The amount of knowledge and skill and experience required to properly
restore an instrument makes the cost of labor one of the last truly
great bargains, especially in an era of declining manual craftsmanship.

While materials are expensive, the only real hope we have of interesting
a new generation in the hobby is to display instruments in top
condition, the restoration costs incorporated into their asking prices.
The so-called declining market hasn't stopped collectors from sending me
or my colleagues such as Mike Argain, Ron Cappel, Art Reblitz, Tim
Westman and other top restorers instruments or parts to restore.

Value is value, and I for one believe that a beautifully restored
instrument will always find an appreciative home.  Many, if not most, of
my clients want the work done right.  "Let's go ahead with it, Steve" is
their response when I make a suggestion that, although it may cost them
a little bit more, will be the way it should be done in a proper
restoration.  And they know full well that they may never recover their
investment should they want to sell the piece.  They understand that
automatic music machines are not stocks, bonds, or financial
instruments.   They are _musical_ instruments, treasures of art and
technology first and foremost!

Unfortunately, we live in an instant culture which has adopted a
philosophy of disposability.  Unless we pass on to our children a
respect and love for past accomplishments, be they classic  cars, homes,
art, or automatic music, we simply won't have a cultural identity (other
than back issues of Hollywood-based publications) to appreciate and to
build upon.  How many people today under age 20, for example, even read
books?

Stephen Kent Goodman