio, Timothy C., and George F. Paul. Discovering Antique Phonographs. United States: Schiffer Publishing, 2000, p. 187.
8. Michigan Manufacturer & Financial Record. United States: n.p., 1915, p. 28.
9. Paul, George. "Music Master Horns: 'On This Day in Phonographic History...'" Antique Phonograph Society, June 2, 2021.
10.Bristol Banner, September 10, 1915, p. 1.
11."Music Master - Canadian Antique Phonograph Project." Capsnews.org, 2023.
12.Official Gazette of the United States Patent Office. United States: The Office, 1919, p. 781. (First 1915-1917 logo.)
13. The Talking Machine World, December 1913, p. 24.

14.The Talking Machine World, April 1917, p. 68.

15. The Daily Review, December 13, 1916, p. 11.
16. The Grand Rapids Press, December 8, 1915, p. 5.

17.House & Garden. United States: Condé Nast Publications, 1924, p.173
18."Morehouse & Wells Company Building (A.k.a. Illinois Power Building), Decatur, Illinois." Flickr, February 5, 2025.
19.Michigan Manufacturer & Financial Record. United States: n.p., 1917, p. 33.
20. The Jewelers' Circular. United States: Jewelers' Circular Company vol. 74, May 1917, p. 80.
21.Report of the Secretary of State. United States: The Secretary, 1915, p. 101.
22.Pratt, Bill. "Assiniboia Music Store." Capsnews.org, Canadian Antique Phonograph Society, 2002.

23. The Jewelers' Circular. United States: Jewelers' Circular Company, vol. 75, September 1917, p. 193.
24.Official Gazette of the United States Patent Office. United States: U.S. Government Printing Office, 1918, p. 1187 (Second 1917-1920 logo.)

25. The Keystone: A Journal Devoted to the Interests of the Jewelry and Optical Trades. United States: S.H. Steele, 1917.
26.Hair, Robert E. Sturgis, Michigan: Its Story to 1930. United States: R.E. Hair, 1992.
27. The Leavenworth Post, January 2, 1918, p. 4.
28.Wakeman, R. J. "Sonora Phonographs." Antique Phonograph Society, October 1, 2015, p. 7.

29.U.S. Congress, Senate. Drawbacks Under the Present Tariff Act. Letter from the Secretary of the Treasury on tariff drawbacks refunded during fiscal years 1914–1917. 64th Cong., 1st sess., 1916. Senate Doc. 64-532.
30. The Jewelers' Circular, vol. 78, June 1919, p. 109.
31.Presto - The American Music Trade Weekly, Issue 1775, July 1920, p. 13.
32. The Jewelers' Circular. United States: Jewelers' Circular Company, 1921, p. 115
33. The Keystone: A Journal Devoted to the Interests of the Jewelry and Optical Trades. United States: S.H. Steele, 1919, p. 101.
34. The Jewelers' Circular. United States: Jewelers' Circular Company, 1919, p. 135.
35. The Keystone: A Journal Devoted to the Interests of the Jewelry and Optical Trades. United States: S.H. Steele, 1920, p. 154.
36. The Pantagraph, November 12, 1920, p. 7

 

(Special thanks to Zach Kinslow, Joseph DeStefano, Michael Zafran, and the St. Joseph County Historical Society of Michigan.) 

Edited February 7 by BenL

[phonogfp]

Wow Ben - this is great!  And worthy of being in the APS magazine!

 

Thanks for all your effort, and for posting it.

 

George P.

[BenL]

1 hour ago, phonogfp said:

Wow Ben - this is great!  And worthy of being in the APS magazine!

 

Thanks for all your effort, and for posting it.

 

George P.

 

Thank you, George. I’m working on building myself up before submitting an article to the magazine. I still have a few more of these in me.

 

I’ve gone through nearly every Sears catalog from 1915 to 1930 and have compiled about 90% of Silvertone models. I hope to have that article published within the next few months. I’ve also compiled nearly every Emerson model and would love to write a full article on Emerson, but that’s much further down the road. Maybe by then, I’ll be ready to submit something to the magazine.

If you ever find yourself a few pages short before publishing, please feel free to include anything I’ve shared.

[phonogfp]

Ben, a detailed article on Silvertone should definitely be targeted toward the magazine.  That's an important brand deserving of paper and ink!

 

George P.

[NateO]

Ben, I completely agree with George. This is wonderful, well researched and well written, and an interesting look at one of so many forgotten 'off brands'. I would be more than delighted to publish this (or any of your future work) in the magazine, if ever you would like to do so. I certainly look forward to seeing your work on Silvertone and Emerson in the future as well!

 

Feel free to reach out to me any time if I can be of any assistance.

 

Nate

[RodPickett]

Well done.

 

I found your reference to Auburn, Indiana interesting.

 

This northeast Indiana town was a wealthy community, home of the Cord Duesenberg Automobile manufacturing facilities and offices.  An impressive museum is there today.

 

I’m also aware of some high-end phonographs that have been discovered in the region as well.

[CrackedWormgear]

This is a great article on a lesser known phonograph manufacturer. Great documentation.

 

Looking forward to the Sears Silvertone article. I can’t put my finger on it, but a reminder leafing through a Sears or Wards catalog from the late 1930’s. In the phonograph supplies section were replacement sound boxes. Including one with adapter for 
the Edison Diamond disc! Rural customers off the grid were still using their acoustic machines.

 

Glenn

[BenL]

On 2/6/2025 at 6:36 PM, phonogfp said:

Ben, a detailed article on Silvertone should definitely be targeted toward the magazine.  That's an important brand deserving of paper and ink!

 

George P.

 

I'm not joking—it would fill the entire magazine. It's surprising how many models Sears produced during that time. In some cases, they only produced a model for one year before discontinuing  it in the following year or catalog. I could create an abridged version for the magazine and direct readers to the forum for a more complete list, but it would be almost cover to cover if I included every model. 

[phonogfp]

Ben, you could make it a 2- or even 3-part article.  It's been done before!

 

George P.