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Vibes Company Mini-Case Part 1 Holbrook INSPECTION

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Vibes Company Mini-Case Part 1 Holbrook INSPECTION Mini-Case – The Vibes Company, Inc., Part One The questions in this mini-case should be answered by each Integrated-Project Group (IPG) working independently. Please turn in one set of answers – preferably typed or, if necessary, very neatly handwritten – from each IPG, with the names of all members clearly indicated at the top of the first page. It is the responsibility of each IPG to make sure that all members participate equally in completing this exercise. Please do not discuss this or other mini-cases or compare answers with the members of other IPGs. All IPG answers must be turned in at the beginning of class on the day when the assignment is due. Unlike other mini-cases used in B6601, answers to questions pertaining to the Vibes Company may be obtained by using a spreadsheet with data manipulations provided by a financial/statistical software package such as Excel. For example, the present exercise involves using values for one set of variables to compute values for another set of variables. An Excel-type program should come in handy for this. However, please hand in only your answers and not all the intervening steps involving spreadsheet calculations. Good luck and have fun. As of Spring 2004, The Vibes Company, Inc. has recently acquired the rights to a much- venerated but now-extinct brand name – Deagan – and its CEO, Mr. Milt Burton, is currently contemplating the possibility of introducing a new Deagan model – the Deagan Millennium Vibraharp – into the already crowded marketplace for vibraphones. This type of musical instrument – referred to as a vibraphone, vibraharp, or vibes – resembles a xylophone or a marimba, but with certain key differences. Like these other instruments, a vibraphone consists of bars arrayed horizontally to form a musical scale over multiple octaves. These bars are struck by mallets made of rubber balls wrapped in yarn or cord. The sound of the bars vibrating is very pure – resembling that of a bell or tuning fork – and is reinforced by resonators that hang below the bars to amplify their loudness. Unlike the marimba – whose bars are made of wood – the vibraphone has bars made of silver or gold metal (usually an aluminum alloy). Further – unlike the xylophone or marimba, on which a note can be sustained only by repeatedly striking the appropriate bar (as in a drummer’s roll) – the vibraphone has a sustain pedal that dampens the tone or not, depending on how long the musician wishes the sound to continue ringing. Finally – unlike both marimbas and xylophones – most vibraphones (though not all) have fans inside their resonators powered by a motor (whose speed may or may not be adjustable); as these fans turn, they open and close the resonators, thereby giving a tremolo-like effect to the sound of the vibes. (Note that the speed of this tremolo effect is very important to the tonal quality produced. Some players [e.g., Gary Burton] use no tremolo at all. Others [e.g., Joe Locke] use a very slow vibrato [e.g., around 60 beats per minute]. Others [e.g., Milt Jackson] opt for a moderate speed [e.g., 120 beats per minute]. While some older players [e.g., Lionel Hampton] used a much faster tremolo [e.g., around 240 beats per minute or higher].) Copyright © Trustees of Columbia University in the City of New York For permission contact [email protected] 212-854-7173 2 As a first step, Mr. Burton has commissioned an exhaustive survey of all competing brands and models of vibraphones. His market-research team – headed by Mr. Victor “Red” Hutcherson – has identified 58 makes and models of vibraphone currently available on the market. In each case, Mr. Hutcherson’s team has compiled data on the following features of the various instruments (with abbreviations shown in parentheses): Number of Bars (numbars) = the number of bars included on the instrument (twelve bars per octave plus one – e.g., 37 bars for a three-octave vibraphone) Average Width of Bars (avewidth) = the average width of the bars in inches Number x Average Width (numxwidth) = the length of all the bars laid out side- to-side (in inches) Graduated (graduated) = scored 9 for bars that vary in width from bottom (wide) to top (narrow) and 1 for bars of the same size (where graduated bars are considered by many to produce a better tonal quality) Gold/Silver (goldsilver) = scored 9/1 for bars that are gold/silver in color (a purely cosmetic feature that does not affect the sound of the instrument) Arched/Straight/Gapped Resonators (archgap) = scored 9 for resonators whose front follows an attractive arch-shaped pattern; 5 for resonators whose front follows a more functional straight line; 1 for resonators whose front includes only those needed to handle the “black” keys (sharps and flats), making the instrument lighter in weight and cheaper to produce, but giving it an appearance that resembles a smile with several teeth missing Footprint (footprnt) = the surface area covered by the top of the instrument ([{bottom width + top width}/2] x length) (in square inches) Weight (weight) = weight of the instrument (in pounds) Console (console) = 9 if the instrument has solid and furniture-like sides that do not fold up for ease of transportation; 1 if the instrument has a frame that easily folds for portability; 3-5-or-7 if the degree of collapsibility lies somewhere in between the two extremes All-Terrain (alltrain) = 9 if the instrument rides on a frame equipped with large pneumatic wheels for moving over rough terrain; 5 if the instrument has a “motocart” with oversized rubber wheels; 1 if the instrument has only minimal casters for short movements on a flat surface Copyright © Trustees of Columbia University in the City of New York For permission contact [email protected] 212-854-7173 3 Height Adjustment (hghtadj) = 9 if the height of the instrument can be adjusted for playing comfort; 1 if the height is fixed Variable Speed (varspeed) = 9 if the instrument features a variable-speed motor; 5 if it features a single-speed motor; 1 if it has no motor Market Price (mktprice) = an average of prices at which the relevant make and model is offered for sale on the Web or via direct distribution from the manufacturer (in dollars) More detailed consideration of these features-based data will concern us at greater length in Part Two of the Vibes Company Mini-Case. For now, however, we shall focus on a second stage of the analysis conducted by Mr. Burton and his market-research team. Specifically, Mr. Hutcherson has conducted further tests to determine the psychophysical relationships between the features just enumerated and various perceived attributes of the instruments in question. In particular, extensive interviews with a broad cross-section of vibes players have identified the following set of equations for estimating five key perceived attributes (tonal quality, size, maneuverability, elegance, and affordability) on the basis of key features (where feature scores are standardized across makes-and-models to a mean of 0.0 and a standard deviation on 1.0): Tonal Quality (tone) = the degree to which the instrument produces a beautiful, pure, ringing sound at the desired tremolo speed over a wide range of the musical spectrum = .25xZ(numbars) + .25xZ(avewidth) + .25xZ(graduated) + .25xZ(varspeed) Size (size) = the degree to which the instrument is physically large, bulky, imposing, and space-consuming = .25*Z(numxwidth) + .25*Z(footprnt) + .25*Z(weight) + .25*Z(console) Maneuverability (maneuver) = the ease of collapsing the instrument, transporting it from location to location, and setting it up in an optimal playing position = - .25*Z(weight) - .25*Z(console) + .25*Z(alltrain) + .25*Z(hghtadj) [note the negative coefficients attached to weight and console in this equation] Elegance (elegance) = the aesthetic appeal of the instrument regarded as a beautiful piece of sculpture-like furniture = .25*Z(goldsilver) + .25*Z(archgap) + .25*Z(console) - .25*Z(alltrain) [note the negative coefficient attached to alltrain in this equation] Affordability (afford) = the degree to which the instrument commands a market price that any musician can easily afford = - Z(mktprice) Copyright © Trustees of Columbia University in the City of New York For permission contact [email protected] 212-854-7173 4 The full set of scores on the perceived attributes for each of the 58 makes and models of vibraphones currently on the market appear in the following table. Copyright © Trustees of Columbia University in the City of New York For permission contact [email protected] 212-854-7173 5 Table Perceived Attributes For 58 Makes and Models of Vibraphone ______________________________________________________________________ Make-&-Model Tone Size Maneuver Elegance Afford ______________________________________________________________________ Adams AV1 .17 .35 .31 -.10 .62 Adams AV1F .17 .50 .63 -.42 .37 Adams AV2F -.45 .50 .63 -.42 .54 Bergerault VA .28 -.22 .17 .14 -.83 Bergerault VGC .28 .95 -1.61 1.61 -1.43 Bergerault VP4 1.42 1.61 -.51 .50 -1.77 Bergerault VPS .88 .78 -.13 .50 -1.42 Bergerault VPV .28 -.29 .10 .66 -1.36 Bergerault VR -.90 -.86 .28 .14 -.83 Bergerault VU II -.90 -.86 .28 .14 .05 Dynasty DVP30 Concert .50 .60 .53 -.31 -1.40 Dynasty DVP35 Concert .88 1.24 .31 -.31 -1.55 Marcon VP300 -.21 -.64 .21 -.24 -.35 Marcon VP400 .94 1.12 -.48 -.24 -1.96 Mus’l Perc’n Antiqued -.42 -.03 -.74 -.26 1.89 Mus’l Perc’n Shiny -.42 -.03 -.74 -.26 1.89 Musser M44 Combo -1.58 -1.54 .50 -.50 1.26 Musser M7044 Combo -1.58 -1.19 -.01 -.82 1.06
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