mi pro november 2009 - issue 114
DESCRIPTION
Musical Instrument Professional. For everyone in the MI Bussiness.TRANSCRIPT
MIA AWARDS BPF YAMAHA BPM SPONGEBOB MUSIC FORCE M-AUDIO
No. 114 • NOVEMBER 2009 • WWW.MI-PRO.CO.UK PRINT • ONLINE • MOBILE
SmoothSoundSound Technology covers just about every aspectof MI and pro audio since its purchase of HarmanPro UK. But just how slick is its operation today?
MUSICAL INSTRUMENT PROFESSIONAL � FOR EVERYONE IN THE MI BUSINESS
1 MIP 114 Cover_v3 23/10/09 16:13 Page 1
A N E W C L A S S O F A M P L I F I E R
Introducing the latest member of the Marshall family – the Class5. A tonally rich 5 Watt all-valve combo thatexclusively features true class A circuitry from input to output, plus an abundance of pure Marshall tone, feel andresponse. Conceived in the wake of numerous requests from both professional stadium fillers and bedroomwiddlers alike, this compact yet punchy 1x10" amp is the answer to your low wattage, big tone prayers!
Ideal for use at home, the studio, rehearsal or small gig, the Class5 is all-valve Marshall tone at its best – pure,audacious and inspiring!
To find out more about the Class5 contact:Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK1 1DQ or visit the official Marshall website: www.marshallamps.com
full page 26/10/09 11:11 Page 1
Dave Marshall has had quite a year, having to co-ordinate not only
the purchase of a huge distribution business, but also relocate the
whole shebang to his Letchworth operation. How has he coped?
MI Pro’s unique collection of news and interviews concerning the
business and work being done on MI’s front line
NEWS 6D’Addario UK, Reverb Leicester, MusicChina, Lyons’ clarinet, Yamaha pianos
DRUM NEWS 15Zildjian deals, Barnes takes helm atRhythm, the black side of Aquarian
MIA AWARDS 14Gongs galore
BPF 17The piano market Lords it
YAMAHA 20Yamaha pianos get all multi-layered
BPM 23The phattest show in town
STARTER PACKS 37Last chance before Christmas
LAG 40Rock chic – but acoustic
MARSHALL 43Donning a new amp
AVID 54A new umbrella for some old favourites
MUSIC FORCE 56When distribution is Gold
MARSHALL LAW 31
RETAIL
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61 62
6
14
COVER STORY
ISSUE 114 NOVEMBER 2009
65
23
PRODUCTSPRINT 66
PROFILE • SPONGEBOB MI 27JHS describes the new SpongeBob range of musical instruments as its
most universally accepted, but how does one get the licence?
NEWS 61The Music Show Dublin shifts into a newgear and impresses the public with acombined supplier/retailer show
RETAIL WINNERS 62Six retailers explain why they werepicked out by the MIA
INDIE PROFILE 64JG Windows of Newcastle
FRONT LINE 65The horrors of theft
SECTOR SPOTLIGHT • ACOUSTICS 45Veritably bursting at the seams, the sub-£500 acoutic market has
more product than you can shake a pick at
3 mip114_FINAL 23/10/09 17:21 Page 1
TEAC 20/10/09 16:24 Page 1
Show us the money
The show season is now well and truly upon us again,with a veritable swathe of events throughSeptember and October conspiring to both inspire
me and keep me away from my desk (both a treat and ahorror – particularly as deadline approaches).
In this issue, we ease you into the flurry of reports witha quick round-up of the jolly that is the MIA IndustryAwards (page 14 – and congratulations to all the winnerson the evening) and swiftly on to the British Piano Fair(page 17), at which that particular sector of the tradeexperienced a slightly quieter show in terms of visitornumbers, but an increase in business. As MI Pro goes topress, the BBC is announcing the official emergence of theBritish economy from recession. Judging by the commentsfrom the piano suppliers, we probably could have pre-empted the official figures by a month.
Following that, we have a report on the BPM Show(page 23) at the NEC, where the DJ industry clearlyshowed its own personal emergence as a corner of thebusiness that is most definitely here to stay.
Next month will see a full report on the Music ChinaShow in Shanghai – another show that experienced a(possibly) lower turn out, but no complaints whatsoeveras regards business done (there is a brief news item on theshow on page 6 to tide us over).
But for me, the real headline stealer was the The MusicShow, Dublin – and I didn’t even get along to it (althoughI certainly will next year).
In its sixth year, The Music Show has established itselfas a ‘must-attend’ gathering for the Irish trade and for alot of the UK, too, with organiser Hot Press promising evenmore international attendance next year.
The beauty of the Dublin show is that there has beenone rule since its inception that has remained sacrosanct:no trading on the show floor – and it has remained trueto that. Dozens of suppliers and retailers covered theshow space and not one single item of gear was boughtor sold physically at the show.
Of course, names, numbers and addresses were taken,possibly even a tasty deal done here or there, but thetransactions are bound to take place in a store after theevent. And the public loves it – as do the exhibitors.
As Gerry Forde of Roland Ireland explained to me: “Theshow brings in the public and we tell the retailers, ‘there’syour public, how are you going to get them in yourshops?’ Radical – and not without a spot of genius.
Andy Barrett
Dozens of suppliersand retailers coveredthe show space and
not one single item ofgear was bought or
sold physically at the show.
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EDITORIAL
MANAGING EDITOR
ANDY BARRETT
EDITOR AT LARGE
GARY COOPER
ASSOCIATE EDITOR
ROB POWER
DEPUTY EDITOR
ROB HUGHES
ADVERTISING MANAGER
DARRELL CARTER
DESIGNER
CLAIRE BROCKLESBY
EDITORIAL PRODUCTION
MANAGER
HELEN FRENCH
PRODUCTION EXECUTIVE
ROSIE MCKEOWN
CIRCULATION
PAUL LITTLE
PUBLISHER
DAVE ROBERTS
MANAGING DIRECTOR
STUART DINSEY
MI PRO CONTACTS
LATEST NEWS STRAIGHT TO YOUR MOBILEBookmark us in your phone:
MOBILE.MI-PRO.CO.UK
5 mip114_FINAL 23/10/09 17:19 Page 1
Reverb Leicester closes its doorsREVERB LEICESTER shut up shop
on October 16th, becoming the
second store in the original chain
to close, following the demise of
Reverb Sheffield in September.
The Reverb chain was
established by former Arbiter
director Andrew Landesberg,
following the purchase of six
former Sound Control stores in
April 2008.
On the day that Reverb
Leicester closed its doors,
Landesberg, the company’s
managing director, explained the
state of the company and gave
his reasons why the branch had
to go: “Unfortunately, the
performance at this location
was not in line with expectations
and while various steps were
taken to try and improve, it
continued to be a loss making
site for the company.
“As with the closure in
Sheffield, the decision to close
the store was primarily taken
on the basis of performance and
the site’s long-term ability to
make money.
“It is common knowledge that
both these sites are freehold and
the funds will be re-invested in
Reverb in order to assist with the
future growth of the company.
While trading conditions have
certainly not been at expected
levels, over the course of the last
three months, the remaining
stores are now starting to grow
again and we expect this to
continue to improve.
“Our target by the year end is
to ensure that all areas of the
business are profitable and once
we can achieve and sustain that
position we will then begin to
think about the expansion of at
least one further new store.”
REVERB: 0870 067 1234
NEWS
MD cites performance and lack of long-term potential as reasons for shutting another of the chain’s shops
Music China comes of ageShanghai show completes its eighth year on a high – despite lower
international turnout, firms are happy with domestic interest
D’ADDARIO & COMPANY has
announced the imminent
launch of of D’Addario UK. The
new operation has been
established to assume the
marketing and distribution
leadership for all D’Addario
accessory brands in the UK.
D’Addario UK will also be
opening a new distribution
facility in Gateshead.
“Since the mid-1970s, we’ve
been fortunate to work with
reputable distributors in
developing a strong market
presence for our accessory
lines,” states John D’Addario III,
the company’s executive VP.
“While we’re looking forward
to continuing these
relationships, we need to be
more of a resource to our
customer base in the UK.”
The new entity will be run
by former Summerfield sales
and marketing director, Simon
Turnbull. Turnbull has 15 years’
of experience in the distribution
of accessories and played a
primary role in the marketing
of D’Addario in the UK market.
“I’ve worked with the people at
D’Addario for years and I know
the products intimately”, he
said. “This opportunity was too
good to miss.”
The new company will
supplement the existing UK
distribution network of
D’Addario brands and dealers
can continue to contact Barnes
& Mullins for Rico reeds and
mouthpieces, Strings & Things
for D’Addario fretted instrument
strings or Summerfield for
D’Addario fretted and bowed
strings, Evans Drumheads, Planet
Waves accessories, HQ and
PureSound percussion products.
The planned opening date is
January 2nd 2010. Find out
more at the D’Addario UK
website – daddario.co.uk.
D’ADDARIO UK: 0845 643 6464
Simon Turnbull to head up new ‘marketing
and distribution leadership’ operation
D’Addario UK to
launch in 2010
THE 2009 Music China show
saw tens of thousands flocking
to it, although international
visitors were down this year as
a result of continued financial
pressures abroad. In China, the
recession has resulted in a drop
in growth to seven per cent of
GDP. However, the overall
picture of crammed aisles and
reports from exhibitors of an
awful lot of business being
done gave the impression of a
large Oriental shrug, asking
‘what recession?’
This year’s show, which saw a
return to UK exhibitor figures of
numbers not seen for around
five years, is also seeing more of
a shift away from simply
meeting Pacific Rim clients and
instead a move towards a
genuine push into the Chinese
domestic market, as the
infrastructure in China’s leading
cities and regulations from
central Chinese government
grow more sophisticated and
‘user-friendly’.
“Yes, there were fewer
Pacific Rim customers this
year,” commented Stephen
Wick of Denis Wick. “This was
more than made up for,
however, with increased
interest from the domestic
market, so it was still a great
show for us.”
“We had a very successful
event, taking on new
distributors in Turkey and
South Korea and getting great
response to the new products
from our existing distributors
who visited during the show.
We were very pleased with the
whole show,” added Tony Flatt
of Tanglewood Guitars, which
was one of many UK
companies now importing into
the Chinese domestic trade –
which is where the bulk of
business for British companies
was seen this year.
The next (December) issue
of MI Pro will feature a full
report of the show.
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“The decision was primarily taken on
the basis of performance and the site’s
long-term ability to make money.”
Andrew Landesburg, Reverb
LANDESBERG: “The remaining stores are starting to grow again”
6,7 mip114_FINAL 23/10/09 15:25 Page 1
NEARLY 20 years ago, Graham
Lyons introduced the Lyons C
clarinet to the world – and pretty
much single-handedly
revolutionised the teaching world
for woodwind instruments. Now,
after 20 years of development,
Lyons has taken the concept
further with the Lyons Clarinéo
Nuvo, which replaces the Lyons C.
The new design virtually
eliminates the need for any
maintenance. The bore and
mouthpiece remain the same and
the only assembly required is the
bell and the mouthpiece on to
the main body.
Tomandwill.com distribution
has launched the Clarinéo in the
UK, while US Band & Orchestra
Supplies/St Louis Music is
launching the product at the
same time in America. In both
cases the manufacturer of the
Clarinéo, Nuvo Instrumental,
engaged the services of The Trust
Network (TTN) to establish the
distribution.
“What our industry has missed
out on until now has been a way
to offer continuity to literally
millions of recorder players who
acquired the skills of blowing and
fingering an instrument to
produce music,” commented John
Hughes-Chamberlain, MD of
Tomandwill. “Now, the Clarinéo
lets us keep hold of them.”
“If ever there was a win-win
scenario, this is it. The child wins,
the dealer wins, music education
wins,” added Lyons.
Brendan Murray of TTN
confirmed that the key to the
appointment of John Hughes-
Chamberlain and his team at
Tomandwill as the UK’s distributor
was an understanding and vision
of the impact the Clarinéo can
have, as well as the investment to
realise that vision. He said: “Look
out for a concerted campaign to
reach teachers, music services and
parents and show how the
Clarinéo can bring thousands of
new six to ten-year-olds to
instrumental music.”
TTN: 01633 441361
TOMANDWILL: 08450 945659
NEWS
Clarinet with heart of a Lyons Salt gets Premier
THE MANCHESTER-BASED
audio specialist supplier RW
Salt Communication has
taken on the distribution of
Premier Percussion’s drumkit
product range.
To accommodate this large
shift in activity, RW Salt has
created a new division
responsible for the distribution
of its drum and percussion
products.
“RW Salt is delighted to
take on the distribution of
Premier drum sets in the
United Kingdom and Ireland
and via our new dedicated
drums and percussion division
we will endeavour to deliver
high levels of customer service
and technical support to our
new drum and percussion
customers,” said Craig Buckley,
RW Salt’s managing director.
For over 20 years, RW Salt
has supplied customers
throughout the UK with pro
audio products, making this
move one that will doubtless
inspire some degree of
curiosity. For its part, RWS has
underlined its long-term
philosophy of ensuring its
customers are provided with
consistent levels of technical
support, proven advice and
outstanding customer service.
RW SALT: 0844 980 8800
Audio specialist to distribute Premier drum
products throughout the UK and IrelandSuccessor to Lyons C model, expected to get more children playing
instruments, introduced to UK and US through deals brokered by TTN
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© 2009 FMIE
“We will endeavour to
deliver high levels of service.”
Craig Buckley, RW SaltThe Lyons Clarinéo Nuvo
6,7 mip114_FINAL 23/10/09 15:25 Page 2
YAMAHA USED the British Piano Fair to
announce details of a new promotion in
which all Silent system piano models will
be shipped with a Yamaha M-430 hi-fi
system free of charge.
And during its dealer meeting on the
evening of the first day of the show, the
company announced a new ‘scrappage’
scheme that will allow end users to bring
in their old pianos, acoustic or digital, in
a part exchange for a new Yamaha or
Kemble model.
“We are giving people the opportunity
to bring their old piano or digital piano
and walk away with a discount on a
quality acoustic,” commented Charles
Bozon, Yamha’s piano product manager.
”We think this is going to be a big deal
in bringing our range of pianos to a
wider market.”
Yamaha's Leanne Hassan said: “We’ve
created the hi-fi promotion to highlight the
traditional nature of the Silent series and
reinforce the fact that the instruments are
100 per cent acoustic, as well as being able
to be played silently on headphones
without compromising on sound or touch.”
These two promotions combine with
Yamaha’s zero-percent finance on its
acoustic pianos, giving end users a
remarkable package of added value and
dealers the opportunity of stepping up the
selling points during the sales process.
The M430 hi-fi that is being offered
with the pianos is one of Yamaha's most
popular audio systems and includes CD
player, DAB radio and integrated iPod dock.
You can read more about the Yamaha
dealer meeting at the BPF on page 20.
YAMAHA: 012908 366700
NEWS
FOLLOWING THE success of EMD’s
warehousing operation in Foshan, China,
which has seen the Brussel’s-based
company providing import turnaround
times second to none in the industry,
the company has now announced the
opening of its second warehouse in
the region.
The new facility is set to be
operational by the end of 2009 and will
provide an additional 12,300 square
metres of warehouse space.
As well as the massive increase in
stock availability this will bring – EMD is
hoping to reduce waiting times on direct
orders from China significantly – the base
will also have a series of dedicated
workshops for checks and quality control
before shipping.
EMD has told MI Pro that all Stagg
products destined for Europe and the USA
will pass through the new facility
precisely for this purpose.
EMD: 01293 862612
Extended far eastern warehousing to include extensive
quality control and reduce order waiting times
VETERAN AMP specialist Steve Yelding
has joined The Music Force Distribution
to handle a dual role for the rapidly
growing company.
Yelding, for many years a mainstay at
Marshall and later with Headstock/Laney,
has been appointed area sales manager
for the Midlands and Wales, representing
the company’s growing portfolio of
brands, including Ashton, Sparrow, Indie,
Mariner, GigSkinz and Engl Amplification.
He has also been appointed as national
business development manager for Engl
Amplification.
Arthur Achard, Music Force’s director
of sales, said: “This is an exciting time for
our company and Steve has all the
qualities, experience and personal
attributes that will endear him to our
retail partners, ensuring that they
continue to receive the support that they
deserve. It will also enable our company
to build on the dramatic growth and
expansion we have experienced over the
past few years.
“In addition to this, his knowledge and
experience in the amplification sector
will prove especially beneficial with the
development of Engl, its customers and
impressive roster of artists.”
“I have been very fortunate to work
for some fantastic companies and brands
in my career and each one has given me
a great deal in terms of personal
development and experience,” said
Yelding, commenting on his
appointment. “Like everyone else in the
industry, I have seen the impact that The
Music Force has made in the UK
distribution market in a short space of
time, with its attention to detail,
customer service and marketing support
and I am excited at the prospect of
contributing further to this. I will do my
utmost to ensure that the company
continues its growth to the mutual
benefit of both The Music Force and
its customers.”
MUSIC FORCE: 01780 781630
Yelding finds the Force
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Former Marshall and Laney man to head UK’s Engl team
The firm’s latest set of promotions combine to make
dealer and user appeal second to none
Yamaha takes piano
promos to new level
EMD doubles up in China
YELDING: “I will do my utmost to ensure
the company continues its growth”
BOZON: “This offer will bring our
pianos to a wider market”
8 mip114_FINAL 23/10/09 15:28 Page 1
UK Freephone: 0800 432 0486 email: [email protected]
DISTRIBUTION NEWS
Chromefrets treatment is now in production after prompting from eager MI retailers
CHROMEFRETS, a process for
cleaning and polishing guitar
strings and fretboards using
liquid PTFE, also known as Teflon,
is now being pushed out for
general sale to MI retailers across
the country, through a new
company established by Richard
Hinchcliff for the purpose.
Chromefrets Silky Strings was
launched at the July Guitarfest
and to date over 20 shops are
stocking it. The theory behind
the product is that a guitar with
polished frets will dramatically
improve the look, but more
importantly the feel of the
instrument. Chromefret achieves
this, as well as making string
bending much easier and the
neck ‘faster’. Hinchcliff developed
the product for his own use, but
very quickly other guitarists
asked if he could make their
guitars play as smoothly as his –
and when a local music shop saw
the results the comment was
‘produce this commercially and
we’ll stock it’.
“Fret polishing has always
been the preserve of luthiers,”
commented Hinchcliff. “It
required specialist tools and was
labour intensive, but now it’s a
quick, safe process that any
player can achieve.”
Apart from polishing frets, the
product also re-hydrates fret
boards and lubricates the nut
and saddle, cleans the strings
around 360 degrees and inhibits
corrosion, which preserves tone
and reduces breakages.
“The music trade has been
very helpful in giving me advice,”
concluded Hinchcliff. “I’ve
listened to what the independent
retailers have said and taken
their comments on board. For
example, we’ve designed a
demonstrator swing tag so
dealers can ask customers to try
out the product – it’s one way of
building customer rapport and it
combats internet sales.”
Player reviews are on the
Chromefrets website (which you
can find at chromefrets.co.uk)
and Hinchcliff continues to visit
shops. “This is the first time I’ve
said to my wife I’m going to a
guitar shop and she has said:
‘Good luck, let me know how
you get on’.”
UK discovers Silky Strings
Musictrack takes
on MXL micsEstablished mic brand now available in the
UK through hi tech supplier
Reader,
Selectron
marries
RochesterExclusive UK
agreement for
Whirlwind USA’s
new range
SELECTRON HAS announced
that it has been appointed as
the sole UK distributor of the
new Rochester range of effects
pedals by Whirlwind USA.
The new range is named
after Rochester NY (not the
Charlotte Bronte hero), where
the Whirlwind factory is based
and where the pedals are
being manufactured.
Whirlwind’s history dates
back to the 1960s when
founder Michael Laiacona, a
teenage bass/guitar player,
began tinkering with
electronics. By the time he was
15 years old he had, out of
necessity, hand-built his first
PA system complete with a
mixing console, monitors,
power amps and homemade
speaker enclosures.
It didn’t take long to go
from soldering homemade
gear in his garage to producing
pro-grade equipment and a
few years later he graduated
from the garage to a small
factory on Goodman Street, in
Rochester NY, where he co-
founded MXR.
The initial vision was to
build a mixing console, hence
the name MXR (mixer) but
ended up creating guitar
effects pedals instead.
For further information,
email Kelly Downes at
SELECTRON: 01795 419460
Red Dog goes LividEdinburgh indie to distribute boutique
American controllers
RED DOG Music, the Edinburgh
indie, which was established in
the wake of the Sound Control
collapse, has been appointed as
exclusive UK distributor for Livid
Instruments, an American
manufacturer of hardware
controllers for music software.
Livid Instruments likens itself
to a custom guitar maker for
digital performance and crafts all
its products from fine woods and
quality metals. All of its boutique
range of controllers, including
the Ohm 64, are designed,
manufactured and assembled
entirely in-house, at the firm’s
factory in Austin, Texas.
Alex Marten, the MD of Red
Dog Music, commented: “In a
music world dominated by
computer software, it is
becoming increasingly important
that the one piece of hardware
that musicians still use – the
controller – is ergonomic,
flexible, and solidly built. We
believe that, with the Ohm 64,
Livid Instruments is unique in
bringing such a product to
the market.”
Red Dog Music invites both
trade and retail customers to get
in touch with the firm directly
for pricing information.
RED DOG: 0131 229 8211
THE MXL range of mics and mic
accessories is now available in
the UK via Musictrack.
The MXL line is designed by
veteran American professional
audio and video company
Marshall Electronics and the
range spans mics for a large
variety of applications and
budgets, going from the Genesis
tube microphone, recommended
for vocals, acoustic guitar, string
and piano recording and priced
at £599, to highly affordable
recording kits such as the
550/551R microphone ensemble.
The latter includes the MXL 550
vocal condenser and the 551
‘stick’ instrument mic,
recommended for guitars, drum
kits, pianos, stringed instruments
and more.
The mics have matching,
distinctively coloured bodies
and retail at £99 for the two,
including carrying case and
mic-stand adaptors.
The MXL range as a whole,
the press release says, “Offers
musicians the chance to own
mics that not only stand out
from the crowd for their
distinctive and colourful styling,
but also provide professional-
level sound quality and
dependable performance”.
Full details of the MXL range,
are available at the MXL website
or direct from the company.
MUSICTRACK: 01767 313447
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Chromefrets: for
making guitars
play smoothly
MICHAEL LAIACONA
10 mipro114_FINAL 23/10/09 16:18 Page 1
Year Established: 1989
Number of employees: Over 50
Is business up or down compared to
last year?
Despite the economic slow-down, business
is still up on last year.
How has the current economic climate
affected business?
We didn’t grow at the rate we would have
liked to compared with other years, but we
still took on more staff and had record
turnover for the year.
What are your bestselling lines and why
do you think they perform so well?
All our brands are doing well.
What are your criteria for selecting
new products?
As both a manufacturers and distributor, we
are careful to stick with a few brands that
complement each other well.
What distinguishes you from the
competition?
We spend a lot of money designing and
making good products and choose carefully,
so we only distribute fantastic brands.
How do you maintain a good relationship
with retailers?
Our sales team has worked the UK for
many years and has built up a good rapport
with retailers. Retailers are basically our
lifeblood and it’s vitally important to show
them some appreciation and develop good
relationships with them.
What would you say is the biggest
challenge facing the industry today?
Maintaining the highest quality while all the
time taking into consideration the pressure
to meet price points.
What are your aims for the next 12
months?
To continue bringing great products to market
at the right price.
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PROFILE • DISTRIBUTION
Address: Windsor House, Turnpike Road, High Wycombe, Bucks HP12 3FX
Phone: 01494 462246 Fax: 01494 459920
Email: [email protected]
Contacts: Marketing: Simon Halstead, Sales: Steve Beeston
CONTACT DETAILS
Simon Halstead talks to MI Pro about how Focusrite and
Novation stay at the forefront of the dealers’ minds...
“As a manufacturer and a distributor, we are careful
to stick with brands that complement each other.”
Simon Halstead
The team picking
up an MIA award
last year
11 Mipro114_FINAL 23/10/09 17:09 Page 1
full page 14/10/09 14:13 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 13
CHRIS BARNES (pictured) has
been appointed editor of Rhythm
magazine, Future’s monthly
drumming magazine publication.
Working on Rhythm since
2004, Barnes joined Future to
become staff writer on the title.
Developing his role on the
magazine, he has worked his way
through the editorial ranks,
becoming features editor in 2006
and was promoted to deputy
editor in 2008.
As editor, Barnes reports
directly to Rhythm’s associate
publisher, Rob Last, and is briefed
to continue building on Rhythm’s
successful redesign, working
closely with the industry to
attract new drummers.
Barnes will hope to sharpen
Rhythm’s editorial focus on core
drumming topics, while ensuring
Rhythm strengthens its links
with Future’s online network
for musicians,
MusicRadar.com.
Barnes, who replaces Phil
Ascott, announced his
appointment in a letter to the
trade: “I’m honoured to be
taking the helm of a magazine I
have worked on for more than
five years and I’m looking
forward to developing Rhythm’s
reputation as a first class
magazine for drummers,” he
commented.
“Thank you for your
continued support of
Rhythm and I look
forward to working
with you all in the
near future.”
FUTURE:
01225 442244
Chris Barnes appointed Rhythm editor
THE AVEDIS Zildjian company
has announced that a new two-
year warranty is now in effect,
covering every Zildjian cymbal
purchased as of now.
Zildjian CEO Craigie Zildjian
commented: “We are moving from
our old warranty of one year to
the new two-year policy because,
quite simply, the consistency and
quality of our cymbals continues
to improve due to our recent
capital investment program in
the factory.”
The change will be
implemented through Zildjian
dealers and distributors
worldwide, effective immediately.
In a separate announcement,
Yamaha Music UK is launching
added value incentives for Zildjian
products to ‘increase consumer
exploration’ and offer savings
across the cymbal and drumstick
range until the end of 2009.
As part of the deal, a ten-inch
ZHT China splash worth £79 can
be claimed free of charge for
purchases of six pairs of Zildjian
sticks through to December 31st.
“This is not only an exceptional
offer,” the announcement
explained, “but also a great way
to explore Zildjian’s range of
products and add to your
collection of equipment.”
After purchasing six pairs of
Zildjian drumsticks, end users
should fill out the application
form in-store and send copies of
proof of purchase into Yamaha
Music UK, which will post the
free cymbal directly.
Zildjian also has an offer on
some limited edition drumstick
packs – the purchase of three
pairs of sticks includes a fourth
pair free of charge. It’s available
on six styles, including the new
Travis Barker Black signature stick.
Yamaha is running a
promotion on the Avedis,
Armand, A Custom, ZHT, ZXT and
ZBT cymbal sets. Available in
stores now, these special
promotional box sets include an
additional free crash cymbal up
to 18 inches.
All of the above added value
offers run while stocks last.
YAMAHA: 01908 366700
New warranty, plus introduction of new special offers from Yamaha Music UK while stocks last
DRUM CITY, the recently
launched drum specialist
retailer in Romford, Essex has
announced that DW Drums
will now be available in store
from November 7th.
To celebrate this, the shop
will be holding a DW Drums
and PDP Drums launch day
with a selection of high
profile special guests.
These include: Mark
Heaney (Gang Of Four),
Adam Bushell
(Faithless/Sheryl Crow) and
David ‘Scully’ Sullivan of
Razorlight.
The store has also
promised that there will be
some special launch-day
offers for customers
attending.
DRUM CITY: 01708 747700
Two years of cover with Zildjian
DRUM NEWS
THE US drum head
manufacturer Aquarian has
announced all-black versions
of some its drum heads.
The Z-100 black coating is
available on Response-2 heads,
Hi-Velocity snare heads and
Superkick III bassdrum heads –
with no increase in price over
the traditional equivalents.
The UK distributor, The
Music Shipping Company
(MSC), explained that the new
black coating offers the same
durability, resonance and
projection as the standard,
white Z-100 Aquarian coating.
MSC pointed out that these
twin-ply heads are used on
snares and toms, generally for
heavier playing styles, and
deliver great attack and a
full sound.
Finally, Aquarian’s Superkick
III black heads, featuring a
patented muffling system,
are reportedly easily
miked, with no extra
external or internal
muffling necessary.
Aquarian black heads
are available immediately
throughout the UK.
MSC: 01562 827666
Aquarian offers cosmetic option for heads
Black is back
Drum City
becomes DW
main dealer
Barnes replaces Phil Ascott at the helm of Future’s
monthly drumming magazine
Retailer celebrates
its new offering
THIS PAGE IS SPONSORED BY MIKEDOLBEAR.COM, THE LEADING ONLINE RESOURCE FOR EVERYTHING DRUMS.
VISIT WWW.MIKEDOLBEAR.COM FOR MORE DETAILS.
Grab handfuls of drumsticks
with the Zildjian offers
CEO Craigie Zildjian
13 Mipro114_FINAL 22/10/09 17:35 Page 1
The 2009 MIA Music Awards was once again a gala bash for all the great and the good in
the industry. MI Pro was there to pick out the victors and join in the celebration…
October 7th saw hundreds of
guests gather in the Park Lane
Sheraton Ballroom to witness the
2009 MIA Awards and some 28 prizes
handed out.
Of note, as ever, were the retailer
awards (see pages 62-63 in the retail
section for more information) and the
suppliers, where Barnes & Mullins picked
up the gong for best supplier (medium)
and Roland for the best supplier (large).
It was also a very good day for the
Kemble family, with Brian Kemble picking
up a special award for his contribution to
the piano industry and his brother,
Andrew Kemble, receiving a lifetime
achievement award.
Andrew Kemble also presented another
lifetime achievement award to his father,
Robert’s partner in establishing Yamaha in
the UK, Denny Jacobs. Acknowledging the
lateness of the award (Jacobs retired from
the business in the 1980s), Andrew
Kemble pointed out that it was no less
deserved for that – just a little overdue.
There was a new prize for contribution
to education, which went to one of the
evening’s special guests, Howard Goodall –
and was presented by another, the radio
DJ Simon Bates.
14 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
Thanking mum
BEST BRASSWIND PRODUCT
Yamaha YAS275e sax
BEST WOODWIND
Jupiter 511ESSC flute (Korg)
CONTRIBUTION TO THE
PIANO INDUSTY
Brian Kemble MBE
BEST CLASSICAL PUBLICATION
ABRSM songbook (Ross Campbell,
Robert Forbes, Lilija Zobens)
OUTSTANDING CONTRIBUTION
TO MUSIC EDUCATION
Howard Goodall
LIFETIME CONTRIBUTION TO
MUSIC
Andrew Kemble
INNOVATION IN PRINTED MUSIC
PUBLISHING
Notecrackers (Music Sales)
BEST EDUCATION PUBLICATION
Stringpops series by Peter Wilson
(Faber)
RETAILERS AWARD FOR
DISTINCTION IN PRINTED MUSIC
PUBLISHING
Johnny Brading (Music Sales)
BEST EXPORT INNOVATION
World Rhythm Percussion
ROB WILLIAMS BUSINESS
ENTERPRISE AWARD
Nevada Music
INDUSTRY ACHIEVEMENT AWARD
Denny Jacobs
BEST NEW PRODUCT
Korg Nano series
BEST COMPUTER MUSIC PRODUCT
Akai APC40
HOME STUDIO PRODUCT OF
THE YEAR
M-Audio Axiom keyboard
BEST ACOUSTIC GUITAR
Martin 1 series (Westside)
BEST ELECTRIC GUITAR UNDER
£600
Fender Squire Classic Vibe
Stratocaster 60s
BEST ELECTRIC GUITAR OVER £600
Fender Road Worn series
BEST PERCUSSION PRODUCT
Tama Starclassic Performer
bubinga/birch kit (Headstock)
Bates singing Goodall’s praises
It was a good day for the Kembles, with Brian
Kemble picking up a special award for contribution
to the piano industry and his brother, Andrew
Kemble, receiving a lifetime achievement award.
EVENT REVIEW • MIA AWARDS
THE WINNERS IN FULL BEST AMPLIFIER
Marshall JVM410
BEST METAL GUITAR
Ibanez S320 (Headstock)
PRINTED MUSIC PUBLISHER OF
THE YEAR
Faber Music
BEST SUPPLIER (MEDIUM)
Barnes & Mullins
BEST SUPPLIER (LARGE)
Roland
PRINTED MUSIC RETAILER
Lynne Ackerman (Ackerman Music)
TAKE IT AWAY RETAILER OF
THE YEAR
Symphony Music and Technology
Centre
BEST POP PUBLICATION
Music Sales
BEST SPECIALIST RETAILER
Guitar Village
BEST RETAILER (INDEPENDENT)
Red Dog Music
BEST RETAILER (MULTIPLE)
PMTRoland’s Simon Griffiths and John Booth
The B&M team with co-MDs Bruce
Perrin (far left) and Brian Cleary
Andrew Kemble (left) picking up
the Lifetime Achievement Award
Brian Kemble MBE
14,15 mip114_FINAL 23/10/09 16:32 Page 1
MIA AWARDS • EVENT REVIEW
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 15
Denny Jacobs (left) and that ‘long
overdue’ award for his contribution
David Atkinson (left) and Ken
Dewar pick up M-Audio’s gongFuture’s Neville Marten and
Westside’s Jonny van der Schoot
The Headstock team ( James
Laney, centre) – very metal
Howard Goodall (left) – an
outstanding contribution
Best amp? There can be only one
winner: Marshall, of course
14,15 mip114_FINAL 23/10/09 16:32 Page 2
0%INTERESTFREE FINANCEON SELECTED YAMAHA PIANOS
Yamaha’s three-pronged attack
Difficult trading conditions call for positive action. That’s why Yamaha is putting millions of pounds into a series of initiatives designed to stimulatethe piano market. In addition to our already popular interest free finance offer, we’re giving away an award-winning stereo with every new Silent
Piano purchased and encouraging trade-ins of both acoustic and digital pianos with the Yamaha Upgrade Bonus scheme.Call your Regional Manager today for more details.
www.yamahapianos.co.uk
full page 26/10/09 11:15 Page 1
The British Piano Fair did not so much
rise from the ashes of the old BMF
as sprang, mushroom like, into the
space left by the uprooted old show in
2007. Back then, the news that the BMF
was to shift to a September date was
greeted by the piano suppliers and dealers
in the country with considerable approval.
The rest of MI was less willing to embrace
the idea and so Colin Holdsworth, eagerly
prompted by Brian Kemble, hastily rented
the Pillar Hall at Olympia, hired out the
space to eight or so suppliers – and the
piano dealers gladly attended.
A year later and with more companies
wanting to take advantage of the
laid-back, quieter environment of a
piano-only show, Holdsworth moved the
show to the Nursery Pavilion at Lords – to
even more murmurs of approval.
Third time lucky – and back at Lords –
this year’s show proved a tad quieter in
terms of visitor numbers, but no less
approval was forthcoming. In fact, when
dealing with such small numbers, the ten
or so dealers that didn’t come this year
barely impacted upon the overall feel of
the show, with the buzz added to instead
by the increase in educators and
technicians visiting.
“I don’t think it was even so much the
bad economic climate that kept people
away this year,” explains Holdsworth. “I
think it was more the unusually good
weather and the fact that the Jubillee Line
was not running that tipped the balance
for a few who were wondering whether to
come or not.
“In the end, the exhibitors were all very
satisfied with those who came, the visitors
were extremely pleased with the quality
of the show and I simply could not be
happier with the result.”
The show saw three new exhibitors this
year – Scalerail, Broughton Pianos and
Roland – three very different companies
to say the least.
Broughton Pianos is a West Midlands
retail operation that also imports a select
range of acoustics. Roland, of course,
brings a ‘digital-only’ flash of colour to the
proceedings and Scalerail adds an entirely
new dimension to the show.
The brainchild of Jeremy Russell of the
Royal College of Music (RCM), Scalerail is
an educational aid that eliminates bad
posture habits from the word go.
Essentially a rail with two sliding wrist
rests, the learner places his or her wrists
on the contraption and is in the ideal
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 17
“The exhibitors were all very satisfied with those
who came and the visitors were extremely
pleased with the quality of the show.”
Colin Holdsworth, British Piano Fair
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The British Piano Fair made it three out of three this year with a successful, albeit moderately quieter show at Lords
Cricket Ground. Andy Barrett gets bowled over by the news that pianos are doing very well, thanks very much…
BRITISH PIANO FAIR • SHOW REVIEW
EVENT: British Piano Fair
DATE: September 20th and 21st
VENUE: Nursery Pavilion, Lords
Cricket Ground
EXHIBITORS: 15
VISITORS: 152 (79 retail outlets
represented)
VERDICT: For the third year
running, the BPF has shown that
the piano market is a different
beast from the rest of MI and
needs its own space. With the
piano sector missing out on
Musikmesse this year, the show
gave the (fewer) retailers that
came along a unique chance to get
face to face with suppliers and
prove that business is still going
pretty well.
Hat trick
17,18 mip114_FINAL 22/10/09 17:43 Page 1
SHOW REVIEW • BRITISH PIANO FAIR
position for playing the entire length of
the keyboard.
The product was first shown at Winter
NAMM this year, following two years of
development. The new company has only
now found the right manufacturer for it
and should be shipping as this issue of
MI Pro hits the streets.
“Obviously, it is crucial to get the
teachers taking notice,” explains Russell.
“Our first task is to get it in front of them.
I think the best route will be to get some
good endorsements in the UK from
teachers at the RCM and other top
schools. The reaction has been very good,
so we’re hopeful.”
Roland dipped its toes into the event’s
shallow waters for the first time and had
just three pianos on show this year –
the new F-110 (launched through the
recent Roland Connect online initiative),
the DP-990 and the LX-10, the latter
aimed to ease acoustic-only retailers into
the digital market.
The LX has user-adjustable hammer,
escapement, resonance and tuning
configurations and looks at a glance like a
traditional upright acoustic.
“We went to talk to dealers we don’t
know – although we met some we know
very well, of course and that was just
fine,” says Roland UK’s keyboard product
manager, Sean Montgomery. “We’ll
definitely do this again. We found some
strong leads, it was of minimal cost and
turned out to be a really effective way to
reach out to piano dealers.
“Some dealers immediately saw that
the pianos could work alongside their
usual stock and not upset their acoustic
business. This is the real bonus of the
show. The cost to see these dealers
individually, with samples and so on, is
clearly impractical or if not, hugely
expensive. We’ll definitely do this again.”
Also doing some pretty good business
with digitals was Intermusic, currently
pretty chuffed with the response to its
Bentley branded models, which
doubled up in the acoustic market, too.
Some of these models were doing well
as ‘unbranded’ sales, on to which dealers
can add their own branding. There were
also the new Hoffman and Petrof models
on display.
“We did incredibly well at the show,”
says Richard Webb. “There weren’t that
many dealers there, but the ones that
showed up placed big orders – particularly
on the Monday. It reminded me of the
early days of Intermusic – big orders
across the brands, so I was very pleased.
“I think a lot of dealers are concerned
that there is no longer a British
manufacturer, so a lot of people came
specifically to look at the new Hoffmans
and Petrofs. It was also good to see a large
number of educators at the event. We
have garnered considerable interest with
some schools and conservatoires in the
Bechstein Model B. I think there will have
been some good business done there as
a result.”
Once again the busiest stand at the
show was that of HJ Fletcher & Newman,
with the technicians checking out all of
the bits and pieces essential to their trade.
Some nice, eye-catching accessories were
also on show.
“Business has been pretty slow recently
and everybody is going through some
tough times, but shows like this are really
good for meeting up with your customers,
getting to know them a bit better, putting
a face to a name and inspiring a bit of a
push on sales,” says the company’s
director, Emma Ford. “It’s really great,
so we were hopeful that we would get a
lot out of the show – and so it has proved
to be.”
It is all change at the Piano Warehouse
this year – well, in terms of its models,
anyway. The company was showing the
new Steinmeyer 127 Pro mk II (replacing
the old 126) and a quite delightful new
Gors & Kallman Bauhaus upright, an art
deco style cabinet – it’s very attractive,
with chrome and striking angles.
Weber has recently been employing the
services of the US piano guru Ralph
Andrew, who went along with some new
models for Yeung Chang, the
manufacturer. The 112 and 114 (taking
over from the 109 and 110) will be
available from January and, the UK
suppliers tell us, hit a new level of quality
for Chinese-made pianos. They use all-
imported components, such as UK felt,
German strings, US sound boards and the
company is taking orders now.
“We saw more dealers than we
expected, although numbers seemed
overall much the same as last year,”
Howard Martyn points out. “Initial orders
at the show were actually down, but the
following week we had a massive,
phenomenal response from those that had
come. The show had a really good vibe,
the retailers seemed very buoyant, the
new models created a good response –
altogether, it was very good. Three hits out
of three as far as we are concerned.”
Much of the show was quiet on the
Yamaha stand on the Sunday as the
company prepared for its big meet
regarding its piano dealerships for Yamaha,
Kemble and Bösendorfer (see report on
pages 20-21). Nevertheless, for a company
that could offer a selection of B-pianos up
to a smart grand, all with silent function,
all available on zero per cent finance, a
new scrappage scheme and a free hi fi
system thrown in for good measure (see
news pages), all on the one stand, there
was a lot of business to be done and some
good magnets to draw the dealers in.
Dr Robin Loat of Forsyths held court at
the show with a passionate discussion
about Schimmel and how he believes the
brand is a genuine alternative to
established concert grands. “A lot of the
established brands are, in relative terms,
quite brash and miss a lot of the most
subtle nuances,” he explained. “The
Schimmels are full of colour and warmth,
but not at the expense of achieving a
cutting brightness as well. A lot depends
on how you play, but again, Schimmel
wins on that front as it puts the control of
the tone in the hands of the player.”
If you want to know where the trends
are in terms of the acoustic market, there
is probably no better place to go than
Barry Caradine. The renowned piano
restorer sees just about any new flavour of
the month before anybody else – and the
word is that black is back. “Most definitely
back – but possibly because it is the
cheapest finish,” he says. “A lot of
manufacturers are looking to go a cheaper
route and black polyester covers (literally)
a multitude of sins.”
Caradines showed off its new retro-fit
pianola system, Live Performance LX,
which is being touted as the world’s first
high definition player system that can be
fitted to any piano. While something of a
luxury – it costs around £5,000 to fit –
Caradine points out that there are good
dealer mark-ups available and comments:
“The system is a lot more accurate than
MIDI. It can tell where the pedal has been
used to within one-tenth of a millimetre.”
From Scalerail, through digital, to the
Live Performance LX – who said the piano
market wasn’t very dynamic?
18 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
Simon Pegg (left) popped by as a surprise visitor, seen here with John Beckingham HOLDSWORTH: “Could not be happier”
17,18 mip114_FINAL 22/10/09 17:43 Page 2
Piano Warehouse 19/10/09 12:43 Page 1
COMPANY PROFILE • YAMAHA
It’s difficult to have any sympathy for
corporates. They pervade our lives daily,
whether on the High Street, in the
office or on the internet, their messages to
us are as relentless as British summer rain
and yet our recourse to them is nothing if
not knotty.
Coupled to that, they have a tendency
to merge and consume – rather like
bacteria in reverse. Fancy a Bacardi and
Coke? Well, if you want to spread the
wealth a bit, you’d better mix that brand
of white rum with a Pepsi, otherwise the
same people are profiting from both
measures. All the while, we are painfully
aware that they exist for one purpose
only: the bottom line. As I said, it’s difficult
to feel good about them.
This is one reason why we are lucky in
the MI business. Corporates that dominate
the business are fairly numerous (certainly
in comparison to the food, drink and
pharmaceutical industries) and tend to be
given a good run for their money by the
plethora of wannabes that sprout like
mushrooms. The personal touch remains
vital to our industry and the corporates
have to maintain some sort of amenable
access to the predominantly independent
nature of their customers – the retailers.
Hats off, then, to the biggest of them
all, Yamaha, which has managed to
simultaneously pull off a pan-European
rationalisation of its business, produce
a degree of certainty as regards pricing
and generally make some decisions that
other companies would have turned into a
political nightmare.
The new ‘European model’ of Yamaha is
taking shape and that was illustrated to its
most detailed degree so far at a dealer
meeting held on the evening of the first
day of the British Piano Fair. The reason
given for the shindig was, of course, the
closure of the Kemble & Co factory at the
end of October and the introduction of
the new Kemble pianos to be made at
Yamaha’s Indonesian factory.
The evening was opened by the
managing director of Yamaha Music UK,
Mike Matsamoto, who spoke of the One
Yamaha scheme, which he announced will
be fully operational by April 2010 (one year
after it was first announced at 2009’s
Musikmesse). It represents the biggest
change in Yamaha’s operations in Europe
since the company first began here in the
1960s and Matsamoto sees his company as
being the first to operate on the Old
Continent under a single corporate
umbrella. It’s pretty clear that he recognises
what is going on in people’s minds, though:
“I’m well aware of the concerns people
have that we might ignore local needs. All
I can say is that this is wrong. We
understand better than anybody the
importance of regional differences.”
Matsamoto concluded by reminding
those present that every company has
to change to survive, but that should
never mean that Yamaha and its dealers
stop growing.
Yamaha’s European president, Masato
Oike, took the podium next to talk more
about the One Yamaha initiative. He
explained that changes in the European
market, from the perspective of end-user
behaviour, lifestyle and way of thinking,
had been ongoing for the past ten years in
particular and it was from this that the ‘new’
European Yamaha structure had grown.
“One Yamaha means we can respond
and make make decisions much faster,”
said Oike. “Second, with the support
of a common policy, we can deepen
our local marketing efforts. Finally, a
unified European business will lead to
operational excellence.”
He also underlined the importance of
regional input for the centralised
organisation. “It would be a mistake to
think we are making some sort of
monotone business,” he explained. “The
German office will not be responsible for
all key decisions – all decisions will include
local input and involvement. Furthermore,
there will be no consolidation of all local
functions in Europe. Yamaha is a
manufacturer, which means we need to
have strong products to sell. We have to
recognise all local markets. We have
changed the business framework, but not
the philosophy of making more music.”
In terms of pianos, the new structure
boils down to one key phrase: multi-brand,
which, much like any dominant business,
gives consumers recognised brands across
the market – in Yamaha’s case, its own
Yamaha brand, the prestigious Bösendorfer,
and Kemble.
And it was what was going to happen
to Kemble that interested most of the
assembled guests, so the introduction of
Brian Kemble to the stage was met with
no little trepidation. There is undoubted
sadness in the UK at the news that a 100-
year-old manufacturer is finally to close its
doors for the last time and this was ably
expressed by the company’s co-managing
director, although not with any saccharin,
Tying together a company the size of Yamaha over a territory as varied as Europe is a task of Herculean proportions. That
said, success has never come from shying away from a challenge. Andy Barrett has a look at Yamaha’s piano business…
One roof
20 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
Yamaha UK’s piano sales manager Charles Bozon (left) and MD Mike Matsamoto (right)
20,21 mip114_FINAL 22/10/09 17:52 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 21
YAMAHA • COMPANY PROFILE
but through cheerful anecdotes and the grateful
recognition that, had it not been for Yamaha, Kemble
& Co would have closed in 1981.
In the end, Kemble explained, it boils down to
economies of scale and he reiterated Oike’s outline
that with Yamaha manufacturing in Japan and
Indonesia (and Bösendorfer in Austria), the company
can compete on large-scale, high-volume
manufacturing, producing the highest quality
instruments like the heavyweight it is.
Brian Kemble related how he had been to
Yamaha’s Indonesian factory, where the new
Kemble pianos will be made: “I was very impressed,
not only with the quality of the pianos, but at how
they listened to everything I said. I can confirm that
the sound is Kemble’s. I found some problems with
the cabinets and with the colours. The walnut satin
was too dull, for example. All of this was taken on
board. I am delighted with the UK mahogany, which is
light and thoroughly unlike the darker, Asian
mahogany finishes.
“As this was an opportunity to improve the piano, I
insisted upon a new hammer and one embellishment
proffered by Yamaha I rejected. I am very pleased with
the pianos – and I am delighted with the sound.
Because of the economies of scale, Yamaha can spend
much longer on the voicing of the pianos than we
could have in the UK for the price – it’s bettered what
we could do here.
“Yamaha understands the importance of sound, as
we know from the Kemble grand, which Yamaha has
always made. It’s essentially a Yamaha, but it has a
different sound. The new Kembles sound slightly
different again – but they sound really good. It is the
unmistakable, mellow Kemble sound. I genuinely
believe Kemble pianos are getting better.”
After Harold Kinsky’s presentation on behalf of
Bösendorfer, taking in the manufacturer’s impressive
200-year history and its status as one the most
prestigious brands in the world, Yamaha Music UK’s
piano sales manager, Charles Bozon, had the unenviable
job of pulling together all the strands and outlining
what all of this means to the UK piano dealer.
In essence, little changes. The currency-driven price
hikes are over and the dealer agreements are in place
– and Kemble dealers will retain their agreements and
margins as before. But what has changed as a result of
the multi-brand policy is the degree of choice
available to the country’s piano sellers.
“The key to all of this is the multi-brand scheme,” he
said. “Yamaha is now covering all sectors and prices in
the piano market. In much the same way as the VW
Audi group took on companies such as Skoda – and
vastly improved it – Yamaha in Europe now has a piano
to cover every quality requirement from the customer.”
He explained that while the Kemble and Yamaha
offerings had been streamlined somewhat, the fact
that all three brands (Yamaha, Kemble and
Bösendorfer) are available from the single source of
Yamaha means the offering to dealers has increased in
real terms. To keep the automotive metaphor going a
little longer, Bozon also announced that Yamaha was
introducing a ‘scrappage’ scheme (which you can read
about in more detail on page eight).
Talking to Bozon afterwards, he stressed the
importance to him and Yamaha that the company
wants to work with and not against the dealer:
“Kemble dealers have an emotional attachment to the
brand,” he said. “With the help of Brian Kemble, who is
a primary source of that emotion, we believe we are
cherishing and maintaining the characteristics of the
brand. I think it’s also important to point out that
Kemble and Yamaha have been competing products
until now, but from here we are all in the same house
– with Bösendorfer there as well. Yamaha can put the
huge marketing clout behind these brands and put
them in the mainstream.”
Some may wonder if, once it has re-established
Kemble as its own brand, Yamaha could then absorb
the range into its general portfolio, or even see it
disappear. Bozon strongly refutes this: “This has to be a
long-term plan. Kemble dealers are listening to us and
they will make their own judgments. Yamaha realises
that loyalty can’t be bought – it has to be earned.”
Bozon also pointed out that the key to the success
of the ‘new’ Kemble pianos lies in the hands of the UK
dealer. “This really is all about the UK dealer as far as
Kemble is concerned and I know the UK dealers will let
us know whether we are doing things right or wrong.”
Which brings us back to the starting point again
and the fact that Yamaha behaves a lot more like a
musical instrument company than a global corporate.
Many of the decisions it makes are typical, hard-
hatted corporate decisions, but they are made with a
frankness (and a degree of planning) that has to be
admired. And it aims to be accessible, unlike many
companies a fraction of its size.
YAMAHA: 01908 366700
Brian Kemble (left), next to Yamaha’s European president, Masato Oike (right)
“The key to all of this is the multi-brand scheme. Yamaha in
Europe now has a piano to cover every requirement.”
Charles Bozon, Yamaha Music UK
20,21 mip114_FINAL 22/10/09 17:52 Page 2
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Graduating to the vast halls of the NEC for its third birthday, the 2009
BPM show was the best yet – by some margin. Rob Hughes grabbed
his cans and headed to Birmingham for a slice of the action…
Up toscratch
BPM • EVENT REVIEW
EVENT: BPM
DATE: October 3rd to 4th
VENUE: NEC, Birmingham
EXHIBITORS: 70-plus firms
representing over 100 brands
VISITORS: 3,897
VERDICT: A packed and vibrant
event. With 50 per cent more
visitors than last year, it has a
promising future ahead.
23,24,25 mip114_FINAL 22/10/09 12:18 Page 1
EVENT REVIEW • BPM
It was, quite literally, all hands on decks
at the National Exhibition Centre early
last month and I’m not just talking
about the mass of dance music
enthusiasts who made their annual
pilgrimage to sample the latest offerings
of DJ jiggery pokery. As I stepped onto the
show floor at this year’s BPM, it was
immediately apparent that everyone
involved had pulled together and got
behind the event with more enthusiasm
than the animated ‘turntablist’ who
greeted visitors at the entrance.
So awestruck was I at the levels of
production that had gone into the show
that I accidentally ignored the poor lady
who was desperately trying to check my
ticket, as I sauntered absent-mindedly
towards the glowing lights and warm
swells of bass that were beckoning me in.
It wasn’t until I felt a sturdy head teacher-
like prod in my arm that she got what she
was after and walked off shaking her head
and muttering.
But the NEC’s surly staff couldn’t
distract me from what was, visually and
sonically, the most impressive show I’ve
walked into in some time. Market-leader
Pioneer was an instant draw, with what
looked like a custom BPM booth and a
huge crowd, which had gathered to watch
a superhuman performance by James
Zabiela, rightly one of the world’s most
high-profile DJs and an ambassador for
the company. His presence alone was
testament to the pace that the show is
gathering, even in its infancy.
On my way to Birmingham I was
excited about getting to grips with the
numerous bits of kit being debuted at the
show, but I wasn’t expecting this much
live entertainment. I thought the sound
levels at the show would be harshly
controlled but, happily this was not the
case and conversations could still easily
be had.
TOPICAL PRESENTATIONS
The educational aspect of the show also
proved very successful, with seminars
covering all aspects of DJing as a career
and panel presentations tackling topics as
wide-ranging as music production,
promoting and club and mobile DJing. All
this came as a pleasant surprise, which I
think was shared by my fellow visitors: the
fact that the show had exceeded
expectations was written on their faces.
And not only were visitors impressed,
they also seemed to be in the mood for
spending cash and that meant the exhibitors
were equally as thrilled with the show.
After stopping by the Pioneer booth I
followed my ears to the next loudest
stand, which turned out to be that of
Adam Hall, which was hosting Pimp My
Ride DJ Richie Don, who played through an
assortment of the firm’s popular PA gear,
of which they had shifted a great deal.
A CRACKING SHOW
Adam Hall’s David Brown commented: “It
was a cracking show for us; the mix of
trade and consumer visitors was fantastic
and even though we had one of the
smaller booths, it was one of the busiest
at the show. Having Richie performing on
the stand no doubt helped – he really
pulled in a crowd and we sold nearly all
the gear, which was great for two reasons:
the business, of course, but also because it
meant that there was very little left to put
in the van once the show was over.
“The portable PA systems got a lot of
attention from retailers who tended to say:
‘why have I not got these in my shop?’ The
show gave us the chance to demonstrate
just how good they sound. It was also a
fine opportunity to show off the new LD
Premium lines, particularly the VA-4 mini
line array, which got a great response.”
A favourite with pro jocks for its Xone
series of mixers, Allen & Heath celebrated
the tenth anniversary of the range at the
BPM show and added yet another model,
the Xone:DX, a new plug 'n' play DJ
controller that was launched on the first
day of the event. The result of close
collaboration between A&H and Serato,
Xone:DX is a 20-channel USB soundcard
and features total integration of the brand
new four-deck Serato Itch software.
“Serato has always been an admirer of
Allen & Heath’s DJ hardware and we’ve
watched the development of the Xone:D
series of controllers with keen interest. In
our opinion, Allen & Heath designs some
of the best music production software
controllers in the professional field,”
explained Serato MD Steve West. “Rather
than a partnership to simply bundle our
products, we wanted to collaborate with
A&H at the drawing board stage, and
design a product that would fully
manipulate the new version of Itch.”
Another highly anticipated controller to
be unveiled at the show was Novation’s
Launchpad – billed as offering the most
interactive experience possible in Ableton
Live. Launchpad communicates
bi-directionally with the software to give
users real-time session feedback. It has
been jointly designed by Novation and
Ableton and is based around an 8x8 grid
24 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
Novation’s Launchpad was a big attraction at the show and pulled in the crowds Distributor 2Twenty2’s stand had lots of gear to show off
DJ Richie Don took to the
decks on Adam Hall’s
stand at this year’s BPM
23,24,25 mip114_FINAL 22/10/09 12:18 Page 2
BPM • EVENT REVIEW
of backlit buttons that address a
multitude of functions, with the help of
mode selectors that transport the user
around the Live interface. Its primary
function, however, is launch and stop clips
in Live’s session view.
INCREDIBLE RECEPTION
Focusrite’s Simon Halstead commented:
“BPM was the first public outing of the
Novation Launchpad which, together with
Ableton, places us firmly in the
consciousness of DJs. We knew this
product was going to generate interest,
but the reception we had prior to and at
the show was absolutely incredible."
On the M-Audio stand, Avid, with its
new DJ gear distributor, New Horizons,
showcased tools based around its Torq
software, which allows computer DJs to
mix, effect and otherwise manipulate
digital music files – and produce their own
sounds – using hardware controllers or
standard decks, either vinyl or CD. The
latest version of the software, Torq 1.5,
was being used to great effect by the DJs
present and among the hardware
highlights was the Torq Xponent
performance/production system, which
combines a full-size controller, designed
specifically for Torq, with an audio
interface and it even comes with the
software for complete hardware/software
integration.
AVSL, owner of the ever-popular DJ
brand Citronic, was also present with a
host of new gear including the slim line
Par64 led par can, LS-Aqua laser, MPSD-2
USB/dual SD card, mp3 player/mixer and
the SMFX-200 two-channel mixer with
USB and DSP.
“The BPM show was a great success for
the AVSL Group,” noted the firm’s
marketing manager, Becky Stanton. “We
showcased a wide variety of products
from our Citronic, QTX Light and QTX
Sound ranges, covering many aspects of
the sound, light and DJ industry. Our main
objectives were to sell our products to the
trade sector and create brand awareness
within the public sector. I feel we
succeeded in both aspects of this and
hope to see this positive response
continue over the following months. The
choice of venue, the NEC, was definitely a
positive move; our stand had a constant
and heavy footfall throughout the
weekend. The DJ and lighting areas in
particular seemed to be a hit with the
crowds and featured many of our new and
bestselling lines.”
The word from the organisers following
the show has been overwhelmingly
positive – not surprising, since their figures
demonstrate that the show was a
resounding success in terms of numbers,
with a record number of visitors. Footfall
was 50 per cent higher than last year, with
a total of 3,897 delegates from all corners
of the UK attending the event over the
weekend. Some made the trip from
mainland Europe and even further afield.
Visitors from the US and Nigeria were
recorded, too.
“BPM 2009 was a resounding success,
with each of the different aspects of the
event running smoothly throughout the
weekend,” said BPM marketing director
Eddie Short. “Making the move to the NEC
was a big step for us, but it was definitely
the right decision – we've received lots of
positive feedback from visitors, panelists
and speakers. We're already planning to
return to the NEC for next year's event,
which is set to be even bigger and better.”
In fact, Short and sales director Mark
Walsh have deemed the show to have
been such a triumph, that they have
planned to add an extra day to next year's
event. BPM 2010 has already been booked
in the diary, and will take place from
Saturday October 2nd to Monday October
4th, extending beyond the weekend for the
first time. In order to plan for this event,
the organisers are carrying out a visitor's
survey, which they hope as many people as
possible will complete. The survey can be
accessed on the show website.
“Electronic music seems to be enjoying a
revival,” added an exhausted but enthused
Mark Walsh. “The guitar is dead, and DJs are
the new kings of the music world.”
“BPM 2009 was a resounding success, with each
of the different aspects of the event running
smoothly throughout the weekend. Moving to
the NEC was a big step, but the right decision.”
Eddie Short, BPM
Trantec was racked and ready for custom Kam lights lit up the NEC, shining on the crowds of DJs and audio professionals that were visiting
23,24,25 mip114_FINAL 22/10/09 12:18 Page 3
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When I suggested to Dennis
Drumm, JHS’ MD, that it would
be worthwhile to take a peek at
the SpongeBob SquarePants phenomenon,
his response was unequivocal: “A peek? I
would think it’s worth a massive article.”
What followed was three pages of some
of the most enthusiastic pitching I have
ever seen. I was intrigued.
Speaking to those involved in
Nickelodeon’s licensing department
(which holds the copyright for
SpongeBob), I quickly realised that their
enthusiasm for being involved in the
musical instrument market equalled that
of Drumm’s for being involved with the
cartoon character. Something of a
marriage made in heaven, then.
“We are really proud of this range – it is
a perfect balance between the product
and the image and as these are real
musical instruments and not toys, it
makes for a stand-out range,” explains
Clare Piggott, Nickelodeon’s VP of
consumer products. “Both sides recognised
immediately that this could work and the
combination of desire and the real
enthusiasm that we both brought to the
project meant that things were able to
happen very quickly.
“We developed the relationship, starting
in mid-07 when the deal was first
negotiated, and then the first products
were out in November 07 – that is a
cracking pace. JHS has grabbed hold of
this and taken it forward really well.
“The fact that this has culminated in
the Product Innovation Award at the
Licensing Awards is a nice pat on all of our
backs and shows what can happen when
the product and the brand work well
together, as well as the teams that
represent them.”
Indeed – and this indicates considerable
desire to make the licence work. It turns
out that it was JHS that made the first
move in this particular case, but what is
important here is that once the
relationship and the branding had been
established, the scheme took off under an
energy all of its own. This very much falls
in the lap of The Sponge himself, it would
appear. “SpongeBob is interesting as a
character as he works in areas where such
brands haven’t worked before,” says
Piggott. “He manages to be both eclectic
and mainstream. He’s fairly unique… I
know, that is a terrible way to say that –
how can anything be ‘fairly unique’?
But in the case of SpongeBob, he’s a
cartoon character that is able to stretch
the boundaries of expected audiences. He
is so optimistic and accepting. He’s just
very likeable.”
Drumm concurs with this: “The
demographic involved is important – and
of course SpongeBob SquarePants is
gender neutral, in the way that, say,
Hannah Montana and Daisy Rock are not.
Make a product aimed at girls, and you
cut your market in half.
“Talk to girls who want to play a
musical instrument, especially
guitar, and you’ll discover
that they want to
‘rock’ and you’ll find
that a lot of them
do not want to be
pigeon-holed with
‘girly’ products; they
want to play
something they see
people playing on stages and
on TV. SpongeBob’s appeal
transcends this whole issue,
because it’s just such fun,
with a truly ubiquitous
appeal. Yes, the seven to ten-
year-olds love it – and these are
the kids who will carry on to play
JHS has been making a fair bit of noise about its SpongeBob
SquarePants branded range of musical instruments for a couple of
years now, but when the company won an innovation award for
the line, Andy Barrett felt a peek below the waves was due…
SPONGEBOB SQUAREPANTS • BRAND SPOTLIGHT
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 27
The year of the
Sponge
27,28,29 mip114_FINAL 22/10/09 12:09 Page 1
BRAND SPOTLIGHT • SPONGBOB SQUAREPANTS
seriously in the future – but also he
appeals to 30-year-olds and way beyond
to the parents and grandparents who are
buying for kids and also love the
character.”
I had had experience of this, in fact,
when Intent Media’s chief designer caught
sight of the SpongeBob drum kit in an
issue of MI Pro. To say he was excited at
the prospect of getting his hands on one is
something of an understatement.
“That is exactly the reaction we are
getting the world over,” says Drumm. “Yes,
pester power is very important. Kids see
SpongeBob on the instruments and want
one – all the products are priced
competitively enough to be an impulse
buy in their various sectors – and don’t
ever forget, every one sold is still another
instrument in a child’s hands – but parents
love them, too, and will see a serious
instrument with appeal for their children
when they look at a SpongeBob guitar or
drum kit.
“The response from the education
sector bears this out, where we know that
teachers are seeing kids coming to learn
the guitar with a SpongeBob instrument,
which was bought because it had
SpongeBob on it”
Are you tempted yet? Find a good
brand, get it plastered on your gear
and away you go. Well, perhaps you
ought to hold on a bit before you dive
for the Cbeebies channel and google
the respective licence holders. The
Sponge would appear to be more
standout than his simple appeal across
the genders and the generations.
“This is the tenth year now of
SpongeBob SquarePants in the States,
and in the UK and Europe we are a few
months behind, but SpongeBob has
really gone from strength to strength,”
says Piggott. “One third of the UK
population watched him on TV last year
and his popularity is still growing. We
have had Johnny Depp putting his voice
to one of the characters and there are a
lot more well-known voices coming to
the show soon – these are seen as good
opportunities for the celebrities, too.”
It might seem to many as if we are
looking at something approaching the
iconic status of The Simpsons or even
Tom and Jerry. “Well, it’s very early days to
be talking about icons, but then again,
who would have thought a sponge living
under the sea in a pineapple would ever
have been so popular?” Piggott points out.
“That said, who would have thought a
mouse beating up a cat would last half a
century or more?
“In the end, though, licensing is not a
science. Our job is to capitalise on that
which is popular. The fact that SpongeBob
has the magic dust – and it is syndicated
in over 45 markets now – just makes our
job that bit easier.”
Not a science? Some might disagree.
First you need the brand, then you need to
seek (or be sought for) an application for
that brand, then there is the artwork,
which can come either from the licensor
or licensee – and in between all of that,
there is the negotiation for the licence
itself. This can result in a single fee or in a
royalty based on unit sales (or both),
before the fun of actually marketing a
range of products to a public keen on
parting with its money.
“The costing is a very analytical
process,” Piggot explains. “We look at the
range and try to work out the potential of
the products in the market they are in and
then we make conservative, but realistic
sales projections and the licence fee
depends on the results of that – I suppose
this is the one bit of science we utilise, to
contradict what I said before. The
payments that result depend on the
conclusions we come to regarding the
sales projections. There is always a
minimum guarantee payment, much like a
deposit, but after that we tend to earn as
the product sells.”
On top of that, while one can hopefully
cash in on a licensing deal, there are other
markets and industries all looking to use
the same branding. It is something of a
tightrope for anyone, but particularly for a
licence holder such as Nickelodeon. “In
terms of the development of a brand, we
have to bear in mind that you mustn’t
over-proliferate,” says Piggott. “We want a
good life-cycle from our brands and
SpongeBob Squarepants, like anything else,
needs very specific branding and we have
to have compelling product. Nickelodeon
never looks to double licence – and that is
not true of all licensing companies. I’m
not saying that in a negative way. Some
companies look to carve up categories
among a number of competing licensees,
28 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
“Licensing is not a science. Our job is to capitalise
on what is popular. The fact that SpongeBob has
the magic dust – and it is syndicated over 45
markets now – just makes our job that bit easier.”
Clare Piggott, Nickelodeon
27,28,29 mip114_FINAL 22/10/09 12:09 Page 2
SPONGEBOB SQUAREPANTS • BRAND SPOTLIGHT
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 29
but we prefer to have long-term
relationships.”
But would Nickelodeon consider
making musical toys with another
company, which could conflict with JHS’s
real instruments? After all, we in the MI
trade take our instruments seriously and
tend to look upon toys as a no-go area.
“We might, but the John Hornby Skewes
range is very aspirational, sitting firmly in
the real musical instruments category and
at a price point commensurate with its
status. It is a standalone range that we
would not replicate for the toy arena.
While we would consider licensing our
properties to create alternative ranges of
musical toys that would be aimed at a toy
price point, instruments such as guitars
would not be a part of this offering.”
For JHS, however, the message is very
much ‘full steam ahead’. “Our leap of faith
in creating the real musical instruments
category and acquiring the rights to
licence SpongeBob SquarePants is turning
into a massive success for JHS,
domestically and in a growing number of
export markets,” says Drumm. (The
SpongeBob real musical instruments range
is now on sale in Austria, Australia,
Benelux, Canada, France, Germany, New
Zealand and Switzerland, with some very
serious, late-stage negotiations going on
at the moment – due to come to fruition
in early 2010.)
“This is quite possibly the most fun
we've ever had with a range and the
combined power of JHS, a truly terrific
licensed character and the worldwide
reach of Nickelodeon, MTVN and
SpongeBob is almost irresistible.”
So, where to next for the Garforth
Sponge? (That’s Bob, not Dennis, in case
you were wondering, although the two are
becoming almost inextricably linked.)
“This is the third season for SpongeBob
with us and looking at the way the ranges
have taken off, the speed with which
people have taken to it, this is an
exceptionally successful line with a terrific
future. Of course, we wouldn’t go into
these negotiations without an idea of what
might be demanded of us, and we have
always had a plan in place to maximise the
return, globally, from our licence. The good
thing is that distributors and dealers know
this isn’t a ‘here today-gone tomorrow
product’ and dealers recognise they can
make good money here.”
Drumm also points out that, perhaps
obviously, the branding is working well in
the education markets. “The branding is
really becoming big with education – it is
starting to drive the market. We are
rolling out new educational percussion
products in November, so that’s going to
continue, too.
“But for now we are very much in a
period of consolidation. After the
expansion the range has gone through
over the first two years – culminating in
those percussion products – any growth
from here will be improving sales abroad.”
For the hardened, axe-wielding, gigging
musician/retailer, however, Drumm must
surely have received no end of derisive
snorts of disapproval and disdain. “You
would think so, wouldn’t you?” he says.
“Oddly that is not the case – we have had
virtually no negative reactions at all. In
fact, I could go so far as to say this is the
most universally accepted product we
have ever had. The price points are key –
as are the product specs – the reaction
has been heartwarming. I’ve been in this
business for 35 years, and I have never
experienced acceptance like this and
honestly, I just cannot think of a single
reason any reseller would not want to
enjoy and benefit from selling SpongeBob
kit, unless maybe they’re just congenitally
miserable, but I don’t know anyone like
that in this industry.”
But who, then, is earning the money?
The bottom line still remains the most
important thing. JHS has always made
much of the fact that its customers, the
MI retailers, are making money from them.
Is it making money from Nickelodeon?
“It really is a win/win for us and the
licensees,” concludes Piggott. “We’re a
royalty-led business and so for us it is
great to see a product line growing as we
earn more from that, but we are only
earning more if the product is earning
more, which means the licensee is, too.
We are very careful about how we price
things to ensure there is a good balance.”
For Dennis Drumm, the phrase ‘win/win’
is not far away, either. “Everything is
overseen by the same designers and made
by the same factories that are responsible
for all of our other highly successful guitar
brands and we put a lot of focus on the
‘real musical instruments’ tag because
that’s what they are – and I am
determined to get a great response from
dealers, teachers, experienced players, the
press and the first-time players who make
up our audience,” he enthuses.
“We have deliberately avoided
compromising on quality, which I believe
is the mistake made with other licensed
character musical instruments, some of
which have already come and gone. Show
me another product that makes everyone
smile in the way this does. How much fun
can you have and stay sane?”
JHS: 0113 286 5381
JHS’ Alan Smith (centre) picking up the Innovation Award for its SpongeBob licence Nickelodeon’s Clare Piggott Dennis Drumm – now a SpongeBob fan
27,28,29 mip114_FINAL 22/10/09 12:09 Page 3
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full page 11/9/09 10:55 Page 1
There is no league table showing
which is Britain’s biggest MI
distributor and even if such an idea
were ever mooted, it would be hard to
devise. Do the giant Japanese companies
which also distribute other manufacturers’
products count? Would you include firms
with a pro audio element? But however
you call it, there’s no escaping the fact
that Sound Technology, having taken over
Harman’s UK distribution in May 2008,
leapfrogged over many competitors during
that year to become one of the biggest in
the industry.
And why that matters particularly now
is because Sound Technology is a perfect
barometer of how the industry is doing.
Sound Tech may not offer traditional
strings, drums, brass or woodwind – but
just about everything else is there in the
range. Which was why the first question
we asked managing director Dave
Marshall was how he sees the current
state of the industry.
“I’d be lying if I said it had been a
breeze this summer, but at the moment
we’re seeing some signs of recovery –
particularly on the pro side – though the
MI side is still pretty flat,” he says with a
refreshing candour.
That upturn in the sales of pro
equipment must come as a relief to
Marshall and the Sound Tech team,
because almost as soon as the company
absorbed the huge Harman catalogue of
professional audio products, budgets for
major projects began to be cut. Had that
been an issue for them?
“It had, but certainly from PLASA this
year, we’ve seen an upturn in the number
of projects being specified in the public
and private sector and that gives us some
cause for optimism.”
At the time of the Harman take-over,
industry Cassandras had opined that the
company had bitten off more than it
could possibly chew in attempting to
assimilate such a diverse operation. But
the Cassandras have been proved wrong as
the Harman portfolio seems to have settled
smoothly into the Sound Tech family, to
the extent that if you weren’t paying
attention, you might not even realise it had
happened. And, given the size of the task at
hand, that’s perhaps the biggest
compliment you could pay Sound Tech’s
chairman Robert Wilson and his team.
But has it actually been as painless as it
has seemed from the outside? And has
the process of assimilating Harman now
been completed?
“Yes, most definitely. Once we had
made the physical move from Potters Bar
to Letchworth, that was when it really
started to fall into place – and that
happened last August. Everyone has now
gone native to Sound Technology and it is
one company – one team, with many
sectors and many vertical markets, but it’s
one company.”
Gary Cooper chats to Sound Technology’s managing director, Dave Marshall, about the state of the industry and the
company’s place within it after taking over Harman UK’s distribution last year...
SOUND TECHNOLOGY • COVER FEATURE
“We’ve seen in an upturn in the number of projects
being specified in the public and private sector and
that gives us some cause for optimism.”
Dave Marshall, Sound Technology
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 31
A Sound offering
31,32,34 mip114_FINAL 22/10/09 17:47 Page 1
COVER FEATURE • SOUND TECHNOLOGY
Had the problems at the top-end of the
pro market been as bad as rumour had it?
“That market – the engineered sound
market we call it, was always private
sector-led, historically, for Harman Pro,
with football stadiums, shopping centres,
that sort of thing, and there has been a
lull in there. There wasn’t much, apart
from some projects we inherited, until
Burnley got promoted from the
Championship to the Premier League in
May and that created our first big project,
which was to give it a new sound system.
It was handled by a company called AMS,
which was the audio consultant. It was a
Crown, BSS and JBL install and was
undertaken in conjunction with AMS and
ETA Sound.”
If this seems a bit rarefied for MI, well,
it is – but it is also very important for
Sound Technology, because it represents
such a large potential part of the business
it does with Harman.
STREAMLINED LINES
Another aspect of the Harman take-over
was that it meant Sound Technology’s
portfolio of MI brands underwent a
modest degree of streamlining, prompted
by the need not to clash with Harman’s
own family. For example, as a
consequence of this, Samson moved
across to Korg. But the line-up has
remained very stable since then, the only
recent interest coming in August, when
Rudy Schlacher sold his US music business
to Canada’s Jam Music. Of particular
interest here were US Music brands,
Washburn and Randall. Will it mean
further changes?
“There’s not really much I can tell you,
because the impact on us has been
relatively small. When you’re dealing with
a brand like Washburn or Randall, you’re
buying months ahead, so in terms of what
effects it might have on products or
pricing, it’s too early to tell.”
Which brings one to another of Sound
Technology’s MI brands with an interesting
story – US/Canadian Larrivée guitars.
Sound Technology’s surprise loss of Taylor,
which came about when the Californian
guitar maker negotiated a worldwide
distribution deal with Fender, must have
been a bitter pill for the UK company,
which had done what is universally
regarded as a fine job promoting and
establishing Taylor in this country. When it
snapped up Larrivée as a replacement,
there were those who wondered how
Sound Tech could possibly do it all over
again, but Larrivée has quickly made
inroads into territory which had once been
Taylor’s. But how is that market for
premier acoustic guitars looking now, as
the recession bites?
“We got off to a flying start with
Larrivée and we did very well with it, but I
think there’s no getting away from the
fact that high-end acoustic guitar sales
have seen a bit of a drop and we’re
certainly seeing that in the UK market.
That’s down to market conditions and
we’re in a process of putting together
some ideas and projects to counter it.
“We’ve a very good demonstrator
called Pete Smith who has been out in
stores during the summer, doing Saturday
and evening workshops, so we’ve kept the
name out there. It’s a question now of
building on our core of good Larrivée
dealers and finding more dealers in those
towns and cities where we’re not
already covered.”
But isn’t the acoustic guitar market
currently overcrowded? Marshall believes
there is room for opportunity: “It’s a
market that has recently seen very good
growth and I think people look at it and
say ‘I’ll have a bit of that’. But Larrivée, we
believe, is actually the third biggest high-
end acoustic guitar manufacturer in the
States after Martin and Taylor, so it’s a
major player in that market. But there’s
certainly a lot of work to be done.
“One difference between Larrivée and
Taylor that we’ve noticed is that Larrivée
puts all its efforts into making the guitars
and they are quite often understated –
there’s not a lot of bling on a Larrivée and
it’s not a marketing organisation. Taylor is
fantastic at marketing and it’s always
understood the importance of that – it’s
always created very good marketing. So
our challenge with Larrivée is that we are
having to do the marketing completely
ourselves and that inevitably takes a bit
longer and requires more thought
processes from our end. We’re not afraid
of doing that, but it does take longer.
That is where we’ve found it harder.
There’s no doubt the guitars are extremely
good – more than a match for Taylor and
Martin – it’s the marketing side that we
need to create.”
Leaving guitars aside and moving to
the rich upland pastures of keyboards,
Sound Technology’s offerings here are
particularly distinctive – Nord and
Kurzweil. In a market traditionally
dominated by the big three Japanese
makers, it may have seemed unlikely that
anyone else could have created elbow
room, but Nord, in particular, seems to
have done just that. What can Marshall
tell us about that side of the business?
KEYBOARDS WITH POTENTIAL
“Nord and Kurzweil are very interesting
lines, not in the big league yet, and we see
them as quite different. For example,
Kurzweil has quite a few keyboards that
are more aimed at the home market,
whereas the Nords are very much more
studio/live – particularly live.
“With Nord you get a lot more in terms
of more traditional synthesis power, where
Kurzweils are particularly well known for
their sample libraries – their orchestral
libraries in particular. They’re the keyboard
of choice in a lot of the West End shows
because they can mimic so many different
instruments and do it so well – so they
actually sit together quite nicely and we
don’t find there’s a conflict there.
“Nord has been a revelation for us in
many ways. We’ve been doing it for just
about a year now. The previous distributor
had done a very good job, but with a small
number of dealers and we have extended
that number and have grown the business
considerably as a result.
“Kurzweil has been a slow grower for
us, on the other hand, but year on year it
has grown and this year it will again.”
Which takes us on to that vast stock of
products from the Harman acquisition –
ranging from the veteran Austrian mic
maker AKG, through Soundcraft, JBL,
Crown – too big a group to break down
32 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
“There’s no getting away from the fact that
high-end acoustic guitar sales have seen a bit of a
drop. That’s down to market conditions and
we’re putting ideas together to counter it.”
Dave Marshall, Sound Technology
Nord keyboards have a
lot of synthesis power
31,32,34 mip114_FINAL 22/10/09 17:47 Page 2
Westside 22/10/09 11:48 Page 1
individually. So what are the highlights
from an MI point of view?
“Well with JBL, the Eon range was
basically renewed a year ago – they’re
great sounding, great looking, incredibly
light, powered boxes and they’ve
started to sell through very nicely. With
some of the other JBL PA products in
the MI range, there is some
international price adjusting going on
to get them into the right areas and
we’re starting to see the benefits of
that. With AKG, business is strong but
it is a product line where margins are
tight. That’s something we’re always
aware of – sometimes due to
competitive products, sometimes
under pressure form other European
markets, or from within our own
market. It is a challenge to make sure
the dealers can make a margin there.”
THE BIGGER PICTURE
Looked at as a whole, Sound
Technology is not only big – it has
one of the widest spreads of
products. Marshall says the company
deals with this diversity by not
having every person trying to
specialise in every product. There are
divisions within the business, even
down to the three man marketing
team. So what about at director level
– does he personally find it hard to
manage a business which is spread
across so much territory?
“Yes... but it certainly makes for an
interesting life. It’s great to be able to
talk to an acoustician about a stadium
project one day and the next day go
and see an MI retailer. You hear things
that are very similar and things that
are very different – so it keeps it all
very fresh. If I was looking for a
challenge about 18 months ago, Mr
Wilson certainly gave it to me.
“It’s fascinating and there’s still a
huge amount to learn, whether it’s for
me, or Greg Niven, our sales director, or
Ian Cullen, our marketing director –
we’ve all had a huge amount to learn,
not least about different vertical
markets. All three of us understand that
we don't know everything, but we also
have people within the company we can
call on who will do.”
Having – albeit sketchily – asked
Marshall about some of the numerous
lines Sound Tech offers, we returned to the
ever-present subject of margins. He had
raised the issue when talking about
microphone sales (which has long been a
notorious area in this regard), so does he
see any signs that the long-awaited return
to reality is beginning to set in as the
economy tightens?
“In the early part of the summer I
definitely detected an improvement in
attitude towards margins – we could
actually see them improving, but I think
the last couple of months have been so
tough for so many, that there has been an
element of it returning to the old ways.
It’s understandable, but that is the danger.
One thing I’m absolutely sure of is that
the industry can’t continue down the road
it has been on, with margins continually
being whittled away. I know retailers tend
to point the finger at distributors and say
it’s their fault, and vice versa, but the truth
of the matter is that everybody is
responsible for it in some shape or form.
Our margins are being eroded and the
dealers' margins are being eroded and it
can’t continue indefinitely.”
Asked how he would sum-up Sound
Technology’s offering to retailers, Marshall
says: “I don’t think there’s any one reason
why people should talk to us, but some of
the many reasons are the brands we have
– we’ve got years of experience and years
of high quality with every single line that
we do. There’s the fact that, for mainline
product, there aren’t many suppliers where
you can get a high quality guitar line and
a high quality microphone and a PA and
so on. I also think we’re good to do
business with and we support our
customers through excellent marketing,
support and service. We don’t always get
things right, but when things do go wrong
we work hard to put them right.”
STEERING THE SHIP
It’s not, perhaps, the snappiest sales pitch
you’d hear but it is a reassuring and very
honest one – qualities which come across
whenever you talk with Dave Marshall, a
man who has taken on a tremendous
challenge and who seems to have defied
the sceptics and doom-mongers by
steering Sound Technology to a position
no one could have predicted a few years
ago, as one of the UK’s most important
distributors. And, it must be said, one of
the most consistently interesting.
SOUND TECHNOLOGY: 01462 480000
WWW.MI-PRO.CO.UK
COVER FEATURE • SOUND TECHNOLOGY
“The industry can’t continue down the road it
has been on, with margins continually being
whittled away. Everybody’s responsible.”
Dave Marshall, Sound Technology
31,32,34 mip114_FINAL 22/10/09 17:47 Page 3
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With about as much space to
cover this enormous subject as
can be found in a retailer’s
stockroom in December, it’s important to
keep the flannel to a minimum and get
straight down to business. First, as if you
didn’t know, the quality available in the
most entry level of entry levels continues
to reach ever higher standards, while the
price, by and large, remains static.
The issues that arise from starter packs
– namely, that online has killed the market
and discounting makes it not worthwhile
– become less and less true the more
sophisticated these instruments (and their
amplifiers, where necessary) become.
Despite the price, these packs sell best
when the best people sell them. It’s
important to have someone who can talk
the beginner (and/or their parents)
through the pros and cons, alert them to
what they can expect and advise on the
‘essential’ upgrade a year down the line.
Dealers that turn their collective back on
starter packs could well be doing the same
on new relationships and new customers.
The wise are already stocked up.
FENDER SQUIER
I’m not sure whether Fender’s Squier
brand started the starter pack, but it is the
name in most people’s minds when they
think of them. Squier has pretty much
made its reputation on being a quality,
affordable way to start playing the electric
guitar, so when amps and other odds and
ends get thrown into the bundle, your
punters are on to a winner.
The Affinity pack, for example, contains
a guitar that can (and does) fulfil its role
on stage for years beyond similarly priced
axes, with its agathis body and maple neck
and all the Strat pickup and tone controls
one would expect. Add to that the Fender
G-Dec Junior 15-Watt amp, chromatic
tuner, gigbag, cable, strap and plectrum
and everything the learner needs is there.
The G-Dec amp is also an item that will
remain useful throughout the early part of
any player’s career, making the £269.99
retail price well worth it – although the
street price will reduce this figure
significantly. Other Squier packs are
available at considerably cheaper prices
with smaller amps involved.
Then, of course, there are the bass
packs and again these are a quality
instrument that will keep the learner more
than happy for years.
ARIA
Always a solid choice for any player at any
level, Aria comes in strong in the starter
market with the EGP (yes, that’s ‘electric
guitar pack’). The pack contains a great
lightweight, highly playable guitar that
comes complete with everything you need
to get started – ten-Watt amp, lead,
plectrums, gigbag, strap, instructional DVD
and tuner. These retail at £199 and come
in a choice of four colours.
There is also the Aria acoustic pack for
£119, and a variation on the theme: the
classical pack, which contains a footstool
and music stand.
ASHTON
Ashton has, of course, made its name by
making and selling starter packs – it’s what
the brand is and jolly well it has done out
of it. The Australian designed,
Chinese-made range
contains everything from
guitars and basses, through
drums (electric and acoustic)
brass and woodwind – with
a ukulele starter pack
thrown in for good measure.
Part of the beauty of
the Ashton brand is that
(through The Music Force
in the UK) it is only
supplied to indie stores
and thus does not suffer
from the online and
mega-store discounts
that many others are
subject to. It offers
dealers a branded, well
packaged alternative to
the bigger names and
appears to be still on the up.
With Christmas on the horizon, dealers are filling up their storerooms with anything and
everything that will shift during the festive season. Andy Barrett takes a whirlwind spin
around the kind of boxed quality that is now available with an amp and assorted accessories…
Start as you mean to go on
STARTER PACKS • SECTOR SPOTLIGHT
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 37
Beginners who buy
starter packs will come
back for upgrades in
the years to come
37,38 mip114_FINAL 22/10/09 17:30 Page 1
YAMAHA
While Squier claims the ‘original starter
pack’ label, it was undoubtedly the
Yamaha Pacifica that brought the word
‘quality’ to the phrase ‘entry-level guitar’.
The Pacifica took the double-horn look of
its major competitor and created a more
solid, cleaner sounding instrument, which
set the standard for those that had been
at the game since the beginning.
With a GA-20 amp and all the usual
accessories and DVDs, the Pacifica starter
pack has the 012 version of the Pacifica,
with the punch that comes from a bridge-
position humbucker plus two clear-toned
single-coil pickups, a vibrato bridge and a
quality bridge.
AVSL
The Manchester-based supplier of…
Well, pretty much everything you care
to think of, really. Included in the
company’s extensive warehousing are a
couple of handy starter packs – one bass
and one guitar.
The guitar pack is a complete set,
featuring a classic shaped six-string guitar
with three single coil pickups. The amp has
a six-inch speaker and features all the
necessary controls and a headphone output
to keep your neighbours happy. On top of
this you get a guitar bag, strap, leads,
tuning pipe and a spare set of strings.
The bass pack follows a similar format,
with a dedicated amp, of course and is
everything the starter needs to –
well, start.
P&R HOWARD
P&R Howard’s Boston Electric pack
consists of an S-type guitar with a ten-
Watt amp, electronic tuner, bag, strap,
strings and picks. As you would expect. The
pack is available with a black or sunburst
finished guitar and retails at £119.
The company is also doing a Westfield
three-quarter electric pack this year to
retail at £99. This will come in four
colours (black, sunburst, red and pink, no
less). It ships with a mini-battery amp,
bag, strap and picks.
JHS
You want starter packs? The lads and
lassies in Garforth have pretty much
anything you could wish for. Much could
be made of the Spongebob Squarepants
packs, of course, and these are bound to
be huge sellers this Christmas, but with
three pages of this mag already given over
to The Sponge, we’ll move swiftly on…
Among the Encore Blaster starter packs,
the E6 Blaster option now has even more
value thanks to the inclusion of a graffitti-
styled Facelift re-usable guitar body overlay.
The latest version of the Encore E6
Blaster has been upgraded by Trev
Wilkinson to be as comfortable,
ergonomic and balanced as possible with
a sculpted wuton tonewood body, which
is light, resonant and easy to wear – ideal
for the novice player.
The E6 pack also includes a BB Blaster
ten-Watt combo, GYC guitar lead,
Kinsman guitar stand, Kinsman guitar
carry bag, Qwik Tune tuner, Guitar Tech
guitar strap, spare set of Encore Strings,
plectrum, Encore tutorial DVD for electric,
acoustic and bass guitar and tutor listing.
All this for £185.00.
Encore Blaster packs are available in
E375 (three-quarter), E2, E4, E5, E6 and
E99 electric guitar formats.
IBANEZ
Ibanez (courtesy of Headstock) has a
pleasing spread of starter packs for both
acoustic or electric wannabes. On the
acoustic front there is the V50JRGB (in
natural finish for £89) a three-quarter size
dreadnought that ships with an electronic
tuner, gigbag, strap, picks and accessories
pouch or the full-sized V50JP (in natural
or black and retailing at £119).
On the electric side there is the
GRX70DXJE in black or ‘jewel blue’ for
£225, as the acoustic packs but with, of
course, a ten-Watt combo amp.
Bassists can delight in the GSR190J in
black or ‘trans red at £265.
MEL BAY
Since its emergence on the MI scene as a
standalone business, Mel Bay has dipped
its toes into areas of the market
previously untouched by publishers,
particularly in this important sector. This
year sees the company come up with
three new starter packs, aimed very much
at the infant education market.
My First Recorder takes the classic first
instrument, a soprano recorder in C and
adds a easy-to-read and easy-to-
follow music book (Little Recorder
Method) that makes learning and playing
easily accessible to kids and enables them
to start playing straight away.
Similarly, the My First Harmonica pack
contains a blues harp in C and the Little
Harmonica Method book, again enabling
the aspiring wee blues player to get
blowing straight away. Both of these are
for six-year-olds and above.
Targeting the even younger beginner –
from four years – the My First
Glockenspiel pack contains a colour-coded
glockenspiel and the method book. The
book places even more emphasis on
making playing fun and easy, with the
coloured notes used to ease the toddler
into playing correctly.
SUTHERLAND
Sutherland’s starter packs ship under the
Cruzer label (recently re-named – or
rather re-spelt – to ‘internationalise’ and
standardise the brand). The ST-120 sells
for a recommended £199 while the ST-80
sells for £164 and it is the ST-80 that is
worthy of special mention.
The ST-80 package contains an ST-type
guitar, a ten-Watt amp, carry bag, strap,
plectrums and lead, all contained in a single
rectangular carton, making it as compact
as possible to maximise storage. The box is
functional, with a carry handle, but without
frills, allowing the maximum value to be
spent on the guitar, which Sutherland says
is excellent quality at that price level.
38 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
CONTACTSFENDER ...................................................................................01342 331700
ARIA ........................................................................................01483 238725
MUSIC FORCE (ASHTON) .....................................................01780 781630
YAMAHA ................................................................................01908 366700
AVSL .......................................................................................0845 270 2411
JHS ..........................................................................................0113 286 5381
HEADSTOCK (IBANEZ) .......................................................0121 508 6666
MEL BAY ................................................................................020 8214 1222
SUTHERLAND .....................................................................029 2088 7333
SECTOR SPOTLIGHT • STARTER PACKS
37,38 mip114_FINAL 22/10/09 17:31 Page 2
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0113 2866 411
full page 26/10/09 11:21 Page 1
COMPANY PROFILE • LAG
It’s far from easy, bringing a new brand
to the guitar market. It’s a crowded
place, where the big boys fight it out
with myriad smaller manufacturers to
guarantee a piece of the pie. For Barnes &
Mullins, the decision to introduce Lag – a
French manufacturer with no track record
in the UK – into the market a few years
ago was perhaps a risky decision, but one
that has gone on to pay serious dividends.
“There’s no denying it; introducing a
new guitar brand into a market as
competitive and educated as the UK was
no mean feat,” says B&M’s Alex Mew. “But
we knew that there was something special
in Lag. We jumped at the chance to
establish the brand in the UK back in 2005
and, aside from a few teething problems,
we haven’t looked back since.”
“Michel Chavarria began producing
hand-built electric guitars in his Bedarieux
workshop nearly 30 years ago, offering a
uniquely French aesthetic to a handful of
professional musicians who could afford
his expertise. Having come from this kind
of exclusivity, it’s even more exciting for
us to be able to offer Michel’s vision to a
wider audience via the more affordable
acoustic guitar ranges of the Four Seasons
and Tramontane.”
Representing a step towards affordable
quality that retains the essential French
flair of the higher-end models, the range’s
combination of stylish design and exacting
build quality has led to an excellent
performance at retail.
“A real strength of the whole Lag ethos
is the ability to reinvent what could so
easily be just another bunch of guitars,”
continues Mew. “Great time has been
spent trying various combinations of tone
woods, bracing designs, pickup techniques
and final touches, such as binding and
soundhole decoration.
“When the Four Seasons acoustic
collection was launched it was the first for
many years to offer something so eye-
catching. The Four Seasons have a clear
design direction with each model range
reflecting the temperate implication of
that season, as well as having a unique
soundhole rosette also representing them.
The Spring models are the first step on the
journey with spruce and mahogany; the
Summer range has a warmer looking and
sounding solid spruce top; the Autumn
range uses solid red cedar to impart a
tonal contrast that is more mellow and
reflective; and the Winter models are crisp
and clear with a sparkling tone produced
by very blonde solid sitka spruce. “
“Within each season, there are a
selection of electro models which use
Shadow’s Nanoflex undersadddle pickup
matched to an exclusive Lag/Shadow
preamp – the Studio Lag. This Studio Lag
system is the first of its kind as it basically
offers the five essential sounds you would
ever need. By using professional studio
multi-band eqs – rather than acoustic
modelling – these five tones have been
lovingly created and are a true reflection
of the sounds necessary for natural folk,
blues, studio rhythm, fingerstyle, and jazz.”
Most recently, Lag has also introduced
the new Tramontane range of acoustics.
These models sit alongside the Four
Seasons without causing any conflict,
offering a unique take on a different area
of the market. “The new Tramontane are
just very cool,” says Mew. “Michel has
once again worked his design magic.
Taking the visual cues from the new
Imperator electric models, these acoustics
are stunning. There is a clear concept
running from beginning to end, which I
know will make the job of selling them
that bit easier. It’s all too easy for anyone
to get a guitar of whatever design and
spec, then stick their brand on it. Lag –
much like the car industry – understands
that all models of whatever
budget should all contain the DNA
of the designer. This is essential to a
maintaining a true brand.”
One of the most striking features
is the headstock. Clad in natural
finished Ebony
with a
contoured,
stepped centre
strip, the
Tramontanes are
sure to stand out
among the crowd.
There are three ranges
currently available – the 111,
222 and 333 – all with a selection of
natural and black finishes and retail from
£215 to £550.
“It’s important that products speak for
themselves,” adds Mew, “and I believe that
all Lag products do. I know from
experience that Lag acoustics – both the
existing Four Seasons and the new
Tramontane models – catch the eye when
hanging on the wall of a store, and that’s
half the battle for any guitar. If a product
can attract attention to itself without the
need for neon lights and shouting, then
that’s a great offering for anyone.”
Another big development for Lag is the
impending involvement of the USA
market. “This is great news for every
retailer involved with Lag. From 2010, Lag
acoustic guitars will be distributed in the
USA. With a market as artist-led and
demanding as the USA, it goes without
saying that the benefits will very quickly
become evident to the UK retailer as the
increased global presence builds upon our
ongoing work in Europe.”
BARNES & MULLINS: 01691 652449
Bringing a touch of French style to the market, Barnes &
Mullin’s work with Lag has done wonders to establish the
brand on British soil. Rob Power investigates…
Vive laFrance
Michel Chavarria: uniquely French
40 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
40 mip114_FINAL 23/10/09 16:27 Page 1
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full page 26/10/09 11:22 Page 1
full page 20/8/09 09:43 Page 1
miPRO NOVEMBER 2009 43
The MK Dons’ stadium was the perfect place to show off the new MA range of amps and combos from Marshall, with a
live event that really put the gear through its paces. Andy Barrett reports…
Ample sound
MARSHALL MA • PRODUCT LAUNCH
Having launched more amps this
year than you could shake the
most unwieldy of sticks at, the
summer launch of the impressive Class 5
combo by Marshall on July 28th would
probably have been the icing on the cake
for most companies. Not for Marshall. The
Bletchley manufacturer had a cherry for
on top as well, which came to pass in the
remarkable surroundings of the MK Dons’
stadium – a futuristic edifice that rises up
above the green banks, hypermarkets and
shopping centres of downtown Milton
Keynes like something from a science
fiction movie – on October 2nd.
The event was an unusual one,
essentially a live gig for up-and-comers
Kids in Glass Houses, supported by In Case
of Fire and local MK rockers Primal Device,
in front of a ticket-buying audience (who,
combined, went a long way to reminding
me just how old I actually am), but the
whole event was staged by Marshall and
in support of its own new act: the MA
series of amps and combos.
The thing that makes the MA different
is that Marshall has now gone down the
road of introducing a genuine budget
range, but valve driven from top to toe.
The easy route to take is usually to make
solid state or hybrid amps in the Far East,
but with the MA, Marshall has stuck its
neck out.
Well, cranked up on stage at the MK
Dons’ home, they certainly didn’t sound
like budget amps. They were loud and bold
and very clear. Lots of colour in the crunch
and generally very professional sounding
black boxes.
There are two heads, a 50-Watt and a
100-Watt, and two combos, a two-by-12,
100-Watt and a single 12-inch 50-Watt,
all comfortably snuggling ECC83 preamp
and EL34 power amp valves, dual, clean
and crunch channels, independent eq
sections and each with the same
feature-set.
The combos feature the recently
developed Marshall AX-75 speakers,
custom voiced to match the Marshall
MAs. The AX-75s also feature in the
specially designed M412A (angled) and
M412B four by 12-inch cabs.
The result is an exceptional spread of
tones, from the brightest and cleanest of
tones, right through to the hardest of
overdriven rock and pretty much
everything in between. For the soloist
looking to go a step further, there is also a
boost function for what the company
describes as ‘pounding metal madness and
fret burning solos’.
This variety is made possible by the
MA’s ‘crunch balance control’. This works
by increasing the crunch balance, which
moves the normal overdrive sound closer
to that of the ‘boosted’ tone. Alternatively,
backing off the crunch balance decreases
the amount of gain and volume in your
unboosted overdrive tone only, allowing
the jump from, say, crunch to metal
instantly, via either the front panel or the
(included) two-way footswitch. Used this
way, the crunch balance has the ability to
create a pseudo third channel from the
boost function, further increasing the MA
series’ tonal spectrum and versatility.
And that’s just on the channel controls.
The master section gives the user
presence, resonance and reverb control, as
well as the obligatory FX loop.
For a nice little flourish, the heads are
fitted with semi-transparent baffles and
an illuminated chassis, meaning that these
amps will genuinely shine in performance.
In all, this is a no-nonsense, functional,
while extremely versatile little collection
of amps, but with the 50-Watt head
starting the bidding at £439.99 and
climbing to the £599 100-Watt combo,
these are yet more Marshall amps that
will be on a stage near you very soon – or
rather, on many stages near you.
WWW.MARSHALLAMPS.COM
“Cranked up on stage at the MK Dons’ home, they
certainly didn’t sound like budget amps. They were
loud and bold and very clear. Generally, very
professional sounding black boxes.”
43 mip114_FINAL 22/10/09 12:40 Page 1
HC Music Distribution 22/10/09 11:54 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 45
The acoustic guitar market is big – very big. As an illustration of just how big, we asked suppliers to send info on models
under £500 and promptly extended this article to five pages. Rob Power struggles under the weight…
Crowded house
ACOUSTIC GUITARS • SECTOR SPOTLIGHT
More crowded than the
underground at rush hour,
manufacturers need to have all
their wits about them to make any impact
at all in the acoustic market these days.
From old established names to new up-
and-comers, one man outfits and mass
manufactured Far-Eastern chancers,
getting your acoustic into the hands of
the customer has never been tougher.
Thankfully, MI Pro is at hand to provide
a sane guide through the bun fight that is
the acoustic guitar market. Keeping things
affordable in the run up to Christmas, the
focus here is purely on the sub-£500 price
band. Have no fear, it might well be a
jungle out there for retailers looking for
quality acoustics, but we’ve got a great
big machete to chop out a path and lead
you to unplugged nirvana. Onward!
WESTSIDE
There’s no shortage of products on offer
from Westside in this area, with both
Recording King and Martin having plenty
of guitars available under £500.
Recording King, with the classic Series 1
and Series 2 has a mouthwatering
selection of 1930s style instruments with
many vintage style features including
bevelled pick guards, classic butterbean
tuners, and (unusually for this price point)
forward shifted scalloped bracing for
greater strength and tonal balance. Series
1 features a solid Engelmann spruce top,
laminated mahogany back and sides
dreadnaught with a mahogany neck with
‘damask’ pattern mother of pearl
headstock inlay and abalone snowflake
position markers at £249.
The Series 2 has an Engelmann spruce
top, this time with solid mahogany (£369)
or rosewood (£449) back and sides, one
piece mahogany neck with traditional
style diamond volute, Recording King
crown mother of pearl inlay and abalone
snowflake position markings.
The popular Little Martin series
continues to sell well, thanks to its
compact guitars which sound – well, as
you would expect a Martin to sound. The
LXM model (£369) features HPL spruce
effect top and mahogany effect back and
sides, while for a little more the LX1
(£399) adds a solid spruce top.
BARNES & MULLINS
Barnes & Mullins is making its presence
well and truly felt with a number of
different brands in the acoustic sector.
Brunswick Guitars have been a staple
B&M house brand for nearly 15 years now,
and starts with the spruce topped BD200
dreadnought. Retailing around at £100,
the BD200 is available in natural (left-
handed too), black and sunburst, as well as
a natural and sunburst 12-string variant.
Similarly priced are the folk-sized BF200
(£103) models. Again available in natural,
sunburst and black, these little beauties
are incredibly popular, having great
projection with little bulk.
Lag remains an important brand for
Barnes & Mullins, and the Four Seasons
45,48,51,52,53 mip114_FINAL 23/10/09 17:02 Page 1
Tanglewood DPS 22/10/09 14:21 Page 1
Tanglewood DPS 22/10/09 14:21 Page 2
SECTOR SPOTLIGHT • ACOUSTIC GUITARS
48 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
were the first of Lag’s acoustic ranges,
comprising of Spring, Summer, Autumn
and Winter collections. Each specific
season uses specific woods types and
finish types to bring home the essence of
the time of year. Each season features a
classic dreadnought, with the staple being
the GLA4S100D (£175) Spring
dreadnought. Spruce topped with
mahogany back and sides, it also features
a unique sound hole decoration relevant
to the spring theme. Within each of the
ranges there are also jumbo cutaway, baby
jumbo and nylon offerings.
Lag‘s recently unveiled second
collection, Tramontane, is quite a visual
departure from the Four Seasons. The
entry model is the GLAT111D (£265),
which is a standard dreadnought shape
with a spruce top and mahogany back and
sides. The 111 series is available in either
natural or black finishes. The 222 series,
which feature auditorium or dreadnought
shapes, has solid red cedar tops and
mahogany back and sides and a black
finish. The budget pick of the bunch here
is the GLAT222D (£375).
SUTHERLAND
Sutherland’s Stonebridge brand, hand-
made in the Czech Republic, features a
number of models in the Durango series
which just scrape into this price range at
£499. The DS-40-CM and GS-40-CM are
dreadnought and grand auditorium models
respectively, with solid cedar tops and
mahogany backs and sides. A novel feature
is the dished back which removes the
necessity for back bracing, making the
instruments very loud as well as
economical to make.
This dished back technology is also
used in Crafter’s Age series, another
popular brand in the Sutherland stable.
The AGE400SP/VTG, the latest addition to
the Age series, has a solid spruce top with
maple back and sides and a vintage
sunburst finish. A very attractive looking
and sounding guitar for a recommended
£429. Crafter’s current bestsellers of the
moment are the TC-035 electro cutaway
and the T-035, its full-bodied acoustic
brother. Both feature solid Engelmann
spruce tops with rosewood backs and
sides and represent good value for money
at £429 and £309 respectively.
FREESTLYE
Bringing the retro stylings of the Italian
Eko brand to a market that is always on
the lookout for something with a tangible
link to the past, there are a number of
affordable options in across the range,
including the reissue of the classic Ranger
6, which retails at £179.95 and features
adjustable bridge, eye catching binding
and a laminated spruce top.
The Jumbo TJ7C gives Eko fans a full-
bodied option, with similar laminated
spruce tops and mahogany backs and
sides, which comes in at an extremely
tempting £179.95.
ARIA
First up from Aria is the AP standard, a
solid cedar topped treat with mahogany
back and sides that has a recommended
retail price of £229. Both this and the
AD28 follow Aria’s tradition for simple,
well crafted guitars that let the tone do
the talking. This emminently playable sitka
topped dreadnought comes in at £289.
At the very top of the pile in this price
bracket sits the AD35 at £349, a tonally
sweet and beautifully built acoustic that
would make any unplugged troubadour
feel quite at home.
JHS
Falcon Acoustics make an entrance at the
budget end of the scale from JHS, with the
FG100 series giving beginners a chance to
get their hands on a well made full-size
dreadnought for under £100. Available in
four different finishes with a left-handed
option also available, the range also
includes the folk-bodied F300 and the 36-
inch F200 acoustic at £69.99. A ¾-size,
the FL34PK, completes the Falcon range.
Vintage continues to go from strength
to strength, and there is plenty of variety
to be found across the range, from travel
acoustics to slot-head parlour guitars, as
well as a great many dreadnought
tonewood and finish options. A great
example of Vintage doing what it does
best is the elegant, abalone trimmed
V1800N parlour model, a winner of the
Best Acoustic Guitar Under £500 award in
Guitar & Bass Magazine.
YAMAHA
Yamaha is predictably strong in the sub-
£500 acoustic market, with the likes of
the ever-popular FG range – the
company’s first foray into steel-string
acoustics in 1966 – still going strong. With
models ranging from £185 to £359, the
current FG range offers Yamaha’s own
modified dreadnought body design,
tasteful cosmetics and thoughtful details
that make a difference.
Alongside the more obvious
specifications that include a solid sitka
spruce top and a choice of nato, rosewood
or sycamore back and sides, FGs feature
something Yamaha calls ‘3T construction’.
The ‘T’ in 3T stands for ‘thinner finish’ (less
than 0.25mm thick – the same as some
US boutique makers), ‘thinner neck’
(slimmed at the edges for playability and
comfort) and ‘thinner back and sides’
(2.5mm total thickness down from the
previous FG range’s 2.8mm) – all things
designed to maximise the resonance of
the guitar and get the most open and
natural tone possible.
Yamaha’s flagship L-series guitars also
creep in just under £500 with the 6 series
models carrying an retail price of £489.
More crowded than the underground at rush hour,
manufacturers need to have their wits about them
to make any impact at all on the acoustic guitar
market these days.
45,48,51,52,53 mip114_FINAL 23/10/09 17:03 Page 2
Barnes and mullins 22/10/09 11:31 Page 1
FREESTYLE 15/10/09 14:22 Page 1
ACOUSTIC GUITARS • SECTOR SPOTLIGHT
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 51
Available in a choice of body styles (the
modified dreadnought LL, the folk-size LS
or the mini-jumbo LJ) the 6-series guitars
feature a solid Engelmann spruce top
(chosen for its paler colour and rich,
mature tone), rosewood back and sides
and Yamaha’s usual smattering of subtle
construction features, making them well
worth a look.
PEAVEY
The JD-AG1 Jack Daniel’s guitar by Peavey
(£154) is fast acquiring a cult following
among hard-drinking acoustic players who
fully appreciate the link between whisky
and a bit of old school guitar pickin’.
These exclusively licensed guitars are
designed by luthiers in the US-
based Peavey Custom Shop and
feature the famous Jack Daniel’s
artwork on the headstock.
Each Jack Daniel’s acoustic is
put together with materials
including mahogany back and
sides and a spruce top
finished in a high gloss black.
Slightly pricier options are
available in the form of the Jack
Daniel’s JD-AG2 (£390) and AG3
(£390), combining a vintage
dreadnought-style body with
traditional X-bracing, a cedar top,
mahogany back, neck and sides and
custom Jack Daniel’s-approved artwork.
MUSIC FORCE
Ashton’s D300SEQ fits nicely into this
price bracket at £349 and demonstrates
the brand’s ability to bring a broad range
of instruments to the market. Featuring an
AA-grade solid sitka spruce top and all-
solid sapele back and sides, this guitar has
features beyond its price range, from the
bone saddle all the way to the deluxe
machine heads.
Elsewhere at Music Force, new brand
Mariner is making its presence felt with
the Masthead range.
The updated series builds on the
original designs while keeping
recommended retail prices under £500.
The DX-6N dreadnought and AX-6N
auditorium styled models have a
suggested selling price of just £475, quite
a feat considering their impressive specs:
mahogany bodies are topped with solid
sitka spruce tops, while the one-piece
mahogany neck shaft and headstock
construction is mated to the body with
the unique Mariner Locktail joint that
marries a traditional dovetail joint with
twin wood locking keys for enhanced
strength and sustain.
TANGLEWOOD
Treble chart toppers of the MI Pro retailer
survey for its acoustics, Tanglewood is a
big player in this area of the market
nowadays and its broad selection of
guitars reflects that. From £129 to £299,
the Evolution series offers the most
popular body shapes from super jumbo to
auditorium and dreadnought guitars, with
six left-hand variants also available.
Almost every Evolution model has a solid
Canadian red cedar top, offering a distinct
alternative to the majority of competing
entry level products, which tend to use
spruce. Stand out models include the
TW28CSN at £219, a great looker and a
steady seller.
Further up the price scale is the Premier
series, with prices from £269 to £469,
which features guitars that are almost
exclusively satin finished with solid tops,
backs and sides. There are a plethora of
well appointed models worth taking a look
at in what is quickly becoming a flagship
line for Tanglewood.
EMD
Neligan is fast becoming a key brand for
EMD in the acoustic sector, thanks to its
wide range of body shapes and sizes and a
spread of guitars priced from £165 all the
way up to £465. The NA57J super jumbo
at £240 is a pretty good representation of
the range, a good looking and well
appointed acoustic that has plenty of
class about it.
Elsewhere at EMD, the Art & Lutherie
range has gone from strength to strength,
as you might expect from a company that
45,48,51,52,53 mip114_FINAL 23/10/09 17:03 Page 3
SECTOR SPOTLIGHT • ACOUSTIC GUITARS
has already brought the likes of Seagull
and Simon & Patrick to the market. Hand-
made in the village of La Patrie, Quebec,
these guitars sport the same high quality
materials as their well known cousins,
while remaining aimed at the mid-priced
market, with models such as the AMI
starting from £395.
FRESHMAN
Continuing its impressive inroads into the
acoustic realm, Freshman has introduced a
number of new guitars for the end of
2009 that keep costs low, but build quality
as high as the market has come to expect
from the Scottish brand. The FA1DN,
FA1DTSB, FA1FTSB and FA1FN, coming in
at £199.95, are great examples of
Freshman’s high quality control and
dedication to the best possible tonal
results at affordable prices. Available in
folk and dreadnought sizes, the new
models are sure to further cement the
name of Freshman in the minds of dealers
and players across the country.
ADAM HALL
An acoustic that immediately catches the
eye in the Adam Hall line up is the
VM20CENAT, or if you’re after a snappier
title, the Ventures acoustic, which brings a
slice of the retro appeal of the Ventures
electric guitar line into the unplugged
arena. Featuring the same distinctive
headstock as its electric brothers, a curvy
scratchplate and mahogany back and
sides, at £225 it certainly offers something
different from the rest of the market.
P&R HOWARD
The Sheridan range of acoustics has been
performing well for flourishing Scottish
distributor P&R Howard since its
introduction in 2008. Models such at the
BF 180 make it easy to see why. Easy on
the eye with some nice rosette work
round the soundhole and a nicely
contoured body shape, while its solid
spruce top and rosewood back and sides
give this grand auditorium sized guitar a
nicely rounded tone.
Westfield is another brand that has
maintained a solid performance for the
company in the starter market and the
B200 dreadnought, which combines a slim
neck profile for easy fretting alongside a
range of colour options to suit any style of
player, continues to sell through well.
HC DISTRIBUTION
The Ireland-based distributor has been
doing some sterling work with the Cort
brand and 2009 has seen it go from
strength to strength. The likes of the Earth
200 have done Cort the world of good,
thanks to a canny combination of striking
design, top-notch build quality and
genuinely great sounding guitars.
The L500C is another good example of
Cort’s strong points – a nicely put-
together, concert-sized guitar that has the
look and feel of an instrument with twice
the amount on the price tag.
It’s worth noting that Cort guitars are
made in the same far-eastern factory as a
good number of high-profile brand names
you could easily mention.
GEAR 4 MUSIC
Bringing Alvarez to the masses is the fast
growing online retailer Gear4Music.
Kicking things off with the PD311AV, just
about making it into this price point at
£499, this is clearly a brand worth taking a
closer look at. Solid tops, an eye catching
satin antique violin finish and some nice
inlay and binding work all make for rather
a pretty package with plenty of attention
to detail and all the right boxes ticked.
Other highlights in the Alvarez range
include the AJ417 jumbo, which carries on
the pattern of nicely crafted, pretty
looking instruments with some style and a
reasonable £379 asking price.
52 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
CONTACTSWESTSIDE ...............................................................................0141 2484812
BARNES AND MULLINS ........................................................01691652449
SUTHERLAND .....................................................................029 2088 7333
FREESTYLE .........................................................................(0)1924 455414
ARIA .......................................................................................01483 238720
JHS ...........................................................................................0113 2865381
YAMAHA ................................................................................01908 366700
PEAVEY ....................................................................................01536 461234
MUSIC FORCE ........................................................................01780 781630
TANGLEWOOD ..........................................................................01937 841122
EMD ..........................................................................................01293 862612
FRESHMAN ............................................................................01355 228028
ADAM HALL ............................................................................01702 613922
P&R HOWARD .........................................................................01355 236621
HC DISTRIBUTION .........................................................+353 59 913 4268
GEAR4MUSIC.COM
GREMLIN ...............................................................................01903 203044
SOUND TECHNOLOGY .........................................................01462 480000
FENDER .....................................................................................01342 331711
FCN ..........................................................................................01892 603733
TOON ......................................................................................01242 224985
45,48,51,52,53 mip114_FINAL 23/10/09 17:03 Page 4
ACOUSTICS • SECTOR SPOTLIGHT
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 53
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GREMLIN
Front line folky Gremlin has plenty to shout about, not least
with its Blueridge range, which brings a vintage style flavour
to proceedings. The BG140 for example, coming in at £449,
features a rather attractive slope shoulder design, an old-school
sunburst finish, low profile neck, bone nut and saddle and some
open back tuners for additional vibe. Certainly worth checking
out for something a little bit different in the acoustic section.
SOUND TECHNOLOGY
One need look no further than the infinitely popular – and
with good reason – Washburn D10s to understand why Sound
Technology has been onto a winner with Washburn from day
one. Full of character, this is a guitar that is both instantly
recognisable and utterly its own beast. Distinctive looks plus
tone to die for make a guitar that will doubtlessly continue to
sell by the bucket load for some time to come.
THEY ALSO SERVED...
With such a crowded market, there was never
going to be enough space for everyone, but there
are plenty of other brands worth a look aside from
those mentioned. Fender’s California range of lovely
looking Sonorans have proved popular thanks to
distinctive Strat style headstocks and laid back
vibe. FCN’s work with Walden is going well,
with the Supernatura series in particular
demonstrating just what the fine little maker
is capable of, while Toon Guitars continues
to turn out spotless hand-built in the UK
instruments – check out its nylon strung
parlour acoustic. While no-one can squeeze
everything in, there is certainly something for
everyone – just pick up the phone and order.
Apply for a Trade Account Now!
visit www.gear4music.com
tel:0843 155 0800email:[email protected]
AJ417 Jumbo
Body Acoustic
£379.00RRP
PJ311CDVSCutaway
Jumbo ElectroAcoustic
£599.00RRP
RD4102CSB
Cutaway Electro
Acoustic
£319.00RRP
45,48,51,52,53 mip114_FINAL 23/10/09 17:03 Page 5
The brand, according to marketing
theory, is the key. Corporations spend
billions establishing, maintaining and
fighting to preserve their reputation,
ascribing to them an almost mythical
status. Which is why it was surprising
when the audio-visual giant Avid recently
announced it is going to start drawing its
disparate family of component brands
together as part of what it is calling the
‘One Avid’ programme.
Avid has what what some would
consider to be the crown jewels in its
chosen markets, with products from
Digidesign, M-Audio, Pinnacle Systems and
Sibelius. So why would you want to tinker
with such a championship line-up?
The answer, according to Avid, is for the
sake of integration and it will come as a
relief to retailers to learn that while
everything is being grouped under the
Avid umbrella, none of these major brands
is losing its identity. In fact, according to
Avid’s own FAQ: “One Avid makes Avid
stronger than it was as five separate parts.
By pulling together all its category-
creating technologies under one roof, Avid
is in a unique position to provide its
customers with the integrated,
interoperable, and open audio and video
offerings they are looking for.”
They key word there could turn out to
be ‘interoperable’, because what Avid is
doing is integrating not just the separate
companies it has accumulated through a
series of take-overs, but the products, too.
Readers will no doubt recall the strategy
has been successfully applied before by
Harman, which got its brands’ products
talking and working together as an
integrated system. Avid, it seems, has a
similar idea in mind.
Ken Dewar, Avid retail sales manager,
Northern Region-EMEA, offered to guide
us through the changes and what they will
mean to retailers. So what underpins this
One Avid drive?
“A number of things. Avid was a collection
after the acquisition of several brands and
it took quite a long time for the company
to engage in a complete consolidation.
The raison d’être was to create a new
brand that benefited from the sum of the
strength of five individual brands.”
The immediate thought here is that
Avid runs the risk of harming its own
considerable brand image.
“Well, the risk of dilution is always
there, but you could equally ask,
conversely, can you afford to stand still
and not take advantage of the
opportunities? So it cuts both ways. I
think our new leadership has an ‘onwards
and upwards’ approach and has made
some logical and rational decisions about
how to take things.”
COMPANY PROFILE • AVID
AV firm Avid has brought its brands together under one umbrella: One Avid, in fact. Gary Cooper talks to Ken Dewar
about what this means and discovers all the benefits integration has to offer your every-day multi-national…
54 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
“The raison d’être was to create a new brand
that benefited from the sum of the strength of
five individual brands.”
Ken Dewar, Avid
Avidly integrating
54,55 mip114_FINAL 22/10/09 12:35 Page 1
Of relevance to Dewar, therefore (and
us) is how the set-up works for the
European market and the UK.
“In the new operating structure, Europe
has been divided into four regions, based
around four hub offices. We are based in
Pinewood, in the UK and there are others
in Munich, Paris and Dubai. The Northern
region is the UK and Ireland, Benelux and
the Nordic countries. What we are doing
now is handling more brands, but in a
tighter space,” Dewar explains. “The UK is
unaffected by the changes in many
respects, because we still have our offices
in Pinewood and Pinewood is still the HQ
for the whole of EMEA.”
Another reassuring lack of change,
Dewar reveals, is that Avid’s UK sales team
remains largely unaffected, so retailers will
mostly be dealing with familiar faces.
It’s probably safe to say that shops
already selling Avid brands such as
Digidesign, M-Audio and Sibelius, will
likely feel quite comfortable with the
company and whatever changes it makes.
But how will the changes affect stores
which are not dedicated to this product
area and, indeed, do the changes generate
opportunities for those that are still
prodding at high-tech with a stick and
aren’t sure how they can integrate it?
“I think we’re an interesting
organisation in so much as we differ from
a musical instrument creation company,
because we’re also partly a technology
and IT company, which gives us a certain
bandwidth and an ability to cover
different markets. From a music store
point of view, they would look at a
company like Avid and say ‘yes, its
products are selling’, but does Avid marry
to their business model? Where do they
think they’re going with their business? If
they really see themselves as a traditional
musical instrument retailer, they might
find us an uncomfortable company to deal
with, because we are computer-centric.
But if they have a technology leaning, I
think they might find us very interesting.”
Nonetheless, it isn’t hard to imagine a
shop that could find a space for M-Audio,
or Digidesign, but for which, say, Pinnacle
was a bit of a stretch. So is it going to be
possible for retailers to pick and choose
between the brands?
“We’re in the process right now of
redrawing our contracts, so that’s
changing at the end of this year. We’re
going make sure we have a boilerplate
contract for different product groups and
that would make it a lot easier for a
company to pick the part of our range
that it wanted to deal with. It takes quite
a long time to align all the back end stuff
to the front end stuff, but that’s what
we’re working on now.”
Once a retailer’s decided which parts of
Avid’s portfolio it wants to sell, what about
the integration and interoperability which
the company says is one of its goals?
“That’s where it starts to get really
exciting. If you think about the brands we
have, most of them were developed in
isolation and as that comes together,
there’s definitely a set of goals in terms of
the products we will be bringing to market
– so the headline, on the pro side in
particular, is interoperability, making sure
products are designed to be included in
workflows for professional facilities or for
average musicians. So if I was working in
my bedroom, doing music for the internet,
we’d like to create a set of tools –
hardware and software – that would
enable me to do everything. Scaling that
up to a higher level, if you’re in a post-
production facility you want to work
seamlessly with Pro Tools, mix on an Icon
board and then have that work in a
smooth way with Media Composer.
There’s a roadmap ahead of us in terms
of bringing more emphasis to workflows
and interoperability.”
This brings us nicely on to the question
of how all this can be pitched to MI Pro’s
retailer readers?
“Take advantage of us and our sales
force and the people that are in the
company can come and talk to you and
explore the possibility of a fit. And make
sure you understand what Avid is, because
we’re not a traditional musical instrument
supplier. I do think, however, that we have
an awful lot to offer the music part of the
industry and I think if they come to that
discussion with an open mind and they’re
looking for opportunities to plan their
businesses and grow for the next four or
five years, we’d probably be one of the
companies that would have a unique
offering for them. There aren’t many firms
that can offer the product ranges and the
coverage that we can. It’s all about getting
the fit right – and we will make an effort
to help them.”
Still, there will be plenty of readers
concerned by a steep learning curve on
products that rapidly go out of date.
Above all, the need to learn about new
technologies that can seem quite alien
from what they signed up for as music
retailers. Avid is more than able to help
dealers in that position.
“We have lots and lots of training
opportunities, particularly if you’re looking
at MI or the audio part of the business. On
the higher end, it’s absolutely 100 per cent
of the package – part of the responsibility
of the dealer is to provide trained staff to
handle the product – but at the lower end
it’s up to the dealer to decide if that’s
what their staff needs. On one hand the
products are complicated, but on the
other they are class-compliant USB
devices – no more complicated than
installing a printer. All of our sales guys
play or have been involved in the business
for a long time – most of them have ten
years or more of MI sales experience, so
they can offer a lot. Beyond that, there’s a
package on offer, based on what’s done in
the US, which we are currently planning to
deploy in 2010.”
In its new incarnation, Avid promises to
be a very big fish – and Dewar reveals that
it is already bigger than many imagine –
Avid included. “What’s been interesting to
me has been when we’ve gone to see
some of the biggest companies and we’ve
looked at the sum of Avid business that
they do, as opposed to just the M-Audio
business, or the Digidesign business. For
many of the big high-tech retailers we are
now their number one or number two
supplier and we were quite surprised by
that, because we’d never actually summed
the business up. For that kind of dealer, it
has changed its perspective of Avid and
we hope other people will become more
aware of it, too. It’s really quite a shopping
list for a retailer.”
WWW.AVID.CO.UK
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 55
AVID • COMPANY PROFILE
Now available from GemFor more information contact your Gem account manager for more information or visit www.gem.co.uk
DEWAR: “Take advantage of us and our sales force. Explore the possiblity of a fit”
54,55 mip114_FINAL 22/10/09 12:35 Page 2
In June this year, Ashton Music UK did
one of the trickiest things a thriving
business can do – it changed its name.
Bigger outfits than Ashton have got
tangled-up in the requisite nifty footwork
(anyone remember the Post Office trying
to change its name to Consignia?), so
three months on we thought it was time
to ask MD Jon Gold how the company,
now reincarnated as The Music Force
Distribution, had managed the change and
what the future might hold for the
company’s customers and suppliers.
But first, why change the name at all?
Ashton had rapidly established itself in an
interesting niche in the UK market,
following former Peavey UK boss Ken
Achard’s decision to bring the Australian
company to these shores. Ashton had
grown to become just what Achard had
predicted – a house-brand for independent
stores and, following the purchase of the
business from owners Australis Music, by
Jon Gold and his business partner Roger
Seekings, it seemed to have been going
from strength to strength, gaining some
distinctive new lines.
That, apparently, was the problem, Gold
says: “When Ashton was launched in the
UK, it was obviously a subsidiary of
Australis Music and when my partner Roger
Seekings and I bought the business from
them, in July 2007, the whole business plan
was geared to the company evolving into a
full-blown distributor. We continued to
build the Ashton brand, but then we looked
for other brands to complement that
offering and this began with Sparrow
Guitars, with the other new lines following.
Yet it was clear that, though we were and
are very proud of Ashton, using that as our
name was a deterrent to other brands
coming on board.
“We needed to restructure and find a
name that best complemented and
described what we were about as a
business – but that’s easier said than
done. Anything with the word ‘music’ in
the name is registered these days and
even if you can register the name, you’ll
find the website domain name has gone.”
After taking soundings around the
trade, Gold and Seekings eventually
settled on The Music Force Distribution.
“If we’d let it go on any longer, it would
have been even harder,” Gold says. “But as
it turned out the transition was absolutely
seamless. The timing was perfect, because
we did it to coincide with the London
International Music Show, so we were able
to harness the media and retailers
together and I have to say it went
incredibly well.”
One other aspect of the
metamorphosis, and one not to be
underestimated, is arranging the complex
backroom business that is the hidden stuff
of name changes.
“It’s not just changing your name, as
your readers will appreciate,” Gold
comments. “It’s all the stuff that goes with
it – all the behind the scenes things:
invoicing, VAT, websites, stationery; the list
is endless. I have to say, our team was
immense in helping us get through all
that. But it was amazing. It was absolutely
painless, which was a surprise to me, I
must say.”
However, changing its name wasn’t the
company’s only bombshell this summer.
Just a few weeks later, it announced it had
signed the prestigious German amp maker
Engl to the Music Force roster and then
reinforced that acquisition with the
addition of former Marshall and Laney
amp guru Steve Yelding to the team. In the
right circles, where Engl needs to be seen,
Yelding’s name is highly influential and his
appointment is seen as a particularly
astute move on Gold’s part.
COMPANY PROFILE • THE MUSIC FORCE
A name change can be a risky proposition for any company. Gary Cooper talks to Jon Gold and finds out
how Music Force managed to sail through the stormy seas of a rebrand…
56 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
“The timing was perfect, because we did it to
coincide with LIMS, so we were able to harness
the media and retailers together.”
Jon Gold, The Music Force Distribution
Force of Music
56,57 mip114_FINAL 22/10/09 12:27 Page 1
The addition
of Engl delivered the proverbial
‘win-win’ for The Music Force. It
put Engl back on the map in the
UK and it took Music Force
into a new arena.
“Engl was a brand
I’d coveted for years
and had had a lot of
experience with
when I was with
Academy of Sound,
when it was one of
our strongest
brands,” Gold
says. “Since then
I’d noted that,
despite the fact
it had taken off
worldwide, it
seemed to have
gone backwards in the
UK. It’s a fabulously
well-made product and to
the rock and metal
fraternity it has become
the ‘must-have’ amp.”
Engl has scored
particularly well by signing
a list of endorsers that
includes many guitar icons
– from old guard warriors
like Tony Iommi and Ritchie
Blackmore, to Duff McKagan
(more on him later), Cradle of
Filth’s Paul Allender, Megadeath’s Chris
Broderick and enough metal heroes to
staff a foundry.
This won Gold over: “It has secured
partnerships with grade one, A-list
endorsers – it reads like the who’s who of
metal and rock. And that was the point. I’d
seen that going on around the world, but
not in the UK, so I was over the moon
that we were able to secure Engl.”
But had that helped increase sales for
his other brands, such as Sparrow, Mariner
and Ashton itself?
“Very much so. Part of the marketing
with Ashton was that it was an entry-level
product and some people quickly made
their minds up that it wasn’t for them.
However, there’s much more to Ashton
than that. The quality and value for money
endears it to a much wider market and
what adding the more obviously upmarket
brands has done for us, is open people’s
eyes to that side of Ashton. They’re saying
things like ‘I didn’t know it was that good’
and ‘I didn’t know you could make that
much profit from Ashton’, so yes, one has
definitely helped the other.”
Where Music Force goes from here is
going to be fascinating to see. Jon Gold is
perfectly frank that he and his team are
hungry for success and are very keen to
talk to companies looking for higher
profile distribution in the UK. He is
reluctant to set any limits as to the type
of brands or products he could be
interested in – though he says he thinks hi
tech is unlikely.
But I wonder whether he’d be
interested in another major guitar line to
ride alongside Engl? His eyes light up at
the prospect.
“One of the things that came out of
the change of name was that we didn’t
just rename the company, we invested in
better back-of-house systems – better
customer service systems and a heavy
investment in IT. This means we’re able to
give great customer service beyond the
point of sale.
“Our job doesn’t stop when we’ve sold
the product to the dealer. We need to be
there if there are any issues; we need to
support them with marketing, for
example, so we’ve invested to do that.
We’ve now got more staff in the office,
we’ve got a dedicated marketing person,
there is a dedicated sales team in the
office and a credit control team, which we
didn’t have fully before – so we’ve invested
heavily in human resources, as well.”
One of the areas the company has
moved into is artist relations, which flows
directly from its partnership with Engl, and
it has already secured a major scalp. While
supporting former Guns N’ Roses guitarist
Duff McKagan for Engl when his band was
on tour in the UK, it scored a valuable
second goal.
“Duff is one of the world’s biggest rock
stars and could play anything, but he saw
the Sparrow Guitars while he was with us
and asked if he could try them. We
prepared three for him and the band are
using them now. It’s a great coup for both
Sparrow and us – he loves them.
“As everyone knows, this has been an
extremely difficult year for the trade as a
whole, but the feeling I’m getting suggests
that there are opportunities out there.
You’ve got to be flexible and change your
business model quickly if you need to and
that’s something we are able to do. If we
wake up tomorrow morning and find we
need to turn right, then we can do that.
“It’s been a momentous year for us.
We’ve grown in a year when the economy
has been going backwards and I know
there are other business out there that
have been making progress, too –
distributors and retailers. It’s tough out
there, undoubtedly, but we do see progress
being made.
“People still want to play music and
people still want to buy product. It may
not be such expensive product, but they
still want to buy something and, of course,
that’s particularly good for a great value
brand like Ashton.”
So where does Music Force go from
here? “We’re young, we’re passionate, we’re
hungry and we care. The brands we’ve got
still have great potential in them – there’s a
lot more growth in all of them. I want to
consolidate what we have and there’s loads
of work to do with Engl, which has
potentially great growth in the UK. Beyond
that? Our infrastructure is such now that
we are on the lookout for other lines that
complement and will add value to our
existing lines. We’re looking to grow.”
MUSIC FORCE: 01780 781630
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 57
THE MUSIC FORCE • COMPANY PROFILE
Duff McKagan (left) and Mike Squires (right), from Duff McKagan’s Loaded, with their
Sparrow Rat Rods and Engl Fireball AmpMusic Force’s Jon Gold, who’s also the MIA
president, pictured here at the MIA awards
56,57 mip114_FINAL 22/10/09 12:27 Page 2
Iget up at 7:15 in the morning,
then it’s breakfast and the five
minute walk to work – we’re
based in Treorchy in Rhondda. I
get into work at about 8:30, have
a cup of tea with my colleague,
then sort a few things out before
we start work at around quarter
to nine.
I’ll check everything is all right
on the factory floor and running
smoothly, and iron any problems
out with the supervisor.
I’ll work on the machines as
well when it’s busy, mainly
working on double bass strings –
I don’t sit in the office all day; I
couldn’t do that.
I’ve been in this industry since
1961 – a good few years now. As
production manager it’s up to
me to make sure everything runs
properly and that everyone has
their work set out for the day.
Any special orders that come
in, I sort those out as soon as
possible, but basically it’s my job
to keep everyone working and
sort out any problems there
might be straight away.
There are only 14 of us in
total here, so we’re a small
company, but we do a lot of
stuff. We make strings that other
companies don’t, as they’re only
doing big production runs,
whereas ours are all done by
hand spinning.
We manufacture all sorts of
strings, from electric and acoustic
guitar through to all of the bowed
instruments strings and double
bass strings. We get people asking
for special gauges as well as
special lengths, which we can do
for them with no problem.
It’s been a very busy year;
the recession hasn’t really hit us
up here. I think it’s down to
quality strings and because we’re
not a big company – we’ve
ridden it better than a lot of
people have.
Our big thing at the moment
is a brand that we do called
Innovation – double bass strings
– and it’s been taking off
recently, in the States especially.
These are more specialised
than anything, as there are only
three of us that make them.
We’re been here for 26 years
in these premises. Picato was
originally a brand name of
General Music Strings, which was
based in South Wales, and Rod
Bradley, who is the director of
this company, bought it out
down there and moved it here.
The original company started
in the 1930s and was started by
a Jewish gentleman by the name
of Stein who came over here
before the second world war.
There’s a lot of heritage here.
For me, there’s too much
stuff being imported these days
and people seem to think
American products are better,
even though we all buy our raw
materials from the same
suppliers, which is odd.
I finish work at quarter to five,
and head home. I can’t play a
note and I’ve never been
tempted. I think being around
strings all the time has put me
off. I love working here though –
out of the 14 that started work
here 26 years ago, there are six
who are still here, so there’s a lot
of loyalty at Picato Strings.
I WOKE UP THIS
MORNING
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 58
PROFILE
MI Pro chats to Picato Strings’ Tony Roberts about the art of manufacturing strings and keeping the workflow going...
TONY ROBERTSProduction Manager, Picato Strings
58 Mipro114_FINAL 23/10/09 14:09 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 59
MIA NEWS an update from your industry trade association
MIA call to retailers
‘What did the MIA ever do for me?’
Despite having had a trade association for
over 125 years, many retailers don’t really
know what the MIA does. The MIA has
one goal – to encourage more people to
make music. The more people who make
music, the more customers our industry
has and the more successful we all are.
There are many ideas and projects that
the MIA wants to launch, but these can
only be put into action if we have
sufficient membership numbers and
subscriptions to fund their activity.
Without an increase in the membership,
many of these great ideas to create more
musicians will simply not come to fruition.
So, we say: Retailers – the MIA needs you.
‘But I get all these benefits whether I’m
a member or not...’
Yes, this is true. Whether or not you’re a
paid up MIA member you’re getting the
benefit of all the hard work the MIA does
to create more musicians. There just isn’t a
workable way for the MIA to channel the
new customers they create exclusively to
MIA members. All the MIA can do is appeal
to retailers to look at the bigger picture
and realise that the relatively small
amount it costs to be an MIA member is
an essential investment for the future.
‘What if I saved money on my stock
purchases by being an MIA member?’
Ah ha! The golden ticket. What if by being
an MIA member you could get exclusive
supplier discounts that could well deliver
you an annual saving well in excess of
your MIA membership fee? This is an idea
that was first voiced about a year ago
when the MIA retail committee said
suppliers could do more to incentivise
retailers to join up.
Some suppliers have answered the call
and more will shortly follow now that the
first ones have made a move. We will be
encouraging all MIA retail members to
stay in close contact with MIA supplier
members as the offers are rolled out.
These new product savings are on top of
the existing money saving benefits
available to MIA members, such as free
business and legal help-lines, discounted
insurance, reduced credit card transactions,
special foreign currency rates and so on.
‘I have some ideas of my own. Can I get
involved in the MIA?’
Absolutely, yes. We need your ideas, input
and energy. The more retailers are
involved, the more music makers we can
create and the stronger the voice of retail
will be in the organisation. Join one of the
many working parties or email
‘OK, I’m interested – how much does it
cost to be a member?’
Subscriptions are based on annual turnover,
but any shop can join for an introductory
first year at £150 plus VAT. This can even be
paid via quarterly direct debit instalments.
It’s a small amount to pay to ensure that
our industry continues its united approach
to creating more musicians. Go to
mia.org.uk and click on ‘Join the MIA’ to
see all the details and apply on-line.
MIA: 01372 750600
The Association’s retail committee members, Lee Anderton, Paul Blease, Noel Sheehan
and Jason Tavaria, make the case for retailers to have a voice...
New customersCall 0800 731 8921*
Existing customersCall 0845 702 3344**
Making the most of the connections you already have.
Important notes��������� ������������������������ ��������� ������������ ������������������������ ������������������� ������������� �������������������������� �������� ���� ����� ��� ��!���� ��"#$$�"$#$$�$%#&�'"(��)� ��������� �*������'����� ������+�����,�!���� ����������������-� .��������,�!����������������-�#������""����� ��������������/�"$������'����� ���/�"$�����0������������������������������ �� ����������������������� ��� ������ ���������������/���������� ����� �1������������� ����� ���������
AC14575
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Lee Anderton
Noel Sheehan
59 Mipro 114_FINAL 23/10/09 14:12 Page 1
full page 22/4/09 15:40 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 61
RETAILIrish show confirms status
NEWS, OPINION, DATA
THE SIXTH Music Show Ireland took place
on the weekend of October 3rd and 4th
and achieved something of a coup for the
republic’s MI trade and musicians,
increasing visitor attendance by some 17
per cent (11,822), representing all of the
country’s major suppliers and offering new
product launches and a wide range of MI
gear for an enthusiastic public.
On top of that, the island’s music
retailers were much in evidence as
exhibitors (including Perfect Pitch, X-
Music, The Sound Shop and Kilkenny
Vintage Guitars among others) or as trade
visitors to the show.
As well as increasing the show floor
space by some 15 per cent, the seminar
programme was up by a third on 2008
and Hot Press, the show’s organiser,
doubled the space used for themed
exhibitions and installations, including the
Rory Gallagher Guitar Exhibition and the
Irish Rock Photography installation.
“There was agreement among the
exhibitors that the crowd was really
interested in the gear,” said Niall Stokes,
Hot Press magazine’s editor. “There were
more band members, pros and semi-pros
in attendance than ever before.”
Tanglewood had Ireland’s country rock
diva, Imelda May, called to the Tanglewood
Ireland stand to collect her new TSB49
guitar and draw a good crowd there, as
well as to the live stage for her
performance. “Despite the economy, which
has been very bad in Ireland, the public
mood seems generally upbeat, and we
have had a lot of interest in our new
products on display here, plus positive
feedback,” commented Tanglewood
Ireland’s MD, John Halnon. “In terms of the
cost of being at this show versus business
written, that’s tough to quantify, but our
outlook is positive.”
Exhibiting for the first time was Lesley
Kane’s new operation, KMI Distribution.
“As a start-up company I questioned
whether KMI could afford to take part in
the show,” said Kane. “In retrospect, I know
that we couldn’t afford not to. The show is
open to the public with no trade-only
time and trying to get the formula right to
encourage dealers to visit and take part
has taken the six years that the show has
existed to get it right. It’s not perfect, but
the Irish Music Show has come a long way
since Irish Music Live 2004.
“The difference between this show and
the others that exist in the British Isles is
most definitely the atmosphere. There is a
tangible, excited buzz. It’s noisy, it’s
exhausting and it’s great fun.”
“There’s been a really fantastic crowd
coming through our stand compared to
previous years,” said Adam Leddy of The
Sound Shop, Drogheda. “We’ve collected a
lot of names for our mailing list and for
the competitions we’ve been running.
We’re all a bit exhausted – but it’s all
good as far as I’m concerned.”
This last comment is pretty crucial, as
The Music Show allows no sales
whatsoever from the show floor.
For Roland, the show has extra
significance, as Roland Ireland’s Gerry
Forde has been heavily involved in the
event from the beginning. “We have found
a whole new demographic for this show
and this has been an eye-opener for the
retailers,” he said. “The chance to see top
names, such as Imelda May, see master
classes from successful artists – the mix is
just about perfect.”
Hot Press’ ambition now is to cement
the show firmly on the international
music calendar, with a continued increase
in the number of international exhibitors,
delegates and visitors. “The Music Show
will refine its specialist offerings to
increase its attractiveness to industry
professionals, with more emphasis on the
MI and pro audio end of the business,”
concluded Stokes. “We aim to make it
even more of a pleasure for everyone.”
RETAIL AWARDSThe industry’s annual big night
out saw no fewer than six
retailers picking up awards, from
printed music to large multiples.
We look at why they won and
what the award means to them
BEHIND THE COUNTERThe grief caused
by thieves – our
own secret
retailer
describes the
feeling of loss
INDIE PROFILE
How has JG
Windows
carved such a
chunk of the
north east’s
business
The Music Show Dublin, organised by Hot Press, has proved itself once and for all to be a show of significance beyond the
Irish market – and all this while keeping show floor trading down to zero. Could there be lessons to be learnt?
“We have found a new demographic for this show,
which has been a real eye-opener for the retailers.”
Gerry Forde, Roland Ireland
61 MiPro114_FINAL 23/10/09 16:35 Page 1
THE PRINTED music award was once
again scooped up by last year’s winner
Lynne Ackerman of Ackerman Music, a
small chain with a sterling reputation
for customer service and a printed
music division that puts most retailers
to shame. “To win two years in a row, I
was over the moon,” says Ackerman. “I
really wasn't expecting it and was
absolutely sho cked when it happened. I
thought it was lovely to be invited to
the awards, but didn't think for a second
we'd win two years In a row.
“It's been a hard year – sheet music
is one of our core items, so it's fairly
steady throughout. We try to provide a
really good service on it, get it in from
the publishers and back out to the
customers, schools and teachers as
quickly as possible, which is what they
all want. It's been a bit harder on the
instrument side this year, but we've
been happy with sheet music and we're
growing all the time with more titles
and choice for people.”
Proving that hard work and attention
to the finer details can really lift a
business, Ackerman puts her success
down to the way the chain is run. “I try
to be fairly hands on and go round the
three shops as often as possible. We
have an area manager and managers in
the shops as well, so it's quite a hands-
on business. We take time and care to
sort the little things out which I think
makes all the difference.”
62 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
RETAIL • AWARDS
A Lifetime of SatisfactionIn 2007, we introduced a unique Lifetime Warranty* across our 40 Series studio microphonesand in 2009 we are going a step further and extending this offer to include both our Artist Eliteand Artist Series ranges of wired microphones.
Unsurpassed in the market, our Lifetime Warranty offers genuine added value to every sale andreinforces our commitment to unbeatable customer service.
Call us today on 0113 277 1441 – and experience more.
*Terms and conditions apply. Visit www.audio-technica.com/warranty for full details.
The MIA awards this year saw no fewer than six awards going to companies that really count – retailers. Rob Power and
Rob Hughes take the opportunity to get a few words from the best of British MI retail…
Best of the bestPRINTED MUSIC RETAILER OF THE YEAR
ACKERMAN MUSIC (LYNNE ACKERMAN)
A NEW award for this year, the Rob
Williams Business Enterprise award, in
memory of the co-founder of Dolphin
Music, whose tragic death earlier this
year sent shockwaves throughout the
industry, was won by Portsmouth’s
enterprising Nevada Music.
“It’s quite poignant really,”
commented Nevada managing director
Mike Devereux on the win. “Jason
(Tavaria, Dolphin co-founder) actually
presented it to us. We’d always seen
them as a major competitor and looked
up to them and, of course, when Rob
died it was a shock for everyone. You
can imagine how we felt with them
being the ones to present it to us.
“Any award is special, but this one
even more so. Jason was very impressed
with our website – he said to me
afterwards that they had watched
competitors come along and they’d
usually copy one another or present
some form of what already existed. He
said that what blew them out of the
water was that our site came up and it
was totally new with fresh concepts on
it. He, of all people, coming from a
web-based company, could appreciate
what we had done so it was really nice
to have somebody acknowledge that.”
As a well established presence on the
south coast, Nevada has managed to
keep itself at the cutting edge of online
retailing opportunities thanks to a team
that is constantly on the look out for
new and innovative schemes to drive
internet sales. “We’ve got a great team
– the other thing Jason said was that
they didn’t expect an old company to
do this. We’re 40 years old this year,
and I’d never thought about that as
managing director, but we’ve got such a
good team here of both software
developers and musicians and they are
giving us some leading edge products.”
ROB WILLIAMS BUSINESS ENTERPRISE AWARD
NEVADA MUSIC (MIKE DEVEREUX)
Mike Devereux (second right)
Lynne
Ackerman
(centre)
picks up
her second
award
62,63 MiPro114_FINAL 23/10/09 16:25 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 63
AWARDS • RETAIL
THIS YEAR’S prize for the best Take It
Away dealer was won by the hard-
working and relentlessly pro-active
Wigan-based retailer Symphony Music
and Technology Centre. A family-run
shop that has been at the heart of its
local music scene for some time, its
championing of the Arts Council
scheme has been a runaway success.
“It’s the second time we’ve been
nominated and, to give you some
background, we’re a tiny little family
shop, so for us it’s the biggest night
we’ve ever had,” comments managing
director Dave Bamford. “It was a really
big thing for us – we went last year
with no expectations, and we weren’t
disappointed we didn’t win as it was
great to be in the top three, but this
has blown us away.”
The shop’s approach to promotion
locally, including sponsoring local
festivals, alongside its approach to one-
on-one sales, has seen the Take It Away
scheme turn into a roaring success.
“All of the customers think it’s a
great scheme. It’s a bit of a no-brainer
as it makes things so much easier to
purchase,” continues Bamford. “What
makes this year a bit more special is
that rather than the Arts Council
nominating, as they did last year, they
actually received nominations, so this
year’s award was based solely on the
feedback they got from customers.
“It made it more special and it told
us we’re doing something right in the
way that we’re operating, the way
we’re selling the instruments and the
way we’re promoting it as a scheme.”
TAKE IT AWAY RETAILER OF THE YEAR
SYMPHONY MUSIC AND TECHNOLOGY CENTRE (DAVE BAMFORD)
“I’M OVER the moon, ecstatic.
“For years, reps have been coming
and telling us how great they thought
the shop was and we thought we’d put
it to the test to see how well we would
do at the MIA Awards. It worked well.
“There are a few reasons why we
won. First, two years ago we bought the
rest of the building we’ve been trading
in for 20 years, which has resulted in a
large, period building, dating back to the
15th century, full of guitar gear. We
really took a punt – a million quid’s
worth of building, which then needed
to be renovated and stocked – It was a
real risk, but, touch wood, it’s all
working great.
“We specialise in guitars and we’ve
got an awful lot of rare, hard-to-find
and vintage guitars.
“We only shut four days of the year
and we’ve got a good online situation,
whereby we photograph every
individual guitar. If you sit at home in
Cornwall looking at a guitar on our site,
we will have it in stock – if it’s out of
stock it will say so.
“While it’s very easy to say that the
market is depressed, or complain about
the competition, the best idea is to get
behind the industry and work with
other people within it. We bought a
load of specialist guitars recently that
have now sold out, but we work with
another shop, Guitar Guitar, so we
mention them to customers. You should
get behind things in a positive fashion
and, when the reps come, try to buy as
much as you can reasonably afford, so
the customer sees a good range. Shops
should get behind each other so that
everyone is trying to push forward.”
BEST SPECIALIST RETAILER
GUITAR VILLAGE (DEREK EYRE-WALKER)
"THIS AWARD is a huge honour for us,
particularly considering we only opened
our doors just over a year ago.
It is also a tremendous morale boost
for the staff, who in May last year were
facing the prospect of the store closing
and the loss of their jobs. It’s a
testament to their hard work and
determination that we have turned the
business around and achieved so much
in such a short time.
“I'd also like to offer a huge thanks
to the suppliers, who had faith in us at
the beginning and helped get Red Dog
off to a flying start.
“The award is decided by votes on
‘the best presented and staffed shops,
with the best customer service’. I think
this embodies what we do; we’ve
focused on presenting a friendly face to
trade and customers.
We’ve got around 5,000 square feet
of floor space that we try to fill with
forward thinking products, including
computer music and recording
equipment, alongside the more
traditional guitars and keyboards.
“I don't claim to be in a position to
offer advice, but our guiding principle
from the start has been to treat all
setbacks as opportunities. When Sound
Control went bust and I was made
redundant, I tried to treat it as an
opportunity. It’s important to realise
that however bad things may seem,
there is always some way out.
“There are a lot of people who are
afraid of the internet, but from our
point of view the internet represents
another opportunity. Without it we are
limited to the local market; with it, the
whole world is our market.”
“ABSOLUTELY AND totally delighted.
It’s our fourth one now and nobody else
has won more than two. Now we need
to get a fifth because it’s our 20th
anniversary in 2010 so we’ll be putting
the thumbscrews on the industry for
next year. But we’re absolutely
delighted; it’s a great honour.
“I’d like to think we’ve got the best
retail stores in the country. When you
look at stores like Birmingham,
Manchester and Leeds, there’s nothing
to touch them and that’s not because
they’re ours, it’s because it’s the truth. I
would even hold them against stores all
over Europe and the US. There are
bigger ones, sure, but when you look at
what else there is (and there are not
that many multiples anymore), I think
we’re well ahead of the rest.
“We’re not resting on our laurels,
though. Next year we’ll have some very
strong competition.
“Is there anybody else actively
promoting our industry? Is there
anybody else putting on events like
Stick it to MS? Are there other multiple
retailers in partnership with schools,
promoting music? That’s what makes us
the UK’s number one.
“Do something that promotes music
in your area, something that makes
people want to play, then back it up.
Look after the teachers in the area and
get involved with schools.
“Our first store was 1,000 square
foot. It’s pathetic compared to now, but
that was a fantastic store with four
people in it everyday who loved what
they did and wanted to help.”
BEST RETAILER (MULTIPLE)
PROFESSIONAL MUSIC TECHNOLOGY (SIMON GILSON & TERRY HOPE)
BEST RETAILER (INDEPENDENT)
RED DOG MUSIC (ALEX MARTEN)
Guitar Village: million dollar baby
Red Dog: life after Sound Control
Once, twice, four
times a winner
62,63 MiPro114_FINAL 23/10/09 16:25 Page 2
How is business compared to
this time last year?
Having acquired a second shop
six months ago, overall it’s
significantly up. If you’d asked
me a month or two ago I’d have
said it was down. We’re
continually doing more and
more stuff to try and be on the
ball. We evaluate what we’re
doing and change or react
accordingly. The day that a rep
comes in and doesn’t say: ‘you’ve
changed this around’, will be the
day that figures stop going up.
How do you market the shop?
We’ve just taken on Paul
Donaldson as commercial
manager to really get stuck into
marketing. At the moment, if
I’m honest, we rely so heavily
on being a well-known set-up
that we don’t have to do very
much, but we are at the point of
wanting to do a lot more.
Having said that, from
September through to
December 24th we do run a TV
campaign on ITV, with ads going
out two to three times a day.
How do you compete with the
online competition?
Internet business and shop
business are two completely
different ways of life. While
we’re about to give our website
a complete overhaul, we’ve
spent all our time since we took
over from the Windows family
focusing on the bricks and
mortar business. So while we’re
not necessarily as cheap as the
web – although in some areas
we definitely are – the experience
that people get when they come
in the shop helps us compete.
What are your main strengths
and weaknesses?
Our name is a massive strength
and also the fact that we’ve
now got two shops within ten
minutes of each other on the
bus or in a car, but covering two
completely different sets of
customers. We’ve pretty much
got the north east covered in
terms of MI retail for the
products that we sell. If
someone wants to buy a digital
piano, there’s a 99 per cent
chance they’ll buy it from us.
How do you ensure a good
level of customer service?
Two weeks ago we sent almost
every staff member on a
customer service training course.
I’m in the business all the time,
so I’m in touch with what goes
on every day and I’m also very
hands-on. We stay aware of
what’s happening and we talk
about any issues we have.
What’s the one product that
you couldn’t live without?
That’s a question and a half! My
lunch is one product that I
couldn’t do without... We have a
very strong relationship with
Roland and we do very well with
electronic drum kits too,
particularly at Christmas.
How can the industry do more
to support retail?
Become more professional. My
biggest frustration – and this
would be angled at some
distributors and some retailers –
is that we all need to run
professional businesses rather
than operating like a cottage
industry. There are some
absolute basics that some of the
distributors don’t have in place
and certainly the same would
apply to many retailers.
64 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
INDIE PROFILE • RETAIL
JG WINDOWS,NEWCASTLE
FACTS & FIGURESAddress: Central Arcade, Newcastle-upon-Tyne, NE1 5BP
Phone: 0191 232 1356
Managing director: Rupert Bradbury
Established: 1908
Established: 35
Bestselling lines: Roland Microcubes and pianos
Rob Hughes talks to Rupert Bradbury,
managing director of JG Windows, about
the state of MI retail in Newcastle...
64 Mipro114_FINAL 22/10/09 15:08 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 65
Our undercover retail reporter comes back from holiday
only to find an expensive guitar has gone missing...
The terrible tale ofthe six-string swiper
It’s not been the best of months for
our store. The gods have turned
against us and sent nothing but
waves of misfortune our way. Upon
returning from a week spent sunning
myself away from the hustle and bustle
of the shop floor, I was greeted by a
sullen fellow shop-hand whose slumped
shoulders and deathly pallor told me
that all was not well on our happy
little ship.
When he pointed to our
wall of high-end guitars, I immediately
noticed a sizeable gap. Surely a good
thing, I thought; the sale of such big-
ticket guitars can’t be bad. Alas, I was
mistaken. A few days before I had made
my way back to Blighty’s sunny shores,
a couple of lads had made their way
into the shop, sidled up to our prized
wall of top-notch six strings, and made
off with prime guitar goodness worth
nearly two grand. Theories abound as to
how they managed this, especially as
the instrument in question was no
more than ten feet from the staffer
manning the counter at the time, but
the fact remains that they got it out of
the shop and well away before anyone
noticed what had happened.
It’s a kick in the guts for anyone to
lose such an expensive item, especially
in the testing retail environment that
we’re currently in. It is, of course, easy
to throw accusations around willy nilly
after the event, taking the ‘how the hell
didn’t you see that’ line, or to bewail
our store’s trusting policy of not having
every guitar in the shop rigged up to an
alarm system, but ultimately the gear
is gone, and we will probably never see
it again.
As the details emerge, it would seem
that we are destined not to catch the
swine who made off with our precious
six string. Our CCTV system, usually so
dependable, had thrown a strop and
chosen not to work that day, while
cameras in the surrounding area caught
barely a half decent shot of the
dastardly bastards who ruined our
week. Of course, these things happen in
any retail environment, but knowing
that does little to sugar the pill.
On the upside, the kids are back to
school and lapping up new instruments
at an alarming rate. Such is the
demand that we can barely keep up,
but we’re bravely doing our bit and
ensuring the superstars of tomorrow
are given their chance to start on the
long road to musical success.
And now the inevitable march to
Christmas is beginning, which has us all
both rubbing our hands in delight and
trembling in our boots at the prospect
of a thousand confused mothers
playing Santa...
BEHIND THE COUNTER • RETAIL
Theories abound as to how they managed it,
but the thieves got it out the shop and well
away before anyone noticed.
65 Mipro114_FINAL 23/10/09 14:21 Page 1
David Courtney &Srinivas KoumounduriLearning the SitarTarget: Beginner Sitar players
Comment: While this reviewer is certain
there have been other beginner books for the
sitar, this is the first one he has come across
and, with over 30 pages before the first note is
plucked, he surmises that the instrument is as
difficult to learn as has been rumoured. Whole
aspects of Indian music need to be taken into
consideration, as well as Indian terminology
for the music theory. That said, this book is an
excellent grounding in the basics of playing
this most iconic of instruments.
MEL BAY: 020 8214 1222
EDUCATIONAuthor: Opgenoorth &Bessler (Voggenreiter)Guitar ChordsTarget: Guitar
Comment: Voggenreiter’s take on the chord
listings that are essential for any guitarist’s
book shelf. Over 4,000 chord voicings are
included in this brightly coloured edition. It’s
been designed for the studying guitarist with
its slant on the voicings in rock, pop and jazz.
Additional chapters have been included on
playing techniques, chord synonyms and power
and ‘slash’ chords.
MEL BAY: 020 8214 1222
Artist: Abby NewtonCastles, Kirks and Caves
Target: Cello
Comment: A delightful collection of
traditional Scottish music from the 18th
century, originally compiled by Newton in
2000 for a CD of the music. As a cellist,
Newton was intrigued by tunes that were
actually written for the instrument. The book
is separated out into ‘Tunes’, ‘Sets’ and ‘Duos’
and each piece has suggested bowings and
chords. Newton suggests players familiarise
themselves with the tunes before learning to
play them – which is a nice way to get people
to her CD, available from her website…
MEL BAY: 020 8214 1222
POPULARArtist: Various (arr Juchem)Pop BalladsSeries: Schott Saxophone Lounge
Target: Alto saxophone
Comment: Famous pop ballads (16 in all),
arranged by Dirko Juchem for alto sax with
piano accompaniment, taking in a wide
spectrum of pop classics, whether initially
intended for sax playing (Baker Street) or not
(A Whiter Shade of Pale). Juchem makes them
relevant and decidedly easy to play.
SCHOTT: 020 7534 0744
Author: David BarrettBlues Harmonica Accompaniment Playing
Series: School of Blues Target: Harmonica
Comment: The School of Blues series covers
harmonica, guitar, keys, bass and drums and is
designed to pass on the love of blues of the
list of authors used. In this edition, Barrett
(who is co-author on all the titles) begins
with intermediate level players and takes
them through various blues techniques,
recommending various recordings along the
way. The difference for this book is its focus
on accompanying others – something a little
alien to many players, but a must for those
serious about ensemble playing.
MEL BAY: 020 8214 1222
NEW PRODUCTS • PRINT
66 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
Target: General, guitarists
Comment: Doubtless hurried into a new
edition after the death of Les Paul a few
months ago, the questionable ethics of
publishers do not, thankfully, detract from
what is an excellent book written by
arguably the world’s leading authority on
guitar history.
The book covers the history of the
guitar, arising from the career and
engineering experiments of Les Paul and
the Gibson corporation at the time under
Ted McCarty. The result is the guitar that
stood at the very centre of rock music for
the next 20 years and is still seen as a
must-have for millions of guitarists.
The book looks at each innovation in the
guitar’s development (the invention of the
humbucking pickup, the ‘mystical’ 1959
Goldtop, the glamour of the golden era of
the 1970s) and the many stars that have
linked their image to that of the guitar.
The latest edition brings the timeline up
to date with the latest models introduced
and the appearance of a certain Joe
Bonamassa – almost certainly the
standard bearer of the guitar as it travels
towards the completion of its sixth decade
in production.
Great pics and flowing text – all-in-all
this is a book that sits easily on any
muso’s coffee table.
BACKBEAT: 020 7720 3581
BOOK OF THE MONTHAuthor: Tony BaconThe Les Paul Guitar Book
DVDMarshall Wilborn (with Murphy Henry)Slap BassSeries: The Murphy Method
Target: Double bass
Comment: This may be a niche market in the
UK, but there is a good deal here for aspiring
players. On this DVD, Wilborn takes players
through the single, double and triple slaps,
boogie woogie playing with single slap and a
couple of traditional songs to illustrate the
application thereof.
MEL BAY: 020 8214 1222
66,68 mipro114_FINAL 22/10/09 12:29 Page 1
Blueridge have taken America by storm withtheir authentic vintage style guitars, and nowwe have made them available in the UK. Thisrange, renowned for spectacular value formoney, continues to receive excellent reviewsin all the best known guitar press, includingGuitar & Bass, Guitarist, Guitar Buyer, AcousticMagazine...
The leading brand of resonator guitars, with along US heritage, available in the UK exclu-sively from Gremlin Music. Saga Music, haveapplied the same dedication to quality to theseguitars as they have to the Gitane andBlueridge guitars, and the results are spectacular.
SK120 Rated ‘Exceptional’ in AcousticMagazine. “A wonderful little amp designedby people who understand what musiciansneed”. Also Guitar & Bass have awarded the
SK60 a massive 82%.We distribute these ShireKing Acoustic Ampsalong with Headway’s very popular pickupsfor acoustic instruments, including the Snake3 and SA1 pickups, and the ‘Band’ violin andcello pickups.
The best selling aluminium whistles inthe UK. Renowned for their clear sound,they appeal to whistle players of all stan-dards. Though ideal for beginners, theyare professional instruments and areused on stage by many leading players.
For the Gypsy in your soul!These beautiful guitars pay
homage to the Selmer andMaccaferri guitars of the early
20th century. They have solid tops,are a joy to play, and look andsound like the real thing, right
down to the excellent reproduction of the orig-inal tailpiece. More to the point, they are veryaffordably priced.
The Kentucky mandolins are the pinnacleof affordable bluegrass instruments, andoffer exceptional quality at excellentprices. These mandolins are a very wel-come addition to our growing section ofgreat quality bluegrass instruments,which includes mandolins, banjos,dobros, guitars and more.
A professional quality range of AcousticGuitars, Mandolins, Banjos & Fiddles, Basses,cases, electrics and more. This is the largestrange of mandolin family instruments, banjosand ukuleles in the UK, and the Ashburyname is associated with high quality andexcellent value.
A competitively priced range of stu-dent squeezeboxes, including PianoAccordions from 12 to 120 Bass,B/C, D/G and Cajun one-rowmelodeons, and Anglo and Englishconcertinas, all ideal for beginners.
As well as being the first point of call for all the hard to find traditional musical instruments your customers are askingyou for, Gremlin Music is a one stop shop for any musical instrument retailer. We can supply a massive range of acousticmusical instruments, spares, accessories, strings, books and DVDs. Become a Gremlin Dealer and give your customersa better choice! We pride ourselves on the personal touch - you can always reach us by phone during work-ing hours, and we’ll always send your order as fast as possible, no matter what the size. If you’re a dealer,you can browse our website for prices (retail and wholesale), contact us by email, and place orders online! We’ve beenin the business for over 25 years, and can offer you an experienced, friendly and professional service.
www.gremlinmusic.co.uk [email protected]
Just a few of our Leading Brands...
Tel: +44 (0) 1903 203044 (9.30 - 5.30 Mon - Fri) | Unit A, Easting Close, Worthing, West Sussex, BN14 8HQ
MI Pro grem ad A4 Sept 09:full page grem ad.qxd 15/09/2009 15:28 Page 1
NEW PRODUCTS • PRINT
68 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
Artist: Kibisi DouglasAfrican Bass BibleSeries: The Boosey Voice Coach
Target: Bass guitar
Comment: Kibisi Douglas is a pretty big name
in African music circles and is frequently on
tour around the world with the likes of Kanda
Bongo Man (as seen on Jools Holland’s Later
show). While the patient and dedicated will
doubtless gain much from this DVD, it is hard
going with sometimes quite poor sound, but it
illustrates Douglas’ delicate technique when
playing rumba or soukouos.
MEL BAY: 020 8323 8010
Author: Peter BlechaSonic BoomTarget: General
Comment: Not to be confused with
John Alderman’s excellent analysis of
the Napster and MP3 boom, which
also has the same title, in this book
Blecha takes the unusual step of
looking at the musical heritage of a
particular region, the north west of
the US, most notably Seattle. From
Louie Louie to Smells Like Teen Spirit,
taking in the fledgling Jimi Hendrix
in between, Blecha’s research is
extensive and his style fluid. An
interesting history.
BACKBEAT: 020 7720 3581
GENERALAuthor: MixermanThe Daily Adventures of MixermanTarget: General
Comment: In an attempt to bring the ‘truth’
to an area of the rock business that wallows
in the realm of apocryphal anecdote (the
recording session) this anonymous author
spews up his own apocrypha, with all names
changed. The book is the result of a series of
blogs posted during a major-label album
production. While it offers nothing in terms of
revelation, this guy obviously knows his
recording and clearly has a great imagination.
A hoot.
BACKBEAT: 020 7720 3581
Artistr: Various (Weeks arr)The Piano Sessions:Contemporary BalladsTarget: Piano
Comment: Within the pages of this book are a
dozen popular tunes – but not so popular that
you would be sick of them – arranged for piano
with considerable aplomb and delicacy in a
smooth jazz style – and with the guitar chords
thrown in for good measure. This is not going to
be a massive seller, but pianists will appreciate it
as a recommendation from the more discerning
shopkeepers out there.
FABER: 01279 828989
POPULARArtist: MetallicaThe Complete LyricsSeries: Schott Discovering/Improvising series
Target: General
Comment: An unusual book and one normally
reserved for the likes of Bob Dylan or Paul Simon.
With nothing but the words, the words need to
be able to stand on their own. With Dylan and
Simon, they do. With Metallica they certainly
don’t. Fans will like this – no one else.
HAL LEONARD (MUSIC SALES):
01284 702600
DVDSArtist: Tommy EmmanuelEmmanuel LaborTarget: Guitar
Comment: There are three selections of songs
from Emmanuel’s albums, Only, Endless Road and
The Mystery, which he performs before talking the
learner through the structure and techniques of
each piece. Emmanuel has a fluid fingerstyle
method and this DVD will give any guitarist a lot
to think about and practice. Nice tunes, too.
MEL BAY: 020 8323 8010
Author: MatthiasPhilipzenCajon: A box full ofrhythmTarget: Percussionists
Comment: Philipzen takes the learner
through the fundamentals of playing the
Cajon and a variety of playing techniques.
He then takes the learner on an extensive
tour of solo and ensemble pieces. This is
guaranteed to last a player a lifetime,
from learning the basics to dipping into
as a hardened pro for reminders and tips.
VOGGENREITER (MEL BAY):
020 8323 8010
Author: Phillipp MoehrkeVoicing Concepts: JazzPianoSeries: Jazz Workbooks
Target: Piano, musician
Comment: A spectacularly good book that takes
as its premise the understanding and interpreting
of chord symbols as a fundamental requirement
of playing jazz. While mainly targeting the piano
as the easiest way to get an overview of harmonic
structures, the book recognises that the exercises
contained within make up an important aid for
any musician. Simply and clearly structured, the
book leads the student to explore improvisation
in typical and complex ways.
VERLAG (MEL BAY): 020 8323 8010
66,68 mipro114_FINAL 22/10/09 12:29 Page 2
full page 19/10/09 10:21 Page 1
70 NOVEMBER 2009 miPRO WWW.MI-PRO.CO.UK
CLASSIFIEDS: MINIMUM 12 MONTHS - ONE ANNUAL CHARGE QUARTER PAGE £1,295
MARKETPLACE INDEX
SU
PP
LIE
R S
PO
TLIG
HT
THE PLACE FOR BUSINESS
440 DISTRIBUTION . . . . . . . . . . . . . . . . . . . . . . . 01132 589599
AALLPARTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0870 442 3336
BBILL LEWINGTON . . . . . . . . . . . . . . . . . . . . . . . . . 01268 413366
CCOVERNOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0121 327 1977
FFOCUS MERCHANDISE . . . . . . . . . . . . . . . . . . . 020 8245 9035FCN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01892 603730FUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0113 320 0304
GGHANA GOODS. . . . . . . . . . . . . . . . . . . . . . . . . . . 0117 955 8668GUITARRAS DE ESPAÑA . . . . . . . . . . . . . . . . . . . 0117 973 3214
HHC DISTRIBUTION . . . . . . . . . . . . . . . . . . . 00 353 5991 34268HERGA MUSIC SERVICES. . . . . . . . . . . . . . . . . . 020 8861 1590HOT ROX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0115 987 3163
JJAM PERCUSSION . . . . . . . . . . . . . . . . . . . . . . . . 0151 494 1492
LLEED REPRESENTATION . . . . . . . . . . . . . . . . . . 01243 378050LEISURETEC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01525 850085
MMARSHALL AMPLIFICATIONS . . . WWW.MARSHALLAMPS.COMMCELLAND/GREMLIN MUSIC. . . . . . . . . . . . . . . . 01273 491333MELBAY . . . . . . . . . . . . . . . . . . . . . . . . . . +44 (0)20 8382 8010MUSIC SHIPPING CO. . . . . . . . . . . . . . . . . . . . . . . 01562 827666
OOCARINA WORKSHOP . . . . . . . . . . . . . . . . . . . . . 01536 485963ORANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 020 8905 2828
RROBERT MORLEY . . . . . . . . . . . . . . . . . . . . . . . . 020 8318 5838ROTHWELL AUDIO . . . . . . . . . . . . . . . . . . . . . . . . 01204 366133
SSAXOPHONE UK . . . . . . . . . . . . . . . . . . . . . . . . . 01892 662 533 SOAR VALLEY MUSIC . . . . . . . . . . . . . . . . . . . . . 0116 230 4926STEVE CLINKSCALE . . . . . . . . . . . . . . . . . . . . . 01573 225 885
TTEAC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01923 438 880TOM & WILL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08450 945 659
WWIND PLUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0116 243 1698WORLD RYTHM . . . . . . . . . . . . . . . . . . . . . . . . . . . 01242 282 191
TO ADVERTISE ON THESE PAGES CALL DARRELL CARTER ON 01992 535647MIMARKETPLACE
JAM – it’s packedwith percussionTony Lucas and Graham Johns talk us through the
USPs their company has to offer the UK retailers…
Two heads are better than one…
That was the idea behind the
formation, seven years ago, of
Johns and Mushroom Percussion
(known as JAM Percussion) from two
small businesses already active in the
world of percussion retail. The founder
members of JAM Percussion, Tony
Lucas and Graham Johns, joined forces
and have quickly become one of the
UK's leading percussion retailers.
“We were sharing the same
customers, so it seemed a natural step
to put our two businesses under one
roof,” explains Graham Johns.
His co-director, Tony Lucas, took
the decision to up-sticks and move
north from Essex in 2002. “I was
looking for a change from my
professional playing career in London
and this opportunity presented itself
at exactly the right time,” he says.
JAM began in 2003 with a couple
of desks and computers in a rented
office. It now owns a newly built
office and warehouse space in South
Liverpool, just down the road from
Liverpool's John Lennon Airport.
“The move in 2007 was a catalyst in
our development,” says Lucas. “From
here, we have been able to increase our
stock of Adams percussion (JAM is the
UK and Ireland distributor for the
Dutch timpani and percussion brand)
and also take on the distribution for
Grover Pro-Percussion in the UK. We’ve
also been able to take on more lines on
our retail side.”
JAM tries to ensure that a large
amount of the most popular lines are
in stock and prides itself on ‘next-day’
availability. Percussion is often an
after-thought for some retailers and
customers sometimes need, for
example, a xylophone for a concert by
the end of the week. The customer's
delight at being told 'you will have it
tomorrow' is what gives the guys at
JAM the buzz of job-satisfaction.
“Expert knowledge is a key thing
for us,” says Johns. “At JAM, we are all
trained, active professional
percussionists, which brings a lot of
experience that we can pass on to
customers. We can take an instrument
off the shelf and play it. It’s an
invaluable sales tool.”
For any further information about
Adams Timpani and Percussion, Grover
Pro-Percussion and Mushroom Covers
get in touch:
0151 494 1492
www.jampercussion.com
70 mip114_FINAL 23/10/09 14:05 Page 1
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2008 71
MI MARKETPLACEACESSORIES AND GIFTWARE
ACOUSTIC DISTRIBUTION
ABROAD REPRESENTATION
To find out more about the JVM Series and other Marshall products contact: Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK11DQ www.marshallamps.com
AMPLIFICATION
71-79 mip114_v1 23/10/09 12:48 Page 1
72 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
DISTRIBUTION
…more than just a gig bag!
Quality!Visit us online at www.fusion-bags.com
Distributed by+ 44 (0)1483 238720
DISTRIBUTIONCLASSICAL GUITARS
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71-79 mip114_v1 23/10/09 12:48 Page 2
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2008 73
MI MARKETPLACEDISTRIBUTION
DISTRIBUTION
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Your Box
Ready to Snatch01525 850085 www.leisuretec.co.uk
Sound • Lighting • Special Effects - Established 1990 - Distribution Power Squared
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DISTRIBUTION
MI MARKETPLACE
74 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
DISTRIBUTION
...bridges, necks, bodies,
electronics, frets, inlay dots, pickups, knobs,
switches, pickguards, tools scratchplates, strings, screws,
nuts, saddles, tailpieces ...and much more!!!
The UK’s Premier Guitar & Bass Parts Supplier
Pick a partABM, Badass, Bartolini, Bigsby, CRL, CTS,
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Schaller, Sperzel, Sprague, Switchcraft
& Wilkinson.
To order call 0870 442 3336Low call rate 0845 345 5951
Order online or find a local dealer @:
www.allparts.uk.comor email us: [email protected]
GUITAR PARTS
71-79 mip114_v1 23/10/09 12:48 Page 4
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 75
MI MARKETPLACE
GHANA GOODSWEST AFRICAN PERCUSSION
WHOLESALE AND RETAIL
PO Box 95, Fishponds
Bristol, BS16 1AG
Tel: 0117 9354132
www.ghanagoods.com
DISTRIBUTION
Call Tom Harrison on 01132 589599 or email - [email protected]
DISTRIBUTION
Rothwell effects pedals are trulyhand-made here in the uk and built to thehighest standards. The cases are handpolished and the electronics carefullyassembled by skilled uk workers. The circuit designis innovative and original (we don't do clones, repros ormods) and the sound is the sound of classic rock guitar - pure tone.Our pedals are quickly gaining a reputation for superb quality and are being played on some of theworld's biggest stages. The Hellbender (overdrive) and Switchblade (distortion) are currently beingheard by thousands of fans on Justin Timberlake's world tour, played by Mike Scott (also Prince'smain guitarist), who says "you make truly great, great pedals".
Why not join our growing list of uk and international dealers and stock Britain's finest boutiqueeffects pedals.
BRITAIN'S FINEST BOUTIQUE EFFECTS
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71-79 mip114_v1 23/10/09 12:48 Page 5
OCARINAS
OCARINAS
Making Music in SchoolsSince 1983
UK made rainbow ocarinas fromOcarina Workshop are easy to playand great fun to teach with.
These pocket-sized instrumentsare popular with kids & well-tuned.Together with 'Play your Ocarina'music books, they are the key tosuccessful music-making in manyschools around the country.
Make sure school ocarinas are onyour counter-top and availablewhen customers request them!
Quote ‘MI Pro’ when you order12 Ocarinas & 12 Books and beamazed at the ocarina’s potential...
Trade orders are sent by return:free delivery & no minimum order
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tel: 01536 485 963fax: 01536 485 051
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76 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
71-79 mip114_v1 23/10/09 12:48 Page 6
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 77
MI MARKETPLACEPERCUSSION
PROMOTIONAL
PERCUSSION AND DRUMS
Rober t MORLEY Co Ltd
34 ENGATE St. LONDON SE13 7HA
020•8318•5838Grand & Upright Pianos by
Elysian, Grotrian-Steinweg, Bechstein,Monington & Weston
and other famous makers
John Morley Clavichords, Spinets,Harpsichords, Virginals & Celestes
Antique, Modern & New, Rental, Repairs,Sales lists & colour brochures on request.
Robert MORLEY & Co Ltd.Piano & Harpsichord Makers
Established 1881
www.morleypianos.comPERCUSSION
71-79 mip114_v1 23/10/09 12:48 Page 7
WIND INSTRUMENT
SAXOPHONESREPAIRS
78 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
MI MARKETPLACE
CONTACTDARRELL CARTER
+44 (0)1992 535647
MIMARKETPLACE
GREAT ADVERTISINGOPPORTUNITIES
71-79 mip114_v1 23/10/09 12:48 Page 8
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 79
MI MARKETPLACE
RECRUITMENT RECRUITMENT
GBI MARKETING MANAGER
When most people think of Fender® guitars & amplifi ers, they think of our rich
history and legacy, after all the Spirit of Rock and Roll is our Company motto.
For us at Fender® it’s all about the future. We need to work hard today to MAKE
HISTORY tomorrow. Would you like to be part of our future legacy?
An exciting opportunity has become available for an experienced marketeer to
join the Fender GBI (Great Britain and Ireland) Marketing Team. Reporting to the
General Manager you will lead your team in successfully executing all marketing
activities across the UK and Republic of Ireland whilst supporting and
contributing to the strategic direction of our global organisation.
To be successful in this role you will have proven experience in a marketing
position with a genuine interest in the music industry and knowledge of Fender’s
brand profi le. You will be an excellent communicator with strong planning skills and
the ability to establish credibility in this highly competitive and fast moving
market.
If you wish to fi nd out more or apply for this exciting opportunity then please
contact:
Suzie Richardson Offi ce Services Manager Fender GBI Robert Denholm House Bletchingley Road Nutfi eld Surrey RH1 4HW
Tel: 01342 331730
Email: [email protected]
The closing date for applications is 13th November 2009
®
71-79 mip114_v1 23/10/09 16:58 Page 9
NOVEMBER 2006
Cover Stars: MIA industry awards with a big haul
for Roland and a lifetime achievement for John
Skewes, it was hailed as the best the MIA had
pulled together – ever
News: Ashton Music nicks Jon Gold from Carlsbro,
Arbiter revamps website, Clapton Strat re-issued,
Cliff Cooper collects Queen’s award from
Buckingham Palace
Features: Korg Italy dealer event, Christmas gifts,
the DJ market, Lick Library (you still owe me,
Kim), Dolphin Music, Tim Richards and Schott,
Neumann
Products: Parker P30, Ozark electros, Vintage V6
Icon, Phonic Helix 24, Samson VR88 ribbon mic,
AKG Perception 400 Audio Technica ATM 650,
Digigdesign M-Box 2, Korg PA800, Yamaha PSR-
S500, Scarlatti English concertinas
Number one singles: Westlife – The Rose, Akon
(featuring Eminem) – Smack That
Number one albums: Girls Aloud – The Sound of
Girls Aloud, Jamiroquai – High Times: Singles
1992-2006, George Michael – Twenty Five
RETRO
THE LAST WORD IN MI PRO
MI Pro prides itself on bringing you hard-hitting news and analysis, but, we reckon you’d also enjoy seeing your peers in
their more ‘off duty’ moments. So, we’ve expanded CODA to include a permanent pictorial spread of the month’s social
highlights. If you have any snaps from an event you’d like us to include, please send them to [email protected]...
IN ASSOCIATION WITH
80 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
GONG-TASTIC
The MI trade gathered once again to
celebrate itself – and why not? Far too
little celebration going on as far as we
are concerned. At the tables this year
(clockwise from above) Alun Hughes
advises John Rogers to go to Specsavers.
Terry Hope gets perhaps a little too
smoochy with John Booth. Bob Wilson
tries to get a little smoochy with
Future’s Mia Walter – the thought of
which is just a little too much for
Headstock’s Lindsay Harvey. Chris Butler
of Music Sales, however, remains far too
dignified to get involved in such
shenanigans, but rather democratically
awards the awards a satisfactory seven
out of ten.
80,81,82 Mipro114_FINAL 23/10/09 17:26 Page 1
THE LAST WORD IN MI PRO
LATEST NEWSSTRAIGHT TO YOUR MOBILE
Bookmark us in your phone:MOBILE.MI-PRO.CO.UK
SEND YOUR PICTURES TO [email protected]
WWW.MI-PRO.CO.UK miPRO NOVEMBER 2009 81
IN ASSOCIATION WITH
One of the few MI Icons ever to
have graced these pages that
has had a song named after it
– see REM's Ebow the Letter – there
can be little doubt that the Ebow has
changed the way many guitarists
approach their instrument and found
itself a place amongst the great
musical innovations.
First patented in 1969 by Greg
Heet, the Ebow has become a vital
addition to the arsenal of effects
available to guitarists, thanks to the
intriguing and often beautiful sounds
that it produces. Hand held and
battery powered, it's a small and
inauspicious little unit that is capable
of punching way above its weight.
Used as an alternative to fingers or
plectrums when playing the guitar,
instead of physically touching the
strings it creates an electromagnetic
field that vibrates the string and
creates a sound with infinite
sustain that is not unlike a bow.
Achieving something that
few effects are able to do,
the Ebow gives players
access to a whole new
bunch of tricks on their
instrument, tricks that are not
available on guitars played in a
conventional manner. The colossal
sustain alongside the ability to fade
in and out of notes has made
this little beast hugely popular
and it is a steady seller to this
day. The ingenius little black
wedge has appeared on any
number of records by artists
such as Led Zeppelin, Big
Country, Pink Floyd and more
recently Bon Iver on the highly
acclaimed For Emma,
Forever Ago where the
Ebow is prominent.
MI ICON Ebow
MI LUVVIES
(Clockwise from top) Jealous at the
relationship between John Booth
and Terry Hope, Simon Gilson
makes a move on Tim Walter.
Another lovely couple, Active’s
Paul Hagen (please note the
spelling) and wife Jo. On the Music
Force table, John Moore was
looking a little uncomfortable
without his West Brom shirt, but
Dawn Richards was in her element
among the glamour. Likewise, Mr
and Mrs Jacobs after Denny had
picked up his long overdue lifetime
achievement award. M-Audio’s
David Atkinson was not so Avid
about the dress code, although his
table was obviously very pleased
with the evening, giving it a
massive 25 out of ten.
80,81,82 Mipro114_FINAL 23/10/09 17:26 Page 2
82 miPRO NOVEMBER 2009 WWW.MI-PRO.CO.UK
With a second album and
accompanying film now out,
Noah and the Whale have gone
from advert music fodder to
bone fide indie superstars. Here's
what they use...
SOUNDALIKESNOAH AND THE WHALE
NEXTMONTHThe fullest of full Music China reports ever, a
sneak look at what will be happening at the
NAMM Show, the portable PA market and
up close and personal with db Technologies.
EDITORIAL: ANDY BARRETT
ADVERTISING: DARRELL CARTER
Company/job title:
Sutherland Trading – marketing manager
Years in the industry?
38 (Boosey & Hawkes, Peavey, Roland,
Hohner & Sutherland)
First single bought?
Jackie Wilson – Reet Petite. Actually my
cousin bought it and I didn’t have a
record player, but I’d go to his house and
play this record as loud as it would go
Favourite album?
Gary Moore, After Hours. I keep coming
back to this one. Gary Moore at his best
Currently listening to?
Bruce Springsteen with the Sessions Band,
Live in Dublin. Real music
Favourite musician?
It has to be Ray Charles. I used to see Joe
Cocker every Wednesday in the Sheffield
pubs. He was heavily influenced by Ray
Charles. That’s when I found Ray Charles
and his music has stayed with me ever
since. One unforgettable moment was
‘meeting’ Ray Charles in the car park
outside the Sheffield Fiesta. I asked him
for his autograph, only to be told he
didn’t write!
Which instruments do you play?
I’ve played a bunch of things over the
years, but I still play keyboard and uke
Are you currently in a band?
Piano in The Real Swing (four-piece swing
band) and ukulele in the Porthcawl
Ukulele Strummers Society
Alan Townsend
MI SPACE
© Intent Media 2009 No part of this publication may be
reproduced in any form or by any means without prior permission
of the copyright owners. Printed by The Manson Group, AL3 6PZ
Enquiries to Mi Pro, Intent Media, Saxon House 6a St.
Andrew Street, Hertford SG14 1JA.
Tel: 01992 535646 (Editorial)
Tel: 01992 535647 (Advertising)
Fax: 01992 535648
MI Pro has a monthly
circulation of well over
6,000. It is distributed
to all MI retailers and
industry professionals
plus carefully selected
pro audio executives
and resellers.
miPRO is a memberof the PPA
ISSN 1750-4198
UK: £50
EUROPE: £60
REST OF WORLD: £90
miPRO is published 12 times a year by Intent Media ~ SaxonHouse, 6A St. Andrew Street, Hertford, Herts SG14 1JA, UK
To order your subscription: call: 01580 883848 or
email: [email protected]. Please note
that this is a controlled circulation title and
subscription criteria will be strictly adhered to.
SUBSCRIPTIONS
IN ASSOCIATION WITH
Charlie Fink - vocals, guitar:1963 Fender Jaguar, 1963
Fender Telecaster, Mesa Boogie DC3 Amp, Marshall 1x12
Guitar Cab, Fender 1965 Deluxe Reverb, Line 6 Digital
Delay Pedal, MXR Boost, Z Vex Wooly Mammoth Pedal,
Little Big Muff, Ibanez Tube Screamer, Ibanez AD9 Analog
Delay, Keeley Compressor Pedal, Electro Harmonix POG,
Electro Harmonix Holy Grail, ZVEX Distortron Digitech
Loop Pedal
Doug Fink - drums: Ludwig silver/white oyster finish kit,
22" Kick Drum (1966), Rack Tom 13"(1966), Floor Tom
16" (1970) Zildjian 21" Ride, 14" Hi-hats, 13" Hi-hats,
16" Crash, 17" Crash Ludwig Black Beauty Snare
Tom Hobden - fiddle: Violin (make unknown),
Roland 88 Note Stage Piano and x-frame stand,
electric toothbrush
Matt ‘Urby Whale’ Owens – bass: 1966 Fender P-Bass,
Vox F-Hole Bass, Amped B-15, Ashdown 2x10 cab
SMILES ALL ROUND
One final swoop around the tables at the MIA Industry Awards on October 7th
revealed Charles Bozon and Mike Ketley of Yamaha, clearly more than happy
with the quality of the wine (above), but what exactly has Peavey’s Clive
Roberts got on his mobile phone? Some things, I guess, we will never know...
80,81,82 Mipro114_FINAL 23/10/09 17:26 Page 3
NEW, EXTREMELY PROFITABLEAND IN STOCK NOW!
For the best prices speak to your area manager or call Kandy on 01293 862 612
More special offers and news at emdmusic.com
FAB-20/22Best Price £128.77
EUK Electric UkesBest Price £56.22
Angel Lopez EC3000Best Price £107.87
EX B8 Bronze Cymbal Set Best Price £57.21
MSHB-INSTRSheet Music Bag £2.03
SSAB-A Sax BagBest Price £15.30
PSU-9V1AR-UKPedal Power Supply £7.19
Remo Festival DjembesBest Price £44.73
New Straps from£2.18 to £53.96
Stagg Buying Plan Trade Price.
full page 26/10/09 11:25 Page 1
Thanks
to you
w w w . r o l a n d . c o . u kThanks to all the music retailers who voted Roland Best Large Supplier in this year’s MIA Awards. We couldn’t do it without you.
full page 26/10/09 11:25 Page 1