“A STUDY ON BRAND PREFERENCE OF WESTERN MUSICAL

INSTRUMENTS AT MUSIC AMOR CALICUT

Submitted in partial fulfillment of the requirement for the award of degree of

BACHELOR OF BUSINESS ADMINISTRATION

Of

Calicut University

By

ALWIN JOSEPH
(EKARBBAR43)

Under the guidance of

Asst . Professor
Ms.Anu Jose

DEPARTMENT OF MANAGEMENT STUDIES

SAHRDAYA COLLEGE OF ADVANCED STUDIES
KODAKARA, THRISSUR
 DECLARATION

I, hereby declare that the report o “A STUDY ON BRAND PREFERENCE OF

WESTERN MUSICAL INSTRUMENTS is a record of project work carried out by me
under the guidance of Ms. Anu Jose.. I also declare that this study report is of my BBA
curriculum and similar work has not been submitted earlier to the University of any other
Institution for the fulfillment of the requirement of a course of study.

Place : Kodakara

Date : ALWI N JOSEPH

 ACKNOWLEDGEMENT

I wish to express my sincere gratitude towards the management, Principal and all faculty
members of Sahrdaya College of Advanced Studies, Kodakara for guiding me throughout
these years and especially in the context of Project study.

I extend my sincere thanks to Ms Anu Jose for her timely guidance throughout the course
of this project work.

Last but not the least, I express my whole hearted thanks to my parents, friends and all
my teachers for giving me support and care in completing the project on time.

Acknowledging all your generous assistance

 TABLE OF CONTENT

CHAPTERS TITLE PAGE NUMBER

CHAPTER – 1 INTRODUCTION

PROFILE OF THE
ORGANIZATION
RESEARCH PROBLEM

OBJECTIVES OF THE
STUDY
RESEARCH
METHODOLOGY
CHAPTER – 2 LITERATURE REVIEW

THEORITICAL
FRAMEWORK OF THE
STUDY
CHAPTER – 3 DATA ANALYSIS AND
INTERPRETATION
CHAPTER – 4 FINDINGS

SUGGESTIONS

CONCLUSIONS

LIST OF TABLES
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TITLE OF TABLE NO.
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LIST OF FIGURES
 CHAPTER – 1

INTRODUCTION

1.1 INTRODUCTION

Brand preference indicates a desire to seek out a specific product or service even when it
requires paying more or expending more effort to obtain it. It is very relevant in the
modern society, because it provides an indicator of their customer’s behavior towards
different brand. Brand preference is the reflection of customer loyalty, successful
marketing tactics and brand strength. It’s important for businesses to constantly measure
and access their brand preference as it reflects their marketing. Consumer brand
preference is an essential step towards consumer choice behavior, and has therefore
always received great attention from marketers. Technological advancements have helped
to increase the similarities between brands attribute and product commoditization
.Consequently; consumers cannot shape their preferences among brands using rational
attributes only. Mostly people seek out brands that create experiences that intrigue them
in a sensorial, emotional and creative way.

Nowadays customers choose different brands according to their advantages and

disadvantages. There are lots of diversifications in the world of musical instruments.
Many people often look at the price, product quality, popularity, market trend, etc. To
end up in a solution there are many other factors too that influence the customer behavior
towards different brands. That may be cultural, geographical, psychological, economical
and sociological factors. Here we are discussing about brand preference of customers
towards the western musical instruments like Guitar, drums, keyboard, violin and
ukulele.

1.2 RESEARCH PROBLEM

“The study of brand preference of Western musical instruments”

Today more and more brands are available in the market of western musical instruments.
As most of the customers have their own preferential areas, we want to find out the Brand
Preference of their perception. Western musical instruments are highly popular all over
the world. It has a huge impact in the field of music because these instruments are used
worldwide for producing music. There are many dependent and independent factors that
affect the customers brand preferences. It is very difficult to know why customer chooses
one brand over another. This study was an attempt to know the brand preference among
customers within the population.
1.3 OBJECTIVE OF THE STUDY

 To study the preference and buying behavior of customers to various brands.

 Whether quality of instrument plays an important role
 Main features that a customer looks for an instrument before making a purchase.
 Whether price is an important factor
 Factors that affects the final decision for purchasing an instrument
 Impact of advertisements on buying behavior.

1.4 RESEARCH METHODOLOGY

1.4.1 RESEARCH DESIGN

In this study researcher uses Descriptive research method, primarily focuses on the brand
preference among customers. The researcher in this study finds the customers attitude
towards different western instrument brands

1.4.2 POPULATION

In this study the population is infinite

1.4.3SAMPLING

As the population is infinite, here the researcher uses Convenience sampling method in
non probability sampling.

1.4.4 SAMPLE SIZE

In this study the sample size is 71. It is difficult to go for complete enumeration as the
population is large. Partial enumeration can be more applicable in this situation.

1.4.5 DATA USED

1.4.5.1 PRIMARY DATA

The data is collected from the customers of Music Amor, Calicut which are collected for
the first time. The primary data for this research is collected using structured
questionnaire method by taking a sample size from the total population through Google
forms.

1.4.5.2 SECONDARY DATA

Here the researcher uses websites, thesis, journals and publications related to the research
problem as secondary source of data.

1.4.6 VARIABLES UNDER STUDY

1.4.6.1 DEPENDENT VARIABLE

A study on the brand preference of western musical instruments among customers

1.4.6.2 INDEPENDENT VARIABLE

 Preferential areas
 Brand name
 Quality assessment
 Availability
 Brand popularity
 Design
 Right fit instrument
 Price
 Price fluctuation
 Secondary factors
 Random preferences
 Owner’s advice
 Guarantee period
 Packaging
  Endorsed instruments
 After sales service
 Preferable brand
 Types of instrument
 Level of artists
 Part of identity
 Preferred environment
 Combo offers
 Series of instrument
 Key aspects
 Advertisement

1.4.7 PERIOD OF THE STUDY

The study was conducted for a period of 3 weeks

1.4.8 LIMITATIONS

The problems that the researcher will face maybe:

 Existing pandemic situation

 Refusal of respondents
 CHAPTER-II

INDUSTRY PROFILE

2.1.1 HISTORY OF THE INDUSTRY

MUSIC INDUSTRY
So, firstly, the Live Music industry has always existed so long as there have been
gatherings of people to watch musicians perform in exchange for money or value. Being
a musician and delivering music to listeners, for hundreds of years have been one and the
same.

The Music Publishing Industry

Since the 1600s when Gutenburg invented the basic printing press for use by the Church,
liturgical chant has been reproduced in paper form. But it was only in the 1800’s that the
industrial revolution paved the way for a more structured delivery of music to a wider
audience.

It was at this time that the publishing industries – Book making, news reporting, print
media – were developing economies of scale enabling them to deliver products to a much
wider audience, and the production of print music (or sheet music) was no exception.

With venues of the time, including stately homes, theatres and concert halls demanding
the latest compositions to give to their in-house orchestras for their audience to enjoy,
Classical music, from Baroque to the late 1800s romantic, took the lead with the delivery
of sheet music; mainly because there was money behind this style which was enjoyed by
aristocracy, leaving folk music trailing behind and being delivered more by word-of-
mouth. Religious music had always propagated through Monks and Priests educated
enough to transcribe their music and hymns, but this was not a commercial industry as
developed in the industrial revolution.

When many different orchestras were able to play the compositions of few composers as
a result of sheet music distributed to them, the music publishing industry was created. By
the late 1800s, composers could write works that would be sold on paper to hundreds of
localized orchestras and the printing industry was thriving.

The Recorded Music Industry

In 1857 Leon Scott made his first audio analysis tool that could record on a piece of
paper the audio input it received. This lead to Thomas Edison, in 1877 to go one step
further; a machine called a phonograph that could both record and play back audio
instantly using a thin metal cylinder.

Through the 1880s to 1900s a format war was had involving cylinders of tin, wax,
celluloid, and disks of 4 inches, 5inches, 7 ½ inches 10inches and by 1903 the 12 inch
record, made from shellac, a resin from the female lac bug of India. By this stage the 78
revolutions per minute shellac disks were able to take around 4 ½ minutes of music
recorded through ribbon microphones.

The ability to record a particular band performing a particular composition using the
sheet music for it, created the recorded music industry.

This recorded music industry put much more focus on the musicians themselves, and
away from the composers. The process by which musicians were being recorded became
more sophisticated, until Les Paul, in 1948, recorded the first sound-on-sound
overdubbed, or multi-track recording, with a  track called ‘Lover (When You’re Near
Me)’. This example showed that recordings no longer needed to be taken live (where all
musicians were in the same room playing together) and this opened up further
opportunities in artistic license through records including Paul’s tape delay, phaser and
delay effects.

Record labels, who brought together the composers from the publishing industry and the
musicians from the live industry and created a vinyl for the recording industry, would
employ people to find the upcoming talent: to put the right musician with the right song
in the right studio with the right producer or sound engineer and to release the record at
the right time. These people became known as Artist & Repertoire Representatives (or
A&R reps). Who went on to pick and choose the successful artists we see today.

The Music Industry forming, 1960

The Second World War had vastly improved communication technology and shown
many people that the world was smaller than they thought, with the first suggestion of a
global community. Improvements from Morse code where a sound synthesizer was
needed to produce the tone were adapted by musicians to create the first polyphonic
synthesizers attached to a keyboard to create surreal and out of this world sounds on the
multi-track recordings while Les Paul, already credited with inventing multi-track
recording, had been frustrated with the lack of sound coming from his guitar while
playing live, invented the single-coil solid body guitar, the first commercial electric
guitar.

All of these industry advancements fell into place through the 1960s when Elvis Presley,
his UK counterpart Cliff Richard and then The Beatles all capitalized on them. Elvis was
the epitome of musician-focused international audience delivered through record sales
and promoted through live performance. Cliff Richard developed a similar trait in the UK
market and The Beatles brought together their own songwriting, with their performances,
massive international record sales and expansive promotional live performance touring.
The Beatles marked the first mega-band to write and perform their own songs, showing it
was a viable business model:

Having caught the attention of some wealthy people who noticed the record sale levels,
the recording industry began to receive much larger investments, enabling elaborate stage
shows for promotion, manufacture of large volumes of records that were distributed
worldwide and lucrative recording contracts with talented artists.

Merchandising prospered through live events as an alternative income stream and for
many years this continued as a successful strategy. More artists, more labels, better deals,
better distribution.

Technological Improvements
Various new recorded music formats were introduced; compact tape cassettes in the mid
1970s, a transitional medium from vinyl long-playing (LP) records through to compact
disks in the 1990s and while this was happening, the technological industries were
advancing digital microcomputers enabling personal computers to become widely
available to the public.

A new concept known as the internet, designed as a Cold-War failsafe for national
government communication became publicly available in 1990 when Tim Berners-Lee
invented the Worldwide Web web browser. Commercial use was not allowed until 1995
when Amazon and eBay were established. As the internet had been restricted
commercially for 5 years, many had discovered the internet’s potential as an information
and file sharing network and public perception began to accept a shift to digital storage of
information not just on local area networks seen through 1980’s corporations but on a
personal level.

This marked the removal of geographical restriction on distribution of recorded music:

you did not need to go to your local store to collect your favorite record any more but
online stores were simply inadequate – having been restricted 5 years.

John Fanning, Shaun Fanning and Sean Parker released Napster in 1999. It focused on
organizing all the music (mainly in .mp3 format) into one portal where the public could
search for the track they wanted and list the tracks they had. This is the point at which
intellectual property ownership became the most valuable asset of the recorded music
industry and where the lines between publishing and recording industries were further
blurred as there was no longer a tangible product to distinguish the two.

Now there was an unregulated collection of recorded music which rendered the sales of
physical recordings useless for those that just wanted the recording and not a physical
product they could keep.

‘Why should I pay for an overpriced album where most of the money does not go to the
artist when I can just go online, type its track name in and get it for free?’ Was the
mindset.

The reformation of the music industry

In 2001 CD album sales peaked in line with the .com bubble bursting; they have not
stopped declining. The recorded music industry has been in panic, trying to hold onto the
pre-internet strategy of album sales through their controlled stock.

The internet does not have the intellectual property right laws – in particular international
legislation – for them to be able to control the market any more. This has lead to attempts
by recording companies to improve intellectual property laws through case law
precedents by taking individuals to court in high profile cases.

This had a knock-on effect on the publishing industry that provided the songs to a now
ever-decreasing value market, and to the live industry, who no longer received such
lavish budgets for touring due to a lack of return on investment.

2.1.2 PRESENT STATUS OF THE INDUSTRY

Streaming is recorded music’s dominant force, the power of which grows each year. I
guess Apple’s Steve Jobs was wrong when he notoriously (and somewhat arrogantly)
proclaimed, “The subscription model of buying music is bankrupt” and can’t be saved
even by “the Second Coming.” Well, in the words of a Grinch-refuting Dr. Seuss (a very
different kind of genius) “it came just the same.” Streaming now accounts for 80% of
U.S. recorded music revenues. Consumers figured out that the difference between Steve
Jobs’ version of music “ownership” (downloads) and “rental” (streaming) doesn’t really
matter in a world in which we can now access 60 million songs ad-free for less than $10
per month. Let’s do the math. That privilege would cost you $60 million in Jobs’
download only world.

Spotify is very much like the Netflix of music. Spotify dominates the global streaming
scene – 248 million active users as of the beginning of Q4 2019, a whopping 113 million
of whom actually pay for the privilege. That number represents an envy-inducing 46%
free to paid conversion rate (most consumer services’ mouths water when conversion
rates reach 5%). But Spotify, like Netflix, is challenged by its streaming-only business
model. Both companies continue to be significantly cash flow negative (Spotify is
perhaps even more challenged due to its variable cost structure where it pays out a
majority of each incremental dollar as royalties).

Apple entered the streaming game late, of course, due to Jobs’ lingering shadow. But
Apple is now a major streaming force as well with more than half Spotify’s paid
subscriber count in a fraction of the time. That’s the beauty of Apple’s massive and
multi-tentacle marketing machine. Music and other content (movies, television) serve as
marketing. So long as Apple scores big overall, content serves its purpose. Remember
U2’s classic iPod/iTunes commercials? That’s Cupertino’s strategy. And that recipe is
certainly working. Apple just reported record quarterly revenues of nearly $92 billion.

Don’t forget about Amazon (never forget Amazon!) and Amazon Music Unlimited. Or

Pandora, SiriusXM and good old fashioned terrestrial. A shockingly high 93% of all U.S.
adults still listen to AM and FM as they drive. And to all you M&E nationalists,
remember that streaming is a global phenomenon that plays out in our brave new
borderless Internet-driven world. Tencent Music joins TikTok as being another massive
player out of China that has its sights on crossing borders and entering domestic
consciousness’s. It raised $1.1 billion in its U.S. IPO a little over one year ago to fuel its
ambitions.

Amidst all of this, however, YouTube remains the biggest global music force by a long
shot. That’s where most kids get their audio fix. More than half of on demand music
streaming flows through YouTube. And, unlike the other guys (including Spotify and
Apple), YouTube only pays royalties on the ad revenues it collects. So it always wins

2.1.3 FUTURE SCOPE OF THE INDUSTRY

As Goldman Sachs underscores, music’s new “good old days” will accelerate in the years
ahead - more than doubling overall recorded music revenues in the next 10 years.
Revenue drivers include not only increasing streaming and globalization, but also new
technologies and form factors. Our new AI-driven home assistants – friends like Alexa
and Siri – make our enjoyment easier and easier. We can sit on our couches and simply
call out for the music we want. Another quietly massive new force – wearables –
accelerates things further. Earbuds alone already drive billions upon billions of
dollars. Apple just reported revenues of $10.1 billion from its wearables unit, with
AirPod sales leading the way. Bose Audio Sunglasses are another new form factor that
point the way.

In terms of fast-evolving new forms of music engagement and monetization, the music
industry is now smartly stealing a page from the playbook of other M&E sectors.
Anticipate more gamification – with its “free to play” business model – to enter your
music experiences. Yes, consumers can engage for “free” (supported by ads). But a
healthy segment will pay, impulsively, as they engage. Tencent Music is an early mover
here from which others can learn. Virtual tip jars scatter its audio world.

We have only just begun to scratch the surface of the Internet’s long-promised music
Utopia – a world that facilitates meaningful real-time direct artist-to-fan and fan-to-fan
engagement. More music experiences will focus on music’s inherently social and tribal
elements in the years ahead - on audiences who share similar artist and song tastes and
passion. After all, passionate fans will happily pay almost anything to get closer to the
artists they love. A new survey by Think well concludes that nearly half of U.S. adults
ages 18-64 are willing to pay $1,000 for that kind of experience. Fans also aim to meet
other fans. In this vein, think of Tinder, but for music lovers. Use your phones to
geolocate like-minded fans near you. Then, swipe left or right. One Los Angeles-based
company, still in stealth mode, is taking that path.  

Separately, who can forget last year’s innovative Fortnite experiment with

Marshmello where more than 10 million “watched” the DJ’s virtual performance live.
Meanwhile, Wave already enables artists like Lindsey Stirling to hold live virtual
concerts for thousands of fans who appear as avatars on screen and can directly message
the artist (who can respond in real time). Over 400,000 “attended” Stirling’s virtual
performance last year. Social music experience platform Redpill VR takes things even
further by leveraging the power of virtual reality (VR) to enable you to dance with your
friends right next to Diplo - all of whom may be thousands of miles away

2.2 PROFILE OF THE ORGANISATION

Music Amor, Eranhipalam ,Kozhikode is one of the best in the field of sales and service
of all music instruments like guitar,keyboard,drums,acoustic piano, digital
drums,harmoniums,veena,wind instruments,etc.This well known establishment acts as a
one-stop destination servicing customers both local and from other parts of Kerala. Over
the course of its journey, this business has established a firm foot holds in its industry.
The belief that customer satisfaction is as important as their product and services have
helped this establishment garner a vast base of customers, which continues to grow day
by day. This business employee individual that are dedicated to their respective roles and
put in a lot of effort to achieve the common vision and larger goals of the company. In
the near future, this business aims to expand its line of products and services and cater to
a larger client base. Music Amor has a wide range of products and services and the staff
at this establishment is prompt to provide any assistance.
 CHAPTER III

LITERATURE REVIEW AND THEORETICAL CONCEPTS

3.1REVIEW OF LITERATURE

 A. George Assaf (2012) brand preference, though an important output, is often

ignored in hotel efficiency studies. Our study provides empirical evidence that
excluding brand preference may lead to significant difference in the mean and
ranking of hotel efficiency scores. We derive our hotel efficiency scores using the
distance stochastic frontier method based on a balanced sample of leading hotel
 chains in the US. We present and compare the efficiency results from two models,
one
 Hyo Sun Jung (2011) the purpose of this study was to understand interrelationships
among brand preference of nonverbal communication, customers’ emotional
responses and customer brand preference in the family restaurant. A total of 333
customers in Korea participated. The results showed that employees’ kinesics and
proxemics among nonverbal communications have a significant effect on
customers’ positive emotions, while employees’ kinesics and paralanguage affect
customers’ negative emotions. Also, it was found that whether customers feel
positive or negative determines their satisfaction. Limitations and future research
directions are also discussed.
 Paulo, Duarte and Mario (2010) quoted that several factors contribute to brand
preference, especially those related to brand identity, personality and image and
their congruence with consumer self image. The main direct effects on brand
preference are the self image congruence and the identity/ personality and image of
the brand. In addition to those, the level of involvement, social environment, risk
perception, demographic profile, and product visibility also show a positive
influence on brand preference.
 Chen and Chang (2008) found that Brand equity has significantly positive effect on
both brand preference and brand loyalty. The effect of brand equity on purchase
intention is also significant.
 DelVeccio, Henard, Freling (2006) quoted that sales promotion neither a positive
nor a negative effect on brand preference beyond the promotion period. While the
overall mean effect is not statistically significant this does not suggest that sales
promotion do not affect brand preference. Consistent with the notion that multiple
mechanism may affect post promotion preference. Sales promotion either
undermines or augments brand preference depending on the promotion and the
characteristics of the product being promoted.
 Ayanwale, Alimi and Ayanbimipe (2005) quoted that brand preference does exist in
the food drink industry. Many consumers do not buy whatever is available or
affordable if a product is good value for its price, it will command brand loyalty.
 However advertising helps to project product quality and value before the
customers.
 Sriram, Chintagunta and Neelamgham (2004) found that intrinsic brand preference
have a much bigger effect on the performance of the brand than the inclusive value
which reflects model level prices, product attributes, and the length of the brand’s
product line. Further they found that some brands can increase their advertising
expenditure and still increase their profitability.
 Hans JomJuhl (2002) brand preference and brand loyalty is becoming an
increasingly important factor in modern retailing—a market characterized by slow
growth and intense competition. Big non-European chains such as Walmart are
already present in some countries and consider buying some of the retail chains in
other countries, e.g. in the Scandinavian countries. This development will demand
even more focus on brand preference and brand loyalty in order to stay in business
and may also demand that existing actors on the market place form new coalitions.
Promising new partners may be identified, partly based upon measures identifying
how potential partners are perceived by the customers. Based on results from the
European brand preference study, a comparative analysis of brand loyalty in Europe
is conducted. Some specific Danish results are shown and the relationship between
customer loyalty, supermarket type and ownership structure is studied.

3.2 THEORETICAL FRAMEWORK OF STUDY

Brand preference represents which brands are preferred under assumptions of equality in
price and availability.

Measures of brand preference attempt to quantify the impact of marketing activities in the

hearts and minds of customers and potential customers. Higher brand preference usually
indicates more revenues (sales) and profit, also making it an indicator of company
financial performance. Brand preference is crucial for businesses looking to create repeat
customers out of their target audience as it creates awareness and helps businesses to
develop a strong reputation. It is important for businesses to establish branding because
whether consciously or not, consumers directly relate a brand to the product itself.

However, the study of brand preference has been limited to traditional marketing
focusing on functional attributes to maximize utility. But now the shift to experiential
marketing broadens the role of the brand from a bundle of attributes to experiences.
Technological advancements have helped to increase the similarities between brand
attributes and product Commoditization.

There are at least three classes of methodologies to measure brand preference directly:

 Survey questions (self-report, unaided preference)

 Brand choice measures (choice of preferred brand from a competitive set of
brands)
 Constant sum measures (planned purchases amongst a competitive set of brands)

There are numerous ways to increase brand preference of a particular product. This
normally begins with developing a brand image for your business or product.

BRANDING

Branding a product is one of the most critical and long term objectives of one's company
or product. This includes the use of promotional techniques that shares the same
wavelength with target customers. Consumers always prefer to purchase products and
services that offer a clear value proposition rather than ones with uncertainty or mixed
messages.
ACCENTUATING BENEFITS

Turning a routine customer into a loyal one is mainly centered on the customer sense of
value. Understanding the target consumer's preferred product can help to emphasize and
optimize service features and benefits that align with market's interest.

ENGAGEMENT

This is one of the most widely used techniques for steeping the acceleration of brand
preference in the 21st century. This includes one on one direct interaction with the
consumers such as telemarketing, personal selling and traditional forms of interpersonal
communication. Social media serve as a perfect platform for this method. Customers
move quickly and exchange experiences with others in these real-time social venues.
 CHAPTER – IV
ANALYSIS AND INTERPRETATION

4.1) Key preferential areas other than brand

 TABLE 4.1

OPINION RESPONSE PERCENTAGE

Quality 59 83

Price 9 13

Colour 0 0

Offer provided 2 3

Other 1 1

FIGURE 4.1

RESPONSE

13% 3% 1%

Quality
Price
Colour
Offer provided
Other

83%

INTERPRETATION:

Most of the customers look towards the quality of the instrument, other than price, colour
and offer provided. From this it is clear that, quality have a major role in buying
behavior.
4.2) Role of brand’s name

TABLE 4.2

OPINION RESPONSE PERCENTAGE

Yes 23 33

No 8 11

May be 40 56

FIGURE 4.2

RESPONSE

23; 32%

Yes
No
40; 56% May be

8; 11%

INTERPRETATION

Most of the respondents give importance to the brand name. it shows the role of brand
name in ones purchase decision.
4.3) Quality assessment factors

TABLE 4.3

OPINION RESPONS PERCENTAG

E E

By looking at the specifications 21 30

By determining market trend 3 4

By looking at the availability and 9 13

demand

With matching your needs 37 52

None of the above 1 1

FIGURE 4.3

RESPONSE

1% 30%
By looking at the specifications
By determining market trend
By looking at the availability and
52% demand
With matching your needs
4% None of the above
13%

INTERPRETATION:

Majority of the respondents accesses the quality by matching their needs. Specifications,
market trend, availability and demand play a minor role. From this it’s clear that, quality
of the product is determined by how the products meet the customer expectation.
4.4) Importance of availability of instruments

TABLE 4.4

OPINION RESPONSE PERCENTAGE

Yes 23 32

No 17 24

May be 31 44

FIGURE 4.4

RESPONSE

32%

44%

Yes
No
May be

24%

INTERPRETATION:

Most of the respondents gives importance to the availability of the brand. From this it’s
clear that convenience and availability of the product have a great role in the buying
behavior of the customers.
4.5) Importance of popularity of brand in product quality

TABLE 4.5

OPINION RESPONSE PERCENTAGE

Strongly disagree 0 0

Disagree 5 7

Neutral 36 51

Agree 30 42

Strongly Agree 0 0

FIGURE 4.5

RESPONSE

7%

42%
Strongly disagree
Disagree
Neutral
Agree
Strongly Agree

51%

INTERPRETATION:

From this it’s clear that, the respondents prefer the brands based on the popularity.
4.6) Importance of design in brand selection

TABLE 4.6

OPINION RESPONSE PERCENTAGE

Yes 25 35

No 9 13

May be 37 52

FIGURE 4.6

RESPONSE

35%

Yes
52% No
May be

13%

INTERPRETATION:

Most of the customers give much importance to brand design. That is, the design of
brand have a great influence on the purchase decision.
4.7) Methods to choose the right instrument

TABLE 4.7

OPINION RESPONSE PERCENTAGE

Through opinions from friends 6 8

Visit the store and test the gear 38 54

Visit several online forums and get 16 23

the opinions of my peers

By taking advice from my teacher 10 14

Others 1 1

FIGURE 4.7

RESPONSE

14% 1% 8%

Through opinions from friends

Visit the store and test the gear
Visit several online forums and get
the opinions of my peers
23%
By taking advice from my teacher
Others

54%

INTERPRETATION:
Majority of the customers choose to visit the store and several online forums to try and
test their gear. Less than quarter of the people finds their gear through opinion from
friends and teachers.

4.8) Price sensitive consumers

TABLE 4.8

OPINION RESPONSE PERCENTAGE

Yes 47 66

No 2 3

May be 22 31

FIGURE 4.8

RESPONSE

31%

Yes
No
May be

3% 66%

INTERPRETATION:
Majority of the respondents states that they are price sensitive while choosing a brand. It
may be because, price itself act as a status symbol and also act as a measure to assess the
quality.

4.9) Effect of price fluctuation, even though a loyal consumer

TABLE 4.9

OPINION RESPONSE PERCENTAGE

Up to certain limit in price 65 91

increase

Yes, irrespective of the price 2 3

No, I may look for other brands 4 6

FIGURE 4.9
 3% 6%

Up to certain limit in price

increase
Yes, irrespective of the price
No, I may look for other brands

92%

INTERPRETATION:

Consumers are loyal up to a certain limit in price increase and less than 10% choose their
brand irrespective of the price

4.10) Secondary factors influencing brand preference.

TABLE 4.10

OPINION RESPONSE PERCENTAGE

Goodwill 39 55

Origin of the brand 11 15

Rating among other brands 33 46

Location of production unit 6 8

Technology used 41 58
 FIGURE 4.10

70

60

50

40

30
PERCENTAGE
20

10

0
Goodwill Origin of the Rating among Location of Technology
brand other brands production used
unit

INTERPETATION:

Technology used and goodwill are the major secondary factors that a customer look
forward. Rating among other brands influences a few.

4.11) Some random preferences

TABLE 4.11

OPINION RESPONSE PERCENTAGE

Product from bigger companies with 4 6

wider distribution
 Product from companies with good 55 77
warranty and after sales services

Products from local companies with 5 7

better price and slightly lesser quality

Products belonging to companies with 4 6

good brand image

Products which are handmade 3 4

FIGURE 4.11

RESPONSE

Product from bigger companies

7% with wider distribution
6% 4% 6%
Product from companies with
good warranty and after sales
services
Products from local companies
with better price and slightly
lesser quality
Products belonging to companies
77% with good brand image
Products which are handmade

INTERPRETATION Most of the people select brands that have good warranty and
after sales service

4.12) Importance given to shop owner’s advice

TABLE 4.12

OPINION RESPONSE PERCENTAGE

Fully relevant 9 13
 Moderately 58 82
relevant

No relevance at 4 5
all

FIGURE 4.12

RESPONSE
6% 13%

Fully relevant

Moderately relevant

No relevance at all

82%

INTERPRETATION:

Major part of the population gives relevance to shop owner’s advice.

4.13) Preferred guarantee period of instruments

TABLE 4.13
 OPINION RESPONSE PERCENTAGE

0-3 Months 0 0

3-6 Months 0 0

1 Year 20 28

1-3 Years 38 54

5 Years 13 18

FIGURE 4.13

RESPONSE
18% 28%

0-3 Months
3-6 Months
1 Year
1-3 Years
5 Years

54%

INTERPRETATION:

Most of the consumers need a standard period of guarantee of 1-3 Years, and some prefer
1 Year of guarantee.

4.14) Influence of packaging in brand selection

 TABLE 4.14

OPINION RESPONSE PERCENTAGE

Strongly 2 3
Disagree

Disagree 4 6

Neutral 17 24

Agree 25 36

Strongly Agree 22 31
FIGURE 4.14

RESPONSE

3%
31% 6%

24%
Strongly Disagree
Disagree
Neutral
Agree
Strongly Agree

36%

INTERPRETATION:

Well packed products highly influence the consumers

4.15) Preference given to endorsed instruments

 TABLE 4.15

OPINION RESPONSE PERCENTAGE

Yes 19 27

No 20 28

May be 32 45

FIGURE 4.15

RESPONSE

27%

45%
Yes
No
May be

28%

INTERPRETATION:

Major part of the customers are in a confused state about the relevance they given to
endorsed instruments, but other part of the population don’t give much relevance to
endorsed instruments.

4.16) Significance of after sales service

 TABLE 4.16

OPINION RESPONSE PERCENTAGE

Yes 47 68

No 3 4

Sometimes 19 28

FIGURE 4.16

RESPONSE

28%

Yes
No
Sometimes

4%

68%

INTERPRETATION:

Most of the customers are in need of after sales service.

4A) GUITAR AS THE PREFERRED INSTRUMENT

4A.1) Most preferable brand

 TABLE 4A.1

OPINION RESPONSE PERCENTAGE

Epiphone 1 5

Fender 11 52

Ibanez 2 9

Yamaha 5 24

Others 2 10

FIGURE 4A.1

RESPONSE

10% 5%

24%
Epiphone
Fender
Ibanez
Yamaha
Others
52%

10%

INTREPRETATION:

Fender is the most preferred brand among customers. Then comes Yamaha and rest
follows.

4A.2) Types of guitar preferred

TABLE 4A.2
 OPINION RESPONSE PERCENTAGE

Electric 10 47
Guitar

Acoustic 9 43
Guitar

Bass Guitar 1 5

Classical 1 5
Guitar

Baritone 0 0
Guitar

FIGURE 4A.2

RESPONSE

5%
5%

Electric Guitar
48% Acoustic Guitar
Bass Guitar
Classical Guitar
Baritone Guitar
43%

INTERPRETATION:

Electric and acoustic guitars are the most commonly used guitar among customers.

4A.3) Level of artists

 TABLE 4A.3

OPINION RESPONSE PERCENTAGE

Beginner 9 43

Intermediate 11 52

Advanced 1 5

FIGURE 4A.3

RESPONSE

5%

43%

Beginner
Intermediate
Advanced

52%

INTERPRETATION:

Most of the customers are beginner and intermediate level artists

4A.4) Consideration of guitar as a part of identity

 TABLE 4A.4

OPINION RESPONSE PERCENTAGE

Yes 13 62

No 2 9

May be 6 29

FIGURE 4A.4

RESPONSE
29%

Yes
No
May be

62%
10%

INTERPRETATION:

Major part of the population consider guitar as their identity.

4A.5) Most preferred environment to play guitar

 TABLE 4A.5

OPINION RESPONS PERCENTAG

E E

Play privately 6 29

Play for different stage shows 3 14

Play with a group of friends and 2 9

family

Play with others in a band 9 43

For studio records 1 5

FIGURE 4A.5

RESPONSE

5% 29%

Play privately
Play for different stage shows
43% Play with a group of friends and
family
Play with others in a band
For studio records

10% 14%

INTERPRETATION:

Playing with the band and private gigs are mostly preferred by customers.
4A.6) Preference of combo offers with principle instrument

TABLE 4A.6

OPINION RESPONSE PERCENTAGE

Yes 10 48

No 5 24

May be 6 28

FIGURE 4A.6

RESPONSE
29%

48%
Yes
No
May be

24%

INTERPRETATION:

Yes, most people give much relevance to combo offers

4A.7) Mostly preferred guitar series

 TABLE 4A.7

OPINION RESPONS PERCENTAG

E E

Artist Series 3 15

Premium 12 60
Series

Amateur 5 25
Series

Custom 0 0
made

Others 0 0

FIGURE 4A.7

RESPONSE

25% 15%

Artist Series
Premium Series
Amateur Series
Custom made
Others

60%

INTERPRETATION:

Premium series is the highly preferred series, amateur and artist series contains minor
portion
4A.8) Key aspects while selecting a guitar

TABLE 4A.8

OPINION RESPONSE PERCENTAGE

Pickups 8 38

Wood 12 57

Tuners 1 5

FIGURE 4A.8

RESPONSE

5%
38%

Pickups
Wood
Tuners

57%

INTERPRETATION:

Wood is the most chosen aspect but people don’t avoid pickups
4A.9) Influence of advertisement in purchasing a guitar

TABLE 4A.9

OPINION RESPONSE PERCENTAGE

More than 80% 0 0

50% - 80% 5 24

25% - 50% 10 48

0% - 25% 2 9

Can't say 4 19

FIGURE 4A.9

RESPONSE

19% 24%

More than 80%

10%
50% - 80%
25% - 50%
0% - 25%
Can't say

48%

INTERPRETATION:

More than half of the customers are influenced by advertisement while selecting a guitar

4B) KEYBOARD AS THE PREFERRED INSTRUMENT

4B.1) Type of keyboard preferred

TABLE 4B.1

OPINION RESPONSE PERCENTAGE

Piano 17 81

Synthesizer 3 14

Organ 1 5

Accordion 0 0

Other 0 0

FIGURE 4B.1

RESPONSE

14%
5%

Piano
Synthesizer
Organ
Accordion
Other

81%

INTERPRETATION:

Piano is the most commonly used keyboard among customers and few others choose
synthesizers and organ.
4B.2) Most preferable brand

TABLE 4B.2

OPINION RESPONSE PERCENTAGE

Roland 8 38

Casio 2 9

Nord 5 24

Korg 4 19

Other 2 10

FIGURE 4B.2

RESPONSE
10%

19% 38%

Roland
Casio
Nord
Korg
Other

24% 10%

INTERPRETATION:
Roland is the most preferred brand among customers. Then comes Nord, korg and Casio.

4B.3) Consideration of keyboard as a part of identity

TABLE 4B.3

OPINION RESPONSE PERCENTAGE

Yes 10 48

No 3 14

May be 8 38

FIGURE 4B.3

RESPONSE

38%

48%
Yes
No
May be

14%

INTERPRETATION:
Major part of the population considers keyboard as their identity and few of the them are
in a confused state whether to consider their instrument as their identity.

4B.4) Level of artists

TABLE 4B.4

OPINION RESPONSE PERCENTAGE

Beginner 2 9

Intermediate 18 86

Advanced 1 5

FIGURE 4B.4

RESPONSE

5% 10%

Beginner
Intermediate
Advanced

86%

INTERPRETATION:
Most of the customers are intermediate level artists and few others are Beginners and
advanced.

4B.5) Preference of combo offers with principal instrument

TABLE 4B.5

OPINION RESPONSE PERCENTAGE

Yes 10 48

No 6 28

May be 5 24

FIGURE 4B.5

RESPONSE
24%

48%
Yes
No
May be

29%
INTERPRETATION:

Yes, most of the people give much relevance to combo offers

4B.6) Influence of advertisement in purchasing a keyboard

TABLE 4B.6

OPINION RESPONSE PERCENTAGE

More than 1 5
80%

50% - 80% 3 14

25% - 50% 8 38

0% - 25% 7 33

Can't say 2 10

FIGURE 4B.6
 RESPONSE

10% 5% 14%
More than 80%
50% - 80%
25% - 50%
33% 0% - 25%
Can't say

38%

INTERPRETATON:

2/3rd of the customers are influenced by advertisement in selecting their keyboard

4B.7) Mostly preferred keyboard series

TABLE 4B.7

OPINION RESPONSE PERCENTAGE

Artist Series 9 43

Premium Series 10 48

Amateur Series 2 9

Custom Made 0 0

Other 0 0

FIGURE 4B.7
 RESPONSE

10%

43%
Artist Series
Premium Series
Amateur Series
Custom Made
Other

48%

INTERPRETATION:

Premium series is the highly preferred series among customers followed by artist and
amateur series.

4B.8) Most preferred environment to play keyboard

TABLE 4B.8

OPINION RESPONSE PERCENTAGE

Play privately 5 24

Play for different stage shows 8 38

Play with a group of friends and 2 9

family

Play with others in a band 6 29

Other 0 0

FIGURE 4B.8
 RESPONSE

29% 24%

Play privately
Play for different stage shows
Play with a group of friends and
family
Play with others in a band
Other
10%
38%

INTERPRETATION:

Playing for different stage shows and private gigs are mostly preferred by customers

4B.9) Key aspects while selecting a keyboard

TABLE 4B.9

OPINION RESPONSE PERCENTAGE

Tone quality 17 81

Keys quality 4 19

Switches 0 0

FIGURE 4B.9
 RESPONSE
19%

Tone quality
Keys quality
Switches

81%

INTERPRETATION:

Tone quality is the most chosen aspect among customers and few choose keys quality as
their important aspect while choosing their gear.

4C) VIOLIN AS THE PREFERRED MUSICAL INSTRUMENT

4C.1) Most preferable brand

TABLE 4C.1

OPINIO RESPONS PERCENTAG

N E E

Stagg 4 57

GB & A 2 29

Yamaha 1 14

Parrot 0 0

Other 0 0
 FIGURE 4C.1

RESPONSE

14%
Stagg
GB & A
Yamaha
Parrot
Other
29% 57%

INTERPRETATION:

Stagg is the most preferred brand among customers. Few others choose GB&A and
Yamaha.

4C.2) Types of violin preferred

TABLE 4C.2

OPINIO RESPONS PERCENTAG

N E E

Acoustic 3 43
Violin

Electric 4 57
Violin

Cello 0 0

Viola 0 0

Double 0 0
bass
 FIGURE 4C.2

RESPONSE

43%
Acoustic Violin
Electric Violin
Cello
Viola
57% Double bass

INTERPRETATION:

Electric violin is the most commonly used violin among customers followed by acoustic
violin

4C.3) Level of artists

TABLE 4C.3

OPINION RESPONSE PERCENTAGE

Beginner 1 14

Intermediate 6 86

Advanced 0 0

FIGURE 4C.3
 RESPONSE

14%

Beginner
Intermediate
Advanced

86%

INTERPRETATION:

Most of the customers are intermediate level artists and one of the customers is a
beginner artist.

4C.4) Preference of combo offers with principal instrument

TABLE 4C.4

OPINION RESPONSE PERCENTAGE

Yes 2 29

No 1 14

May be 4 57

FIGURE 4C.4
 RESPONSE
29%

Yes
No
May be
57%

14%

INTERPRETATION:

Customers aren’t much interested with the combo offers though a few choose them

4C.5) Influence of advertisement in purchasing a violin

TABLE 4C.5

OPINION RESPONSE PERCENTAGE

More than 0 0
80%

50% - 80% 1 16

25% - 50% 1 17

0% - 25% 3 50

Can't say 1 17
 FIGURE 4C.5

RESPONSE

17% 17%

More than 80%

17% 50% - 80%
25% - 50%
0% - 25%
Can't say

50%

INTERPRETATION:

More than half of the customers aren’t much influenced by the advertisement

4C.6) Mostly preferred violin series

TABLE 4C.6

OPINION RESPONSE PERCENTAGE

Artist 2 29
Series

Premium 4 57
Series

Amateur 1 14
Series

Custom 0 0
Made

Other 0 0
 FIGURE 4C.6

RESPONSE

14% 29%

Artist Series
Premium Series
Amateur Series
Custom Made
Other

57%

INTERPRETATION:

Premium series is mostly preferred series among customers

4C.7) Key aspects while selecting a violin

TABLE 4C.7

OPINION RESPONSE PERCENTAGE

Bow's & String's quality 4 57

Pickups 1 14

Woods 2 29
 FIGURE 4C.7

RESPONSE

29%

Bow's & String's quality

Pickups
Woods
57%

14%

INTERPRETATION:

Bow's & String's quality is the most chosen aspect among customers and few choose
wood and pickups

4C.8) Consideration of violin as part of identity

TABLE 4C.8

OPINION RESPONSE PERCENTAGE

Yes 4 57

No 1 14

May be 2 29

FIGURE 4C.8
 RESPONSE
29%

Yes
No
May be
57%

14%

INTERPRETATION:

Major part of the population consider violin as their identity.

4C.9) Most preferred environment to play violin

TABLE 4C.9

OPINION RESPONS PERCENTAG

E E

Play privately 1 14

Play for different stage shows 2 29

Play with a group of friends and 1 14

family

Play with others in a band 3 43

Other 0 0
 FIGURE 4C.9

RESPONSE

14%
Play privately
43% Play for different stage shows
Play with a group of friends and
family
Play with others in a band
29% Other

14%

INTERPRETATION:

Playing with others in a band and different stage shows are mostly preferred by
customers.

4D) UKULELE AS THE PREFERRED MUSICAL INSTRUMENT

4D.1) Most recommended brand

TABLE 4D.1

OPINION RESPONSE PERCENTAGE

Flight 1 9

Dolphin 2 18

Mahalo 3 27

Kadence 5 46

other 0 0
 FIGURE 4D.1

RESPONSE

9%
18%

45%
Flight
Dolphin
Mahalo
Kadence
other

27%

INTERPRETATION:

Kadence is the most preferred brand among customers followed by Mahalo, dolphin and
flight.

4D.2) Type of ukulele preferred

TABLE 4D.2

OPINION RESPONSE PERCENTAGE

Soprano 2 18

Concert 5 46

Tenor 3 27

Baritone 0 0
 Electric 1 9

FIGURE 4D.2

RESPONSE
18%
9%

27%
Soprano
Concert
Tenor
Baritone
Electric

45%

INTERPRETATION:

Concert is the most commonly used ukulele among customers followed by tenor

4D.3) Level of artists

TABLE 4D.3

OPINION RESPONSE PERCENTAGE

Beginner 8 73

Intermediate 3 27

Advanced 0 0
 FIGURE 4D.3

RESPONSE

27%

Beginner
Intermediate
Advanced

73%

INTERPRETATION:

Most of the customers are beginner level artists. And few of the population are
intermediate artists

4D.4) Consideration of ukulele as a part of identity

TABLE 4D.4

OPINION RESPONSE PERCENTAGE

Yes 1 9

No 6 55

May be 4 36
 FIGURE 4D.4

RESPONSE

9%
36%

Yes
No
May be

55%

INTERPRETATION:

More than half of the customers don’t consider ukulele as their identity

4D.5) Preference of combo offers with principle instrument

TABLE 4D.5

OPINION RESPONSE PERCENTAGE

Yes 6 55
 No 0 0

May be 5 45

FIGURE 4D.5

RESPONSE

45%
Yes
No
55% May be

INTERPRETATION:

Yes, Half of the customers prefer combo offers. And few of them are in a confused state
to whether to choose combo offers with their principle instrument

4D.6) Influence of advertisement in purchasing a ukulele

TABLE 4D.6

OPINION RESPONSE PERCENTAGE

More than 80% 0 0

 50% - 80% 4 36

25% - 50% 2 18

0% - 25% 5 46

Can't say 0 0

FIGURE 4D.6

RESPONSE

36%

45% More than 80%

50% - 80%
25% - 50%
0% - 25%
Can't say

18%

INTERPRETATION:

Half of the customers are influenced by the advertisement to buy their ukulele

4D.7) Mostly preferred ukulele series

TABLE 4D.7
 OPINION RESPONSE PERCENTAGE

Artist Series 4 36

Premium Series 2 18

Amateur Series 5 46

Custom Made 0 0

other 0 0

FIGURE 4D.7

RESPONSE

36%

45% Artist Series

Premium Series
Amateur Series
Custom Made
other

18%

INTERPRETATION:

Amateur series is the most preferred series among customers, followed by artist and
premium series

4D.8) Key aspects while selecting a ukulele

 TABLE 4D.8

OPINION RESPONSE PERCENTAGE

Pickups 1 9

Wood 8 73

Tuners 2 18

FIGURE 4D.8

RESPONSE
18%
9%

Pickups
Wood
Tuners

73%

INTERPRETATION:

Majority of the customers consider wood as the key aspect and few considers tuners
while selecting their instrument.

4D.9) Most preferred environment to play ukulele

TABLE 4D.9
 OPINION RESPONSE PERCENTAGE

Play privately 4 36

Play for different stage shows 1 9

Play with a group of friends and 6 55

family

Play with others in a band 0 0

other 0 0

FIGURE 4D.9

RESPONSE

36% Play privately

Play for different stage shows
Play with a group of friends and
family
55% Play with others in a band
other

9%

INTERPRETATION:

Playing with group of friends, family and playing private gigs are mostly preferred
among customers.

4E) DRUM AS THE PREFERRED MUSICAL INSTRUMENT

4E.1) Most preferable brand

TABLE 4E.1
 OPINION RESPONSE PERCENTAGE

Tama 1 9

Pearl 6 55

Mapex 3 27

Pdp 1 9

Other 0 0

FIGURE 4E.1

RESPONSE

9% 9%

27%
Tama
Pearl
Mapex
Pdp
Other

55%

INTERPRETATION:

Pearl is the most preferred brand among customers followed by Mapex, Tama and Pdp.

4E.2) Type of drums preferred

 TABLE 4E.2

OPINION RESPONSE PERCENTAGE

Electric 1 9

Rock 4 37

Fusion 3 27

Jazz 3 27

other 0 0

FIGURE 4E.2

RESPONSE
27% 9%

Electric
Rock
Fusion
36% Jazz
other

27%

INTERPRETATION:

Rock style drums is the most preferred type among customers

4E.3) Consideration of drums as a part of identity

 TABLE 4E.3

OPINION RESPONSE PERCENTAGE

Yes 7 64

No 1 9

May be 3 27

FIGURE 4E.3

RESPONSE
27%

Yes
No
May be

9% 64%

INTERPRETATION:

Most of the customers consider drums as their identity.

4E.4) Level of artists

 TABLE 4E.4

OPINION RESPONSE PERCENTAGE

Beginner 2 18

Intermediate 7 64

Advanced 2 18

FIGURE 4E.4

RESPONSE

18% 18%

Beginner
Intermediate
Advanced

64%

INTERPRETATION:

Majority of the customers are intermediate level artists and few others and beginners and
advanced.

4E.5) Preference of combo offers with principle instrument

 TABLE 4E.5

OPINION RESPONSE PERCENTAGE

Yes 5 46

No 2 18

May be 4 36

FIGURE 4E.5

RESPONSE

36%

45%
Yes
No
May be

18%

INTERPRETATION:

Yes, Customers prefer combo offers with their principle instrument and few of them are
in a confused state

4E.6) Influence of advertisement in purchasing drums

TABLE 4E.6
 OPINION RESPONSE PERCENTAGE

More than 1 9
80%

50% - 80% 3 27

25% - 50% 2 18

0% - 25% 4 37

Can't say 1 9

FIGURE 4E.6

RESPONSE

9% 9%

More than 80%

27% 50% - 80%
25% - 50%
0% - 25%
36% Can't say

18%

INTERPRETATION:

2/3rd of the customers are influenced by advertisement while selecting their drums.

4E.7) Mostly preferred drums series

TABLE 4E.7
 OPINIO RESPONS PERCENTAG
N E E

Artist 3 27
Series

Premium 4 37
Series

Amateur 3 27
Series

Custom 1 9
Made

Other 0 0
FIGURE 4E.7

RESPONSE

9% 27%

27% Artist Series

Premium Series
Amateur Series
Custom Made
Other

36%

INTERPRETATION:

Premium series is the mostly chosen series among customers

4E.8) Key aspects while selecting drums

 TABLE 4E.8

OPINION RESPONSE PERCENTAGE

Head quality 2 18

Wood 7 64

Accessories 2 18

FIGURE 4E.8

RESPONSE

18% 18%

Head quality
Wood
Accessories

64%

INTERPRETATION:

Majority of the customers consider wood as the key aspect and few choose head quality
and other accessories while selecting their gear

4E.9) Most preferred environment to play Drums

 TABLE 4E.9

OPINION RESPONSE PERECENTAGE

Play privately 3 27

Play for different stage shows 4 37

Play with a group of friends and 1 9

family

Play with others in a band 3 27

Others 0 0

FIGURE 4E.9

RESPONSE

27% 27%
Play privately
Play for different stage shows
Play with a group of friends and
family
Play with others in a band
Others
9%
36%

INTERPRETATION:

Play for different stage shows are the most chosen environment to play drums.
 FINDINGS

 When choosing a brand customers mainly give preference to the quality of the
instrument.
 The customers are not much bothered about the brand name
 While purchasing an instrument ,the consumers match their needs, look at the
availability and popularity of the instrument
 Like every consumer, price is an important factor in selecting a brand
 Almost every consumer is loyal to their brands , up to a certain limit in price
variations
 The consumers are fluctuated with the change in technology and Goodwill of the
firm
 They are very happy if the brands provide good warranty and after sales services
 The consumers gives moderate importance to shop owners advice in selecting a
brand
 As instruments include electrical and acoustic products, Customers look for well
packed products.
 Fender is the most preferable guitar brand. While choosing their brand people look
forward to the quality of the wood.
 More people use electric guitars and they prefer premium series.
 Roland is the most preferable keyboard brand. Tone quality is the key aspect that
the customers look forward
 Majority of the customers use piano. Premium series is widely preferred.
 Stagg is the most preferable violin brand and quality of bow’s and strings is the
behind it
 In this modern era, electric violins are mostly used. Premium series of violin are
mostly used among customers.
 Kadence is the most preferable ukulele brand. Customers give more importance to
wood of the instrument
 Majority of the customers use concert. Amateur series is widely preferred.
 Pearl is the highly preferred drums brand. People give more importance to the
quality of the wood.
 Rock drums are the most preferred drums. More people prefer premium series
 Other than ukulele , majority of the customers are intermediate artists
 Many artists see their instrument as a part of identity
 Majority of the people love playing live gigs, while ukulele players love to play
privately
 Customers have positive approach towards combo offers
 Up to half of the decisions made by the customers are influenced by advertisements.

RANDOM PREFERENCES OF CUSTOMERS

 Few customers give more attention to the instrument that provide tone and quality
according to its price
 Some of them choose their instruments by matching attributes of the new
instrument with the older ones
 Washburn and musicman are other guitar brands that customers prefer
 Some guitar artists love to play in studio environment
 Few customers prefer Yamaha as their keyboard brand
 Custom made violins are being used by some of the artists
 Few of the violin artists love to play in orchestra and records
 SUGGESTIONS

 Sometimes import duties of instruments are very high. Many people desire to get
quality instruments at reasonable price tags. So the affordability of the consumers
should be checked in order to maintain consumer satisfaction.
 The shop owners should provide camps based on Modern brands and their
developments in order to improve knowledge among customers
 More care is to be given to packaging of the instrument , because it upholds the
safety of the instrument
 Some customers are so disciplined, therefore timely delivery and transportation
should be well managed
 People desire more and more quality products from other continents, so the
importing strategy should be changed.
 The company should be more active in social media in order to share their new
products and ventures.
 CONCLUSION

Brand preference can up to an extent give an idea of the customer cloud. Instilling brand
preference among target customers is the ultimate objective of a company's marketing
and promotion efforts.

It is visible from the findings that majority of the customers have their eyes set on the
quality of the product. Hence, brands like Fender, Roland, Pearl, kadence and Stagg are
widely accepted by users both locally and globally. Since these are international brands,
availability is always a decelerating factor. Import of these products can be time
consuming and customers can’t have first hand shopping experience since most of the
customers prefer to test the gear. Also, the sales of these brands in our country mainly
depend on its availability since these aren't local brands.

Ever since the pandemic, customers have found it even harder to get the required product.
Since market values have gone down, they have found it harder to get their ideal brand
matching with their requirements.

Other hindering factor faced by the customers include after sales services. This has taken
a major toll on customers who make a living out of these instruments. However,
customers are loyal up to a certain limit in the price fluctuations caused by the impact of
the current pandemic.

Even though every 2 out of 3 customers mostly turn out to be price sensitive, they stay in
zone for the quality of the brand. Investing a good some of money for a musical
instrument is never considered as a loss for them. Most of the customers make a living
from gigs and other musical ventures, so they make it a necessity to get the best quality in
their area of specifications.