Mi Pro December - Issue 115 by Intent Media (now Newbay Media Europe)

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• DECEMBER 2009 • WWW.MI-PRO.CO.UK

PRINT • ONLINE • MOBILE

MUSICAL INSTRUMENT PROFESSIONAL FOR EVERYONE IN THE MI BUSINESS

Speaker dB Technologies’ unimpeachable pedigree turns up the quality and means volume sales for UK retail

SHURE NAMM IBANEZ RODRIGUEZ ANTIGUA REVERB

MI Pro C5 ad:Layout 1

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ISSUE 115 DECEMBER 2009

COVER STORY

SPOTLIGHT • PORTABLE PA 22 With the quality of the pro market trickling down to the most modest of budgets, we look at the top products at the moment

SPEAKEASY

DB Technologies sits in an unusual position in the world of audio: the younger sibling of the mighty RCF and straddling the worlds of pro audio and MI. Harald von Falkenstein explains how it works NEWS 6 Shure announces MD, Summerfield’s new sales manager, Save our Sound

SPOTLIGHT • HEADPHONES 40 Those involved in DJ and recording have long known the value of the headphone – but the MI retailer rarely cashes in

DISTRIBUTION NEWS 10 JHS wins Fishman distribution for Ireland

MUSIC LIVE 12 What went on in Birmingham

MUSIC CHINA 14 6

RETAIL MI Pro’s unique collection of news and interviews concerning the business and work being done on MI’s front line

The Shanghai show hailed as ‘world’s most dynamic’

NAMM PREVIEW 16 Why you should be there, how to get there and what you’ll learn

ORAL HISTORY 26 Dan Del Fiorentino discusses his 1,200 interviews (and counting)

INDIE PROFILE 54

Shred is the new black – and it’s back

Manson’s Guitar Show, Reverb considers new store, Nevada celebrates, Collerton offers free service

Rockem in Rotherham gives us the lowdown on successful business

CORT 32

RETAIL FEATURE 52

A look inside the impressive Indonesian facility

MANUEL RODRIGUEZ 35 Passion for MI – Spanish style

ANTIGUA 37 The making of a student brand

FOCUSRITE 44 35

NEWS 49

IBANEZ 29 12

FRONT LINE 55 Seasons greetings from our secret retailer

Andrew Landesberg explains the goings on at Reverb

PRODUCTS TRADITIONAL 57 DRUMS 58 BASS & GUITAR 59 PRINT 60

The audio company in MI

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EDITORIAL

MI’s brave boys

“We don’t really do Christmas,” said one distribution managing director. I thought he was joking at first.

LATEST NEWS STRAIGHT TO YOUR MOBILE Bookmark us in your phone:

MOBILE.MI-PRO.CO.UK MI PRO CONTACTS MANAGING EDITOR ANDY BARRETT mipro@intentmedia.co.uk EDITOR AT LARGE GARY COOPER gary@garycooper.biz ASSOCIATE EDITOR ROB POWER rob.power@intentmedia.co.uk DEPUTY EDITOR ROB HUGHES rob.hughes@intentmedia.co.uk ADVERTISING MANAGER DARRELL CARTER darrell.carter@intentmedia.co.uk DESIGNER CLAIRE BROCKLESBY claire.brocklesby@intentmedia.co.uk

EDITORIAL PRODUCTION MANAGER HELEN FRENCH helen.french@intentmedia.co.uk

he MI business is usually a surprise to anyone ‘joining in’ for the first time. Everybody in the trade has a story of an eye-opener – an event that made one sit back and think ‘so this is what this is all about’. The odd thing, perhaps, is that it need not be anything to do with music or musical instruments at all. My first moment of flapping-jawed speechlessness came when researching an article about the Christmas market in November 2000. I was phoning round suppliers asking what they were doing to make the most of the festive season. To say that I wasn’t exactly getting the sort of material to set the readership on fire is quite an understatement – and then came the bombshell... “We don’t really do Christmas,” said one distribution managing director. I though he was joking at first, but as the years have scrambled by, I have come to realise that the world of MI supply literally doesn’t ‘do’ Christmas. Some of you might have noticed that over the past couple of months, MI Pro has managed to avoid the festive season pretty much completely this year. Trying to hunt down news makers that have given the holiday any thought other than how to push more stock on the retailer sometimes becomes a test of endurance that mocks any inherent value. Thus, this month, you will see reports on NAMM’s outstanding Oral History Initiative (page 26), the passion that is making classical guitars (page 35), the process of introducing a new saxophone line to the UK (page 37), the metallic traditions of Ibanez (page 29), a veritable feast of sound reinforcement (dB Technologies on page 18 and the portable PA spotlight on page 22), but no mention, I am afraid, of Christmas... Oh, except on page 55, of course, where our intrepid retail spy pours forth once again on issues that are of the utmost importance to him and his retailing fraternity. Looks as though Christmas is important for some people, then. Yes, that’s right – the general public and the shops they frequent as they are hunting for presents for their nearest and dearest. MI doesn’t do Christmas – well, except for the most important part of MI, of course. It’s too late to do anything about it now, but we might possibly have to re-think that one in the future. In the meantime, have a very Merry Christmas – and spare a thought for the footsoldiers of retail who’ll still be flying the MI flag right up to December 24th.

Andy Barrett mipro@intentmedia.co.uk

PRODUCTION EXECUTIVE ROSIE MCKEOWN rosie.mckeown@intentmedia.co.uk CIRCULATION PAUL LITTLE mipro.subscriptions@c-cms.com PUBLISHER DAVE ROBERTS dave.roberts@intentmedia.co.uk MANAGING DIRECTOR STUART DINSEY stuart.dinsey@intentmedia.co.uk

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NEWS

Shure Distribution appoints James New managing director steps up from installation sales position after nine months deliberation over vacant position NOVEMBER 1ST saw the appointment of Peter James as Shure Distribution UK’s new managing director – a position that has remained vacant since the unexpected death of the previous, long-standing MD, Denis Harburn in February 2009. In his new role, James (who was previously the company’s

has accepted this position as he offers a wealth of enthusiasm, determination and experience,” said Markus Winkler, Shure's EMEA managing director. “His understanding of the industry, dynamic attitude and long term aspirations will help lead Shure Distribution into a new era of growth and competitiveness.”

“It has taken time and careful consideration to decide on a new figurehead to lead the UK division.” Markus Winkler commercial installation sales manager) will lead the direction and strategy of the company and have overall responsibility for all its divisions, management team and staff. “It has taken time and careful consideration to decide on a new figurehead to lead the UK division. I’m pleased that Peter

James brings more than 20 years’ experience to the role of MD, 12 of which have been with Shure Distribution UK (previously HW International, before Harburn helped negotiate the Shure buyout in 2003). Having arrived in the pro audio industry during the MI boom years of multi-track home

NAMM moves into HOT Zone Hands-on training partnerships to aid businesses emerging from recession JANUARY 2010’S NAMM Show in Anaheim (January 14th to 17th) will see the launch of the new HOT Zone forum, a partnership with nearly 20 member organisations that will see free seminars, in addition to the regular NAMM University sessions (see page 16). The new forum is designed to create custom solutions targeting professionals in the audio, stage and lighting industries. The programme will include training seminars, meetings, networking opportunities, and one-on-one mentoring to strengthen the knowledge base of colleagues. Among those involved are the US Patent and Trademark Office, the Department of Commerce, Yamaha and Roland. The meetings will take place on Level 2 of the convention centre.

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recording, he has since worked closely in all major vertical markets, including MI, DJ, leisure, broadcast, live events and audio visual. With a keen eye on customer service and a deep understanding of the importance of good customer relations, Shure believes James is ideally suited to the role. “Having worked with and been inspired by Dennis for many years, I’m very pleased to be able to carry on the legacy that he created and help to continue our long history of growth and profitability.” said James “Taking on the challenge of progressing the company in the current environment is an opportunity that I relish. I want to ensure that we build upon our reputation as the industry’s leading pro audio distribution company and continue to develop and adapt to our customers’ needs.” SHURE: 01992 703058

JAMES: Inspired by Harburn

Vypyr returns to retail Shanghai show completes its eighth year on a high – despite lower international turnout, firms are happy with domestic interest PEAVEY IS taking its successful Vypyr series modelling amps back on the road during December. The company has chosen selected venues, where Peavey's amp specialist, Tom Allen, will be demonstrating the entire Vypyr range. Peavey explained that these clinics provide in-depth information on the potential

and recording possibilities of these amps. They will also allow consumers and dealers to familiarise themselves with these amps in a less-rushed environment. “Tom was really informative with his demonstration of the Vypyr series and Sanpera pedals,” said Andy Hartwell of PMT Manchester. “It was a beneficial evening for everybody who came along. It’s a really worthwhile event”

Dealers interested in booking a Vypyr clinic in their own store, should contact their local Peavey representative or Peavey direct. 2nd - HW Music, Bolton (evening clinic, 7pm) 4th - Curly’s Music, Liverpool 5th - Red Dog Music, Edinburgh 6th - PMT, Birmingham 11th - PMT, Salford 12th - AOS, Stoke PEAVEY: 01536 461234

Further to this, the 2010 trade event will also see NAMM and Core Apps collaborating to bring visitors a new mobile application called Follow Me for all those with a smart phone. Features include linking visitors to each others’ schedules, an interactive show schedule and maps with routing to booths and downloadable brochures from exhibitors. The idea is that this will eliminating the need for large bags filled with literature.

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NEWS

Save Our Sound initiative launched

GOLDSMITH: A recognisable figurehead

British entertainment industry associations and organisations gear up attempts to lobby government over frequencies A NEW initiative, Save Our Sound UK (SOS), aimed at lobbying government for a proper ‘home’ for radio microphone and monitoring frequencies and proper compensation for the upheaval, was launched on November 10th. The group gathered together 21 associations, organisations and unions with the warning that events and broadcast, as well as theatre and concerts, could be damaged as a result of the recent Digital Dividend Review, which is planning the sale of airwave frequencies – mostly to the mobile phone industry. As part of the launch, the new group, headed by such figures as Harvey Goldsmith, issued a statement appealing to anyone affected by or connected to the radio mic and entertainment industries. “All of the entertainment and broadcast activities using radio frequencies, that benefit everyone either directly or indirectly, are under threat,”‘ said the statement. “This is because Ofcom has

decided to sell the frequencies that we rely on and move those evicted elsewhere. The location of this new ‘home’ remains undetermined. Meanwhile, proceeds from the sale will go to the Government. “The funding scheme that Ofcom has put forward is totally inadequate,” continued the statement. “Under its proposed terms, only equipment that tunes to 8MHz out of the total 120MHz due to be sold would be eligible and amounts provided would be based on ‘residual value’ rather than the cost to replace. If Ofcom’s proposals are implemented, many will receive a fraction of what it will cost to replace their equipment. The rest will receive nothing.” “This real estate will be sold off very soon with no second chance to secure the future of those affected. The time to act is now.” said promoter Goldsmith. Those wishing to help the lobby group should contact it via email at saveoursound@me.com.

Denis Wick launches Ultra range UK manufacturer introduces professional euphonium mouthpieces DENIS WICK Products has launched a new range of euphonium mouthpieces designed by virtuoso euphonium player, Steven Mead. The new Ultra range was launched last week to considerable interest simultaneously at Music China in Shanghai and at the National Brass Band Championships at the Royal Albert Hall. Steven Mead designed his original SM series for Denis Wick back in 1995, but recent changes in instrument design and manufacture mean that a more modern, powerful mouthpiece has become necessary. After many prototypes, the design of the Ultra SM3U was finally given Mead’s consent and was met with universal approval at both Music China and the Brass Band Championships. The new mouthpiece has a different, heavier outer shape, a more rounded cup and a slightly sharper inner edge to the rim. The sound is powerful, with a beautiful singing high register. Chinese-born Allen Fan, a rising euphonium star, performed a

Logistics technology award for Faber Voice-controlled warehouse system impresses and adds to publisher’s gong haul

concert on Sunday with a band from Fribourg for Swiss Week in Shanghai. “The Ultra has such a powerful high register – I think that is the loudest top B that I have ever played,” he said.

Initially available in two sizes only (SM3U and SM4U), the range will soon be extended to include other models for euphonium and baritone. DENIS WICK: 01202 665100

FABER MUSIC, recently awarded Printed Music Publisher of the Year for the sixth consecutive year at the MIA Awards, has won yet another prestigious award. At the Chartered Institute of Logistics and Transport (CILT)Annual Awards For Excellence 2009, held at the London Marriott Hotel on October 22nd, Faber Music was awarded the Technology Award for its warehouse management system (WMS). The institute’s president, Graeme McFaull, presented the award to FMD for a successful implementation of its WMS solution, which also employs voice direction, enabling it to gain a reputation as a technological innovator. As a result of the WMS, Faber Music has increased order accuracy and cut delivery lead-time by 50 per cent in the last 12 months

and, in addition, it has improved staff flexibility and productivity by over 35 per cent, as well as reducing errors to virtually zero. FMD has been shortlisted for two further awards, Logistics and Fulfilment and Supply Chain Innovation, as part of the European Supply Chain Excellence Awards. FMD: 01279 828900

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NEWS

Summerfield hires new sales manager Sean Murtagh joins UK supplier and prepares for introduction of new lines, after replacing long-term sales director SUMMERFIELD MUSICAL lnstruments has announced the appointment of Sean Murtagh as its senior sales manager. Murtagh brings to the company over 30 years’ experience in sales and will be responsible for bringing new innovative products to the market, implementing the company’s growth plans and sustaining Summerfield’s service to over 1,200 UK dealers. The Summerfield company (founded in 1900) first distributed musical lnstruments in 1964 and now supplies a

to service dealers throughout the UK and Ireland. As a keen guitar player, Murtagh is an established user of both D’Addario and Martin strings and believes his wide musical knowledge will help him in his new role. “l am very glad to have joined Summerfield as I have used the company’s products for many years,” he said. “One of my first tasks will be to reintroduce the excellent CSL guitar and accessory line and l am very keen to position this product in the industry in

“I am very keen to position the CSL guitar and accessory line in the industry.” Sean Murtagh wide range of musical instrument accessories including D’Addario fretted and bowed strings, CF Martin strings and guitar accessories, Reunion Blues bags and cases, Kacer and all the D’Addario accessory brands. Murtagh takes over from Simon Turnbull, who left Summerfield after 15 years to head D’Addario USA’s new UK marketing and distribution division based in Gateshead. The new D’Addario operation will open on January 2nd 2010 and will work alongside Summerfield and the other long-standing D’Addario UK distributors,

the next year. I feel my industry knowledge and sales experience will be extremely beneficial in my role and I look forward to getting out and meeting current and potential customers.” Summerfield has just launched a new range of CSL Summerfield classical guitars and, on the accessory side, two CSL digital instrument tuners. The new CSL Gypsy guitar line (comprising Maccaferri guitar replicas) will be available early in the New Year. Murtagh can be contacted at sean@sf-music.co.uk. SUMMERFIELD: 0191 414 9000

Gibson raided Federal agents take substantial and documentary evidence from one of guitar maker’s Nashville factories AS MI PRO went to press, a Nashville Post article had revealed that federal agents of the US Fish and Wildlife Service, together with local police, had seized wood, guitars, boxes of files and computers from Gibson’s Nashville factory on Massman Road – the home of Epiphone and Gibson electric guitar manufacturing. The raid took place on November 17th. The agents were acting on legislation of the so-called Lacey Act, which looks to regulate the import of endangered species from abroad – in this case, Madagascar. The East African island is one of the world’s leading suppliers of the valued hardwood. It rounded off a pretty miserable time for the guitar manufacturer, after the derision of the Gibson and Baldwin Hendrix signature guitars and piano and a plea for customers to avoid websites selling cheap pirate Gibson guitars made

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MURTAGH: Beneficial experience

MPG Awards get Focus Top UK studio equipment firm sponsors prestigious award

DUDDERIDGE: A great way to celebrate

in China, this was probably the last thing the company needed. Gibson’s chairman, Henry Juszkiewicz sat on the board of the Rainforest Alliance, which looks to promote sustainable and legal forestry, but resigned after the raid. As of Nov 23rd, no charges had been filed against Gibson.

FOCUSRITE HAS put itself forward as the official sponsor of the International Producer Award at the 2010 MPG Awards, to be held at the Café de Paris in central London in February. Commenting on the sponsorship, Focusrite’s managing director, Phil Dudderidge (pictured), said: “‘I am delighted that Focusrite is able to sponsor the International Producer Award at this year’s Music Producers Guild event, which

is a great way to celebrate the art of record production.” The Awards were set up to celebrate the creative talent and technical ability of the UK’s music producers, engineers, mixers and re-mixers and are linked to the BRITs through collaboration with the British Phonographic Institute, which helps to affirm the role of the producer to the wider audience of music consumers. FOCUSRITE/NOVATION: 01494 462246

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DISTRIBUTION NEWS

Fishman for Ireland JHS appointed exclusive distributorship for republic from January 2010 BUILDING UPON its recent appointment as exclusive British and Northern Ireland distributor for Fishman, JHS & Co has now also secured exclusive distributorship for Fishman products in the Republic of Ireland, effective from January 1st 2010. With a raft of popular products, complemented by the recently introduced SA220 line array-style Solo performance PA system and the Aura Spectrum DI instrument preamp pedal – a quality direct box comtaining the award-winning Aura acoustic imaging technology – JHS will be bringing the benefits and profitability of the Fishman brand to the attention of all Irish dealers. The co-operation between JHS and Fishman to fit genuine Fishman transducer systems to the Vintage electro-acoustic

guitars will further establish both brands in Ireland, raising the profile of Fishman’s leading transducer brand. The words of JHS’ MD, Dennis Drumm, quoted when JHS were initially appointed as the UK distributors of Fishman, have a particularly relevant echo to them now: “We are truly delighted to have been selected to offer the world’s number one brand of pickups, preamps, tone shaping products and amplifiers to our customers. Beyond the focus we can bring to the distribution of Fishman in our market, there are synergies between JHS and Fishman, which will lead to some very interesting and exciting developments.” This statement was affirmed by Larry Fishman, the founder of Fishman Electronics, commenting on the business-related similarities between Fishman and

JHS: “We have similar roots, business histories and place a high value on the importance of a seamless transition of product from manufacturer to musician. “Both companies enjoy reputations for excellent products and customer service and are, therefore, equally fastidious about the quality of our business alliances. As the largest independent distributor of musical instrument products in the UK with a 44-year history, JHS brings a depth and understanding of the market that is unparalleled.” JHS serves every musical instrument retailer in Ireland and dealers should contact the JHS Ireland area sales manager, Matthew Fleming, on his mobile (+44 7919 207346), via email at matthew.fleming@jhs.co.uk, or call JHS directly. JHS: 0113 286 5381

Westside’s Best

Rosetti announces UK-made guitar

Former Line 6 man joins Glasgow distributor to cover sales for the North of England

Adam Black launches the Libra UK electric from British supplier

WESTSIDE DISTRIBUTION has appointed Adam Best to the position of sales manager for the North of England. Best joins Westside with over ten years’ experience in MI field sales, having held positions at Exclusive Distribution, Yamaha and Line 6, although he began his career in retail at Fairdeal Music in Birmingham. He will now be responsible for selling all of Westside’s guitar-based brands, including

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CF Martin, Mesa Boogie, Levy’s, T-Rex, Morley, Lehle, Tone Pros, Elixir Strings & Cables, Aer Amplification, AXL, G7th Capos, EPM, Schecter Guitar Research, Tom Anderson Guitarworks, Cruz Tools. He’ll also be developing the company’s plans for growth. Best can be reached via email at adam.best@ westsidedistribution.com, or ring 07989 697382. WESTSIDE: 0141 248 4812

THE ADAM Black Guitar Company has announced the first UK-built electric guitar in its range. The guitar, the press release stated: “offers great playability, style and tone and all delivered at a competitive price.” Ever since the company’s conception, a brand created by UK MI distributor Rosetti, Adam Black has concentrated on creating guitars with all of the features that players look for in a quality instrument, without “wasting time and expense on any unnecessary and frivolous extras that add nothing to the sound and playability of the instrument and increase the cost to the player”. The Libra UK bucks the trend of recent years of musical instrument companies sourcing well-made, affordable instruments from the Far East. With what it describes as ‘careful and clever planning’, Adam Black Guitar has been able to design and create a UK-built instrument that competes with Far Eastern guitars and includes high-end construction features that are typically found on more expensive instruments. This has been done, the press release continues: “by utilising

specialist UK design and engineering techniques. The three-piece American ash body is precision machined and crafted to high tolerances in the UK and, combined with high specification components sourced from other countries, the instrument is built and finished by hand by a small team of skilled and experienced luthiers and technicians.” The guitars comprise a close grain rock maple neck with a rosewood fingerboard, a three-

piece solid ash body with grained timber, chosen for its tonality, stability, sustain and looks, while the hardware is all metal parts finished in gun metal nickel. The high output pickups are selected by the guitar techs for sound and the guitars are available in either natural or scar red finishes. All Adam Black Libra UK Guitars are made in Braintree, Essex, United Kingdom. ROSETTI: 01376 550033

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PROFILE • DISTRIBUTION

Get Ahead Of The Curve Tom Robinson talks to MI Pro about EMD’s bestselling lines and the firm’s distinguishing features... Year Established: 1963 Number of employees: 160 Is business up or down compared to last year? It’s up. How has the current economic climate affected business? Territories covered by our own sales force in Germany, France, Benelux and the UK have done well considering the actual climate, but export sales have suffered – mainly in Eastern Europe and Latin America. Retailers are looking at the margins more, which helps us with our high margin product profile. Some distributors are lacking stock, which has directed sales our way. Credit being tight for some retailers has meant our payment terms are being stretched more this year. What are your bestselling lines and why do you think they perform so well? Stagg's new Neutrik cable range and a complete new range of straps have been doing well – thanks to a combination of quality, value and dealer margin. So have James Neligan solid top guitars, especially now they’re being set up prior to despatch. Remo heads – the accessory that can turn an old, poor-sounding kit into an old great sounding kit – is selling well, and so are Stagg cymbals, thanks to great margins for dealers. Stagg brass and wind is reaping the rewards of great quality control, set up by EMD technicians, great value and of course good margins for the dealer.

Finally comes Simon & Patrick, Canadian made and a guitar for life without having to take out a mortgage.

For years KRK RoKit speakers have been the popular choice for accurate monitoring at home and in studios, large and small. The

What are your criteria for selecting new products? Quality, price and production capacity are our major criteria and, of course, demand from customers.

new Generation 2 RoKits raise the bar once again, setting a new

What distinguishes you from the competition? The infrastructure of the company. Global warehousing in China, Europe and US provides great stocks and purchasing options, such as direct supply from 1,200 items in one container within six weeks. We have over 4,000 items in stock most of the time (95 per cent fulfilment), a great website and finally a fantastic sales team with a focus on customer service.

more accurate response curve to match the new cabinet, custom

industry standard by which all other monitors will be measured. The curved edges virtually eliminate diffraction, providing a wider sweet spot. Our engineers also gave the Generation 2 RoKits a drivers, and our true bi-amplified and active crossover systems. Give the new Rokits a listen and become a believer too. Regardless of your budget or experience level, the new Generation 2 Rokits give a whole new meaning to the phrase “Getting Ahead Of The Curve.”

How do you maintain a good relationship with retailers? Great local area managers – we have eight in the UK. We also have what’s probably the best business-to-business website out there (we should push this more, really). And we make sure our dealers don’t have to compete with supermarkets on Stagg products. What would you say is the biggest challenge facing the industry today? Sales leaving our industry to become a very very small part of a global retail supermarket. What are your aims for the next 12 months? To grow our business.

“We have what’s probably the best business-tobusiness website out there.” Tom Robinson, EMD Music Rokit 5

CONTACT DETAILS

Rokit 6 Rokit 8

Address: Unit 1, South Lodge Court, Ironsbottom, Reigate, RH2 8QG Phone: 01293 862 612 Email: t.robinson@emdmusic.com Contacts: Tom Robinson – UK Sales Manager, UK Office – Phil Woods & Kandy Hobden

For more information visit www.krksys.com/rokit

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EVENT REVIEW • MUSIC LIVE EVENT: Music Live DATE: November 6th to 8th VENUE: NEC, Birmingham VISITORS: 21,000 EXHIBITORS: 99 VERDICT: The smallest Music Live, possibly ever, in terms of both exhibitors and visitors, but the ML buzz was still evident – particularly on Education day

Music lives With the exhibition industry battling it out with itself to win its customers’ marketing budget, Music Live continues to prove it is a show with a life, a buzz all its own – and that is a valuable USP. Andy Barrett was on the show floor…

t’s been a tough year for MI shows in the so-called ‘developed world’, with all of the trade and consumer shows through 2009 putting a brave face on declining numbers of both visitors and exhibitors. While every show has been eminently worthwhile, there has been no hiding the fact that organisers have been a bit disappointed with the state of things – particularly as everyone is making much of the fact that the musical instrument industry is doing better than most in these hardest of economic times. Music Live is no different, although it does have some trumps up its sleeve that make for an entertaining and thoroughly valid show – and for the benefit all of the doomsayers, the show is very much here to stay. “We’ve been here for ten years now,” said the show’s founder and manager, Jason Hunt. “Obviously that makes us a part of the landscape, but it also means that it is time to look at the structure of the show and how it can improve – we are doing this already.” As ever, the Education Day on the Friday was witness to thousands of young and enthusiastic players and aspirants, who clearly enjoyed the stands that had made what you might describe as a

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‘traditional effort’ – they were spacious, crammed with stock and, in the case of Strings & Things, had some impressive artists giving demonstrations. JHS, Source Distribution, Rotosound and Headstock were among the others that had made every effort to keep the show buzzing. But there were some big names missing, most notably Sound Technology, Roland, Korg, Gibson and Fender – all companies that have traditionally pushed the boat out at the show.

hopes to build the show in 2010. “It’s too early to say exactly,” he explains, “but the seminars and clinics were hugely popular and it is obvious that visitors want more of this. We had some teachers and educators come to the show this year and I have given them an outline of the sort of things I want to do. The beauty of education is that you are looking at new and potentially long-term customers. This brings people in and is always something worth pushing.

“We’ve been here for ten years now and that makes us part of the landscape. It also means it is time to look at how we can improve.” Jason Hunt, show manager “Yes, of course it is disappointing to have so many people pull out of the show,” admits Hunt. “The economic situation has been given as the reason and that is something completely outside our control. Everything that was under our control was extremely successful.” These elements include the seminars and the live stage, both areas where Hunt

“On top of that, we have a live stage that also pulls in a lot of people and that is closing at five o’clock. I don’t see why that shouldn’t be used into the evening.” Much of the live stage activity this year was due to the collaboration with Birmingham’s Hellfire festival, which has, according to Hunt, been a relative success. “I would have hoped for more people to

have come from that – and I think they had, too. It is another area we have to look at.” Ultimately, Hunt believes that next year’s show will be better, partly because the economy is expected to improve and because of the developments he hopes to make with the show. “The exhibitors will be back, I’m sure,” he insists. “The response we have had from the visitors has been great and as long as the public are coming, then the trade will want to be there, too.” Retail has, of course, always been central to the show and Hunt acknowledges the extra effort that the retail sponsors had put in to this year’s event. “I can’t really thank them enough,” says Hunt. “Absolute Music, Fair Deal Music and the Birmingham Drum Centre have all made a lot of effort this year to make the show as good as it could be. I’m really grateful to them. I’d also like to thank JHS and the effort they have made. The stand was as good as ever and of course JHS is responsible for the HK Audio sound system on the live stage. I’m also really grateful to everyone who has supported the show this year. It’s great to know that there are still some important people who see the value of Music Live.”

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EVENT REVIEW • MUSIC CHINA

Open secret

EVENT: Music China (and Prolight + Sound Shanghai) DATE: October 13th to 16th VENUE: Shanghai New International Expo Centre PROLIGHT + SOUND: 367 VISITORS: 42,499 (2,498 international) PROLIGHT + SOUND: 13,694 VERDICT: Despite the drop in overseas visitors, the show lost nothing of its international flavour, with exhibitors and visitors alike applauding the dynamism of this increasingly important show. With a clear increase in domestic activity for UK companies, next year’s event is bound to see more manufacturers take advantage of this seemingly limitless market potential.

While the official figures from Messe Frankfurt show this year’s Shanghai gathering to be a little quieter after six years of growth, the overall effect for exhibitors and visitors alike was that it made no difference at all. Andy Barrett reports…

hen I first attended the Music China show in 2005, the two dozen or so UK exhibitors there told me that part of the reason for going was to meet international distributors that found it easier to get to Shanghai than Anaheim or Frankfurt. But more importantly, the intention was to be there, ready and waiting, once it became simpler to sell into the Chinese domestic market. It seemed a long way off to some, as 2006 saw a drastic reduction in the number of UK exhibitors – although most of those were back to pace the aisles, meeting with factory bosses and international clients without the expense of having a stand. This year’s show saw UK exhibitor figures returning to something approaching that first visit and also (finally) a shift away from simply meeting Pacific Rim clients towards a genuine push into the Chinese market, as the infrastructure in China’s leading cities and regulations from central Chinese government grow more sophisticated and ‘user-friendly’. That said, there was a clear reduction in both international visitors and exhibitors overall, although for those present, it was a case of ‘more fool them’. Stephen Wick of Denis Wick Products was in Shanghai for the third time. “I knew that if we were to do this properly, we would have to give it at least three years,” he explained. “Actually, we saw the benefits immediately, but now the show,

14 miPRO DECEMBER 2009

along with Musikmesse and NAMM, has become a must-attend event for us. We’ve seen some tremendous business already.” While the past few years of Music China (this is now the eighth show here in Shanghai) have been largely concerned with opening up or consolidating channels into other Far Eastern markets, this year many of the regular manufacturers and publishers are finally seeing the Chinese fruits of having a presence here.

Mullins marketing manager, holding fort as the western face of the company. Likewise, Ashdown and Hayden products took up a good part of its distributor’s stand and is immediately seeing the upside of having a reliable partner selling directly to the Chinese market. ABRSM was touting a pilot scheme for its exams in the Shanghai region and has seen enormous business on its stand as a result. “Some people are saying that the

The show was still buzzing with overseas visitors eager to strike out into the China Two brands, Ashdown and Faith, were at the show with their domestic distribution companies, which has the benefit of making life that little bit easier for the UK management, as well as having a team on the stand that knows and understands the Chinese retailers. Faith had been involved in China previously through a single Chinese multiple, but had switched to a new distributor, with Alex Mew, Barnes &

show is a bit quieter this year, but I certainly haven’t been so busy in the five years we’ve been coming here,” said ABRSM’s Ben Selby. “As well as the increased interest from the Chinese pilot, we have had just about everybody from the Pacific region here over the past four days. It’s been incredibly good.” Reports from all the UK exhibitors were positive and even first-timers, such as the new Scalerail piano education aid,

reporting a bewildering level of interest and business done. “I think we can safely say this is the most dynamic MI show in the world,” enthused Cordelia von Gymnich, VP at Messe Frankfurt. “While other shows are holding on or even shrinking, this show is proving to be an area of real growth..” The UK pavilion in Hall E3 comprised just two companies, Denis Wick brass mouthpieces and mutes and Howarths of London, the double reed woodwind manufacturer. Nigel Clark, a director with Howarths of London, pointed out that while double reeded instruments are unlikely to hit rock and pop levels, the Pacific region is a very important market for him – underlined by the fact that the company has been at every Music China show since its inception in 2002. “Of course, the high-end market is where our reputation lies,” said Clark, “but with our new German-made quarter-sized bassoon and the UK-made half-sized oboe, the education market is one where we will see a lot of growth – especially here.” The student oboe is all-wood and fully handmade, but Clark’s team has been able to keep the retail price to within the student range (about £700) by simplifying the model and the keys. It is an impressive instrument. “We’re really pleased with it and the fact that it is that little bit simpler to play

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MUSIC CHINA • EVENT REVIEW

Eye-catching displays drew people in

adds to the benefits for the student,” Clark concluded. The busy and bustling guitar hall (E5) was arguably the most vibrant at the show and the three UK companies in the hall were making the most of the high domestic attendance. One interesting shift perceived by the Tanglewood business is renewed growth in its entry-level ranges. “A year ago, we were selling container loads of the Sundance and Heritage lines,” explained Tony Flatt. “This year, sales for these higher end lines are down, but the increase in the Evolution sales has more than made up for that.” The central item on the Tanglewood booth was a new prototype single cutaway Sanden Master Design series guitar, due for launch early in 2010. Sanden’s single cutaways are among the most elegant looking of guitars, but Sanden himself had never been happy

Three companies were involved on the IBC Trading stand, Iain Wilson’s consultancy service to the MI trade globally. Together with Wilson’s own work, offering quality acoustic guitars for companies to add their own brand to, Larry Fishman of Fishman Electronics and Noel Sheehan of the G7th capo company were also on booth duties. Fishman was gearing up for the NAMM show in January and took the opportunity to meet as many of his regional distributors as possible. G7th, on the other hand, had new product and some new initiatives underway. The innovative capo manufacturer launched the new G7th Nashville Classical, a wider, flat-faced spring-loaded capo designed specifically for the classical guitarist. Sheehan was also showing prototypes of a new, special edition G7th, with gold finish and stored in its own, foam lined ‘stash tin’.

“I think I can safely say this is the most dynamic MI show in the world. While others are holding on or shrinking, this show is an area of real growth.” Cordelia von Gymnich, Messe Frankfurt with the results of the Far Eastern manufactured versions. Now it appears that, with a touch of final tweaking by the Swedish luthier, the single cutaway will finally be a part of the series. Next door to Tanglewood was the Hiwatt stand, where the new Hi-Gain series of combos were loaded with Fane speakers. “There are still a few very minor adjustments to be made on these, but essentially they are ready to ship – and we are really pleased with the results,” commented Mark Lodge, Hiwatt’s general manager. “Of course, having a British speaker in a British amp is a good thing to shout about, too.” The Fusion brand of gigbags had its own well-positioned corner slot in Hall E5 and the colourful bags and the lively activities of the four directors of the company proved a popular draw for visitors. Fusion launched a new range of keyboard bags, with the company claiming that any keyboard on the market today will find a suitable bag from the range. These new bags will also function as carriers for guitar pedalboards, too.

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“It’s a bit of a novelty and essentially just to give fans of the original G7th something a little bit special,” said Sheehan. “It looks great and, with just a 30 per cent increase in price, I’m hoping it will prove to be a nice distraction for some guitarists.” As the Music China show closed its doors on the 2009 edition on October 16th, the general perception of the show was that, despite the rate of international attendance, there were more than enough positives to take away to have made the effort well worth it. Manuel Rodriguez III probably summed up most people’s thoughts when he commented: “What recession? This has to be the best show in the world right now.” Many of the UK exhibitors, notably Faber and Ashdown, reported a disappointing turnout of Pacific Rim distributors this year, but both were still keen to express an overall satisfaction with the show. As previous reports from the event have pointed out, however, the driving force behind most international exhibitors this year was the domestic market.

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EVENT PREVIEW • NAMM SHOW EVENT: The NAMM Show DATE: January 14th to 17th VENUE: Anaheim Convention Center, California

Put simply, NAMM appeals to everyone

Looking forward Prior to next month’s stand-by-stand preview, MI Pro takes a look at why NAMM is the place to be – more than ever before…

y the time you read this, you will be a mere six weeks away from the NAMM Show – and that means if you haven’t already booked your flight to and hotel in Anaheim, you had better get moving. Believe us when we say it will be worth it. 2009’s show took place amid the depths of doom and gloom in the global economy and while Britain keenly felt the effects of the recession, it was the US that

recession, although one thing will remain true for just about anyone: MI, by and large, bucked the trend and the expected plunge into collapse for manufacturers, suppliers and retailers alike never really happened… To date. The big question now is how and when business will find the path back to growth. The simple answer here (and you knew it was coming) is that trade shows are the best way to steer that course.

“Although we don’t know exactly when, we know there will be a recovery. Those who attend the show will be better able to take advantage.” Joe Lamond suffered more than most, which made for an interesting balance of attitudes and opinions, with the Europeans (unusually) providing the more optimistic of perspectives on the MI trade. The January 2010 show will see the world’s economies either officially out of or on the brink of emerging from the

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“Although we don’t know exactly when, we do know there will be a recovery,” Joe Lamond, NAMM’s president and CEO, told MI Pro. “Those who invest in their companies and themselves by attending the 2010 NAMM Show will be better positioned to take advantage of the better times ahead.”

The UK trade, since the 1960s, has enjoyed a close relationship with America’s MI trade, on an unofficial, almost relaxed basis to begin with, but increasingly structured as the MIA and NAMM work ever more closely together and as NAMM extends its ideas, schemes and projects (and wealth) to the world at large. NAMM’s work really is key to what all of us do. This isn’t to say that the UK can’t influence NAMM, either. Whether on the level of the trade bodies or simply as regards being part of the industry, Britain and Ireland are seen as valuable allies. “This year, I attended LIMS and was impressed by seeing the passion and energy of your music community in action,” commented Lamond. “I’m really looking forward to seeing that community come to Anaheim and add their energy to this year’s NAMM Show.” The fact is, whether things are going well or not, NAMM is the ideal springboard for the year to come and the first opportunity of the year to get in and among your peers and find that spark of inspiration to further your business.

TRAVEL Getting to NAMM has never been easier, with several airlines flying directly to LAX and prices holding a keen edge. On top of this, NAMM has arranged various special discounts for those attending the show. From deals with American Airlines and United Airlines to discounts on shuttle services from the airport to Anaheim (many of them going directly to the hotels’ front door), the expense is a lot less painful than some might think. NAMM’s Joe Lamond points out that one should not, however, look upon it as an expense. “Airlines are offering sizable discounts on air fares to the US, so it’s a great time to visit the NAMM Show,” he said. “With all of the new products, learning and networking opportunities, the return on that investment will be substantial.” For the full list of available travel deals available, go to namm.org/thenammshow/ 2010/travel.

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NAMM SHOW • EVENT PREVIEW

NAMM UNIVERSITY SESSIONS The NAMM University has grown from its inception into a comprehensive guide to running successful businesses in the MI industry and now, with its content online, it is more accessible than ever. The Anaheim show has become something of a centrepiece for the university sessions, with its breakfast meets and ongoing talks and seminars on the show floor throughout the event. This year’s show is to be no different. Below is a full run through of what you can expect. Breakfast sessions (8am in the Hilton ballroom) Thursday Breakfast of champions: Joe Lamond talks to industry experts Friday The post-crisis consumer: John Gerzema discusses taking postive action from the recession Saturday Strategies for a changing retail world: Being proactive in tough times Sunday Best in show – this year’s hottest products: Music Inc magazine gathers industry experts to look at what’s hot at the show IDEA CENTER (STAND 5501) Thursday 10:30am – How do I make time to market my business? 11am – The five silver bullets for productivity improvement 12pm – How to build and maintain an effective emailing list (Part 1) 12:30pm – How to create an effective e-newsletter: before & after make-overs (Part 2) 1pm – Creative ways to beat the market 1:30pm – The magic of wish lists: build your business year-round 2pm – How to take advantage of NAMM University online 3pm – Managing your best resources: mining for great store employees 3:30pm – If you rent it – they will come: short-term rentals 4pm – Create it, date it and do it – part one 4:30pm – The power of passion – part two 5pm – The power and profit of teaching – empowering teachers to teach and sell - part three

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Friday 10:30am – Where the wild things (and people) are: Facebook for beginners 11am – Marketing? Promotion? It’s your store – and your money 11:30am – Five secrets to closing a sale when a customer starts to walk 12pm – Math for musicians: how to read a financial statement 1pm – Four keys to making money with RMM piano classes 1:30pm – Creative merchandising: make the most of what you have 2pm – Igniting the spark 2:30pm – Rock n roll retail: how to turn your salespeople into retail rock stars 3pm – Do it today, be ahead tomorrow: taking advantage of the current slowdown to put your best foot forward 3:30pm – The Wanna Play experience: the new optin programme 4pm – Lesson strategies for the new decade! Saturday 10:30am – Rock star retailers - real results from using social media 11am – Getting Twitter: much more than meets the eye 11:30am – Take control of your website 12pm – How to design a year-round promotional calendar – part one 12:30pm – How to ensure successful promotions – part two 1pm – Show me the money now – sure ways to get financing 1:30pm – Guiding your customers through the decision-making process 2pm – Becoming a retail superstar: business-building lessons from America’s best independent stores 3pm – This is how I manage my store 3:30pm – Music industry ‘regs and legs’ 4pm – Seven ways to thrive in any economy Sunday 10:30am – Social media, I get it – but where do I start? 11:30am – Getting your recommended daily allowance of social media 12pm – The power of Youtube 12:30pm – Get found online 1pm – Industry panel: trends in music education 2pm – 2010 best tools for schools awards

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COVER FEATURE • DB TECHNOLOGIES

Sound pre dB Technologies has made quite a name for itself in the past few years and now, Gary Cooper discovers, it is looking to convince the MI trade that there is money to be made by stocking up on its clever black boxes…

he moulded plastic loudspeaker has been with us for many years now. In its earliest incarnation, it was a pretty spartan product with really only its light weight in its favour. Now it’s evolved into a sophisticated piece of audio equipment and, increasingly in the case of the active varieties, become the obvious choice for bands and entertainers and others who need portability, ease of use and, in the best instances, extremely high sound quality. The problem faced by retailers is which of the many competing brands on the

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market to stock. Italian acoustic specialist dB certainly has a claim on your attention here as it has over 25 years in the market and a strong presence in the UK. Though the parent company is based in Bologna, dB’s UK operation is controlled from Cologne, Germany, where it is managed by dB’s Harald von Falkenstein, who explains the company’s impressive technological background and, particularly interestingly, the link with one of the other great names in Italian audio – RCF. Current president Arturo Vicari, who founded the parent company AEB

(Acoustic Engineering Bureau) back in the 1970s, bought RCF in 2004, from Mackie, which was something of a homecoming for the brand. Mackie had bought RCF in 1998 – a move the American company found problematic pretty much from the word go – when Vicari was managing director and eventually sold the company back to the Italians, this time with Vicari at the head of the purchasing consrtium. While this might seem to place dB and RCF head to head in the market, in practice, von Falkenstein says they tend to focus on different areas and both benefit

from the other’s technical expertise – AEB having a strong background in electronics and RCF in speaker design. “People often get the wrong idea, believing that RCF is the mother company, but that’s not the case,” explains von Falkenstein. “The way it has been set up is that the RCF Group is effectively the holding name, with RCF, AEB and dB within it. Obviously, it made sense to use the RCF name when it was floated as a public company in 2007, as it has been in business for 60 years, is well known round the world and is the better known brand.

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DB TECHNOLOGIES • COVER FEATURE

ssure “As a group, last year the total turnover was €63 million, but that will change because recently the RCF group acquired the lighting company SGM, so next year will see us having a larger turnover because of that. “As far as the UK is concerned, that is closely connected with the way the German operation developed. That was founded in 2000 and the managing director of the German company became sales and marketing director of AEB, and at that stage I became responsible as European sales manager for distributors in West Europe. Since then, the operation has grown to become a very important part of the structure of the organisation. From here we take care of markets where

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we go direct, with sales representatives employed by us – which is in the UK, France, Benelux and most recently in Spain, where we opened an office not long ago. Then there are another ten distributors in the other European markets. So from where we started in 2000, with just three people, we now have an organisation here in Cologne with nearly 30 people, which is quite significant growth in eight or nine years.” Having established that dB is a sizeable concern, one other important thing to know about the operation is the depth of AEB’s background in technology. Unusually, von Falkenstein explains, the company began life as an OEM supplier in the wireless microphone business.

dB goes direct in the UK with its own reps

VON FALKENSTEIN: Proud of DVA sales

“AEB started in that market in the late 1970s, making some very interesting wireless systems, and in fact was the only manufacturer that was able to make an affordable wireless system at the time. Back then, a wireless system cost at least €1,000, but Arturo Vicari realised that he needed production facilities outside Europe, so he and some partners opened production facilities in India and China – these two factories are still owned by him today and supply a lot of our components. “Having these production facilities enabled AEB to produce systems at very affordable prices and it sold systems to microphone companies like AKG, Beyerdnamic and others. So that’s where AEB started and out of this development, next to the wireless R&D, we started our first active plastic speaker R&D, at the beginning of the 1990s. We were the first manufacturer to bring out an affordable active plastic speaker and that’s what became the foundation of dB Technologies’ reputation today. “We started with one or two models and now have expanded the range with a lot of very professional products – and that’s where the synergy with RCF lies. With us having a very good R&D department for electronics and amplification and with RCF acknowledged as one of the world’s best speaker chassis manufacturers, we have synergies where we supply all the electronics for their active systems and in our more professional products, like the DVA range or the DVX range, we use RCF chassis speakers. This gives us a good advantage over some of our competitors as it means we are doing everything in-house, we don’t need to buy from any outside manufacturers and that is reflected in the price for the end user.” Distribution of dB in the UK was originally in the hands of Beyerdynamic until the decision was taken to go direct to the UK market. From 2004, the company had an office here, but now operates direct to Cologne, with two sales reps in the field – a sales manager, David Kelland (who handles the North, Scotland and Ireland) and Richard Soper, who joined the company last month. This gives dB a competitive edge as it is operating centralised distribution in various European markets, reducing overheads and reflecting that economic advantage back into end-user pricing.

“The goods are all stocked here, in 1,600 square metres of warehouse, and we supply Germany, the UK, Benelux, France and Spain,” von Falkenstein says. Of course, this raises inevitable questions in a retailer’s mind about how quickly dB is able to service rush orders, but von Falkenstein says modern logistics mean that if an order is received by dB, either direct to one of dB’s reps or via freephone number to their office, or via email or fax, the product can be delivered to the shop in two days. Service, on the other hand, is undertaken directly in the UK, so effectively, dB feels, it is little different from dealing with a UK company. While in the past dB was relatively easy to pigeonhole as a supplier mainly to the MI end of the market, with the company’s well-liked active, plastic, Opera range, today it has broadened its range to such an extent that it serves a sector of the traditional pro audio field, too. This is particularly true of products like the DVA line array, which was introduced three and a half years ago. The DVA system has been a revelation for many and has become dB’s most successful ever product – not surprising as it has brought the line array concept down to an affordable level for many who would otherwise have been confined to cumbersome point source systems. It does this by using plastic housings with 420 Watts of digital amplification on board, coupled to RCF neodymium speakers. The DVA system effectively opened the door for smaller rental companies to be able to offer a usable line array system at an affordable price. And if that seems a bit exotic for a music shop – even one with a PA department and some expertise in the market – it might be time to take a close second look. A DVA T4 unit can retail for just £1,125, which suddenly opens up a range of markets beyond rental companies. There are many entertainers and bands that will spend that sort of money – let alone educational establishments, companies and organisations. “We will be selling our 10,000th DVA T4 unit soon, probably this January – and not a lot of manufacturers could say something like that,” von Falkenstein says with justifiable pride. “Again, our advantage is in

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COVER FEATURE • DB TECHNOLOGIES

the production, the price and the flexibility of the system, you can use it as a ground stack, you can use it flown – it is a tremendously versatile system.” However good a manufacturer’s products, the plastic speaker system market is tremendously crowded, with just about every PA manufacturer offering something – so why does von Falkenstein feel retailers should look to dB as opposed to some of its competitors? “In the nine years of dB Germany, we’ve reached the position of market leader and we intend to do that in the UK as well – particularly with our new approach of having two reps for the country. The dealer doesn’t merely need a good product for a good price, but also support and efficiency in delivery and with warranty issues. That is one of our most important goals – we want to make sure that even if there are problems, we are able to help the customer immediately. “I think where we stand out falls in three areas: quality, reliability and flexibility. We don’t only do plastic boxes, we offer a flexibility where you can constantly update. So if a small band buys a pair of new digital Opera speakers and then discover they are getting more gigs at bigger venues, it is really easy for them to expand the system, first with subwoofers and then, if they find they need more than that, they can use the Opera digitals as monitors and add a larger speaker system out of the new Flexsys range that we have introduced. “You never need to get rid of something from us – you can constantly upgrade your speakers – and that is another way we stand out from our competitors. We thought this out from the start. All of our boxes are multifunctional – you can use them on speaker poles or as monitors. The more professional speakers, such as the DVX range, have rotatable horns. They can be mounted on the wall, or flown, which for rental companies is a very attractive feature. This means the market gets a good, reliable product with high flexibility for an affordable price.” One recent feature of dB’s operation in the UK that will reassure dealers is the way the marketing is now better directed at getting the word out to the street.

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Consumer advertising appears in magazines such as Performing Musician and reviews across several titles are helping spread the word. This is no small issue, as dB doesn’t have the same benefit of cross-recognition from other products as some of the giant MI manufacturers – nor the decades of brand recognition held by some other players, among them, of course, sister company, RCF. Assisting this, von Falkenstein says, are the activities of the UK reps, who are keen to arrange in-store demos. He is also very aware of the role the internet is playing in promoting products via user forums and groups and points to the success of the DVA line array as being, at least in part, due to the enthusiastic reception and recommendation that system has received online. “For the dealer, the most important thing is that the customer is happy with what he has been sold and I think we offer

enormous, of course – a lot of people don’t realise that. We make sure that the message and our philosophy gets across the way we want it and, yes, panEuropean pricing was there, too. In Germany, we have two very large retailers that influence the rest of the European market, so we said if we want to grow our business in the UK, we have to make sure a good dealer is buying for the same prices as a dealer in Germany. Obviously, the conditions can be the same, but we can’t influence the margins the individual retailer works on. But we can ensure that everyone is able to be competitive.” For retailers that have traditionally shied-away from selling PA, von Falkenstein is sure that his UK reps are in a good position to help. “The job of a modern sales representative is not just to sell, it is to act as a consultant. Obviously, for a shop that just sells guitars, basses and strings, it is difficult, but we are happy

“You never need get rid of something from us – you can constantly upgrade your speakers – and that’s one way we stand out from our competitors.” Harald von Falkenstein, dB Technologies the right tools for that. Because it’s flexible, customers can use it in different ways at different gigs and the only time they come back to the retailer is to say ‘thank you for selling me dB – now I would like to add a sub-woofer, or I would like to add something else’. We want to avoid stress for our dealers and our customers – that’s what we do.” This brings us to price and the everpresent concerns about products and brands when end users can scour the internet for cheaper prices from continental retailers, also taking advantage of modern logistics. It was partly to counter this, von Falkenstein says, that dB decided to go direct to retailers – so that they had control of pan-European pricing and could try to contain the often distributor-driven discounting which leads to retail price chaos. “The only way to do this is to deal direct, but the overheads of doing that are

to come in and offer advice about what you could do to set up a department and how to make it work. “PA selling is different to guitar selling, with different customers and issues. We are happy to share our experience there and help – and that is how we have grown in the past, because dealers have seen that we are reliable business partners. We’re not just there for their money, but to form lasting relationships with them and their customers.” And the future? Bear in mind that AEB started life as a manufacturer of affordable wireless mic systems for other manufacturers. On the way, von Falkenstein hints, is a return to that market, but this time with a groundbreaking product under the company’s own name. One more reason, you might think, that now could be a good time to take a closer look at this enterprising manufacturer.

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SECTOR SPOTLIGHT • PORTABLE PA

Pocket rockets

For a product that an awful lot of people give little thought to, PA in the MI shop is a growing market, with more and more manufacturers getting in on the act. Rob Power puts in his ear plugs, turns up the volume and checks out the gear…

or the majority of us that never quite made it to stadium superstardom, the gigging world is one of pubs and clubs with small stages and an audience that is never more than about three feet away. While we all dream of doing the duckwalk at Wembley to the adoring masses and feeling the power of some million-Watt enormo-speakers at our backs, the reality is that small, easy-to-transport systems with good quality of sound are what are going to be rocking our worlds. In these days when live music is so crucial to the bread and butter of the working musician, competition is fierce,

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and with customers more informed and selective than ever, manufacturers have got their work cut out in delivering quality systems that don’t sting the pocket too badly. So, without further ado, it’s time to dive into the world of portable PAs: PEAVEY Ever popular in this area, Peavey has two key systems available in the form of the Escort 3000 and the Messenger Lite. The Escort, retailing at £515, features an integrated design for ease of transportation,

while its user-friendly controls offer ease of operation, making it a sensible choice for schools, churches and the obligatory bands. Dual two-way speakers driven by a five-channel, 300 Watt stereo powered mixer make it ideal for both vocals and instrument miking, and the system also includes a PVi microphone, two folding speaker stands and all the necessary connecting cables, making it a straightforward out-of-the-box solution. Similarly, the Messenger Lite at £326 also includes a complete system, with two 50 Watt speakers, a four-channel powered mixer, built-in storage space for mics and wires, and a Peavey microphone, XLR cable and two speaker cables.

might expect from JHS, they are a competitively-priced solution that will get the job done. JHS also looks after HK Audio and its Lucas portable PA, which combines a fullrange system with foolproof operation with hassle-free portability. Two 150W satellite cabs equipped with a Duo Tilt system for optimal alignment and a 300W subwoofer, which neatly includes all the electronic systems, ensures a powerful and reliable performance, even in larger venues. HK Audio has a wide range of portable, active, self-powered PAs under the Lucas banner, from the diminutive but 250W Smart to the club-sized 2.4kW three-box-per-side Actor DX.

KUSTOM & HK Kustom amplification, distributed by JHS, offers neat, smaller capacity, complete PAs in the form of the Profile One 100w and Profile Two 200w systems. Both use a central mixer/fx/amp unit with two satellite layout and are available in basic amp and satellite format or as system packages with stands and a neat roller bag carrier. Versatile and compact, as you

YAMAHA Yamaha’s contender in this area of the market is the Stagepas series, which features nicely designed and compact systems that are of top-notch quality while remaining affordable. The Stagepas 500 is swiftly becoming a go-to option for a growing number of musicians, thanks to its lightweight design and easy-to-set-up nature. A dual 250 Watt amplifier, ten-

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PORTABLE PA • SECTOR SPOTLIGHT

channel mixer with monitor and record outputs, phantom power, built-in channel compression and limiting, two-band channel eq and SPX digital reverb form a nice set of features, while the high performance, ten-inch, two-way passive speakers are nicely punchy. LD SYSTEMS Adam Hall’s portable PA offering comes in the form of the Dave range, available in three different configurations that each come with a two-year warranty. The Dave 10+, 12+ and 15+ represent a range of options that pretty much any performer should be able to find a use for. The diminutive Dave 10+ lays claim to well-defined mid and high frequencies while incorporating built-in butterfly handles and the like to make loading in and out that bit less painful. The Dave 12+ ramps things up a bit, with a combined output of 500 Watts that is capable of 118dB and also boasts a 12inch 300 Watt subwoofer with an integral amplifier for the two x 100 Watt 6.5-inch woofer equipped satellite speakers. Finally comes the Dave 15+ at the top of the range, featuring a pair of eight-inch 150W satellite speakers which support a 400W subwoofer in delivering quite a punch. The Dave 15+, along with its smaller counterparts, offers 180 degree phase reverse, main level and sub level controls, on/off switch, and clip limiter. Another nice feature of the Dave systems is the Volex ‘lock-in’ IEC connectors, which means the power leads can’t be accidentally knocked out. FENDER The Passport series has proven that Fender has capabilities well outside of its traditional guitar orientation. The range starts to get serious at around £549.99 with the Passport PD150+, which packs an awful lot of features into a surprisingly small box. With a built-in CD player, fourchannel mixer, built-in reverb, one-touch controls and a docking connector for a passport wireless receiver, there’s certainly plenty of boom for your buck here. Kicking out 150 Watts stereo, with 75 Watts continuous power to each channel, each speaker cabinet houses a six-inch

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woofer and two 2.75-inch tweeters. It’s nicely moulded to fit together as one easy-to-transport unit, and with so many guitarists happy to be associated with anything Fender, you can expect these systems to sell through well. ROLAND Able to run either battery powered or plugged in, the BA-330 delivers impressively high-performance sound that defies its size. Its digital stereo amplifier drives four 6.5-inch stereo speakers and two tweeters, positioned for wide stereo projection. A raft of built-in effects, including reverb and delay, a four-channel configuration and a built-in tilt back stand for optimal monitoring make this a versatile little system with myriad applications. The BA-330 is also equipped with Roland’s Anti-Feedback technology, so that with the flick of a simple switch, the BA-330 automatically detects the howling point and eliminates feedback. PULSE The Pulse range from CPC features several portable PA systems, with one of the more popular models being the 20W Megamouth MP3, a digital PA system with an MP3 record function and 512MB builtin memory, offering perfect portability, plenty of flexibility and decent margins. Supplied with three microphones and a wireless receiver, users can record audio onto the Megamouth’s internal memory and then transfer it to a PC or laptop. Packed with easy-to-use functions, you can play back the MP3 files via the internal memory, SD/MMC card or a USB flash-drive, and with a four-hour battery life allowing operation from battery or mains and the ability to charge from a car between shows or presentations, it has plenty of obvious applications. With a 50m effective range, an integrated folding handle, and weighing in at just 5kg, it’s an easy-totransport system that at £160 is very hard to argue with.

port for MP3 compatibility, as well as an SD/MMC card reader, making this set-up an obvious choice for bands up-to-date with technology. A four-channel high power stereo mixer is fed to a pair of two-way speakers with eight-inch bass drivers and seven-inch x three-inch piezo tweeters. Perhaps the best aspect of this system is that it can be combined to form a singe mobile unit with integral wheels and a retractable handle, making it easy to wheel in and out of those pubs. Next up is the 2.1 Active Live Set Up from QTX Sound, which is a complete two-way active subwoofer/satellite sound system that has been designed to get the best possible results from a smaller system. A built-in amplifier powers a 12-inch active subwoofer and a pair of ten-inch satellite speakers, and has proven particularly popular with mobile DJs. Finally, the EZPA Portable PA system is a compact, 30W allin-one system that is perfect for any small engagement where a crisp sound is

needed without a massive PA being required. A wireless handheld microphone, headset microphone and tie clip microphone are all included, while a USB port, SD card reader, built-in recording function and 1GB memory make this a highly versatile box. DB TECHNOLOGIES Another further sterling addition to the growing ranks of small, all-in-one units that offer buskers a chance to be heard through something other than the echo of the underground tunnel they’re

QTX Three options are available from AVSL. First up is the OTX Sound Portable PA System, which features a handy USB

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SECTOR SPOTLIGHT • PORTABLE PA

standing in, the Mobile 50 features a pair of 6.5-inch woofers and a 30W/RMS digital amplifier. An intergrated battery with up to five hours operation makes this absolutely perfect for busking or a bit of guerilla gigging, while a convenient handle and built-in wheels makes it easy to get from place to place. PHONIC The Phonic brand gives Shure a toe in this area of the market, and with the Roadgear 260 it certainly has something to shout about. Looking like something that might come to Earth from outer space at any minute, its distinctive design features a luxury luggage style moulded cabinet with wheels, and conceals a 260W stereo power amplifier, eight-channel mixer with phantom power, a 24-bit digital multi effects processor with 16 programs and a foot switch, two microphones, cables, and accessories. Easy to set up and hassle free to move, this is a great system that should do the job for any performer in a smaller venue.

performers heard simply and effectively. All of the pieces connect into a single portable case, while the internal two × 150 Watt Class D power amplifier produces an incredibly clean and powerful stereo sound. It’s lightweight and efficient, with very low current draw. The system’s speakers are two-way vented enclosures with heavyduty eight-inch woofers for deep bass. These are complemented by a one-inch titanium tweeter set in a custom horn with a 60 x 90 degree coverage pattern. The XP308i’s eight-channel mixer can be removed from the speaker for tabletop use and also includes a kickstand to set the mixer at an ergonomically correct angle. The mixer features four mic/line inputs, allowing you to connect microphones or line signals, and also provides two stereo inputs for connecting line signals from keyboards, drum machines or MP3/CD players. There’s a phantom power switch for condenser microphones, while bass and treble control are provided for each of the channel inputs. The XP308i also features a built-in iPod dock.

SAMSON With the Samson XP308i, Korg has a great little system that has already proved popular on the UK market. With dual twoway speakers, a mixer and a 300 Watt amp included, everything is there to get

HIGHLITE INTERNATIONAL The Entertainer Mobile Set from DAP Audio is a multifunctional sound system suited to many applications and features two ten-inch crossover speakers, two UHF wireless microphones, two 6m cables with

We stock the full range Beta-Aivin pedals covering all your effects needs. Full specifications and audio files are available on our website.

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24 miPRO DECEMBER 2009

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174.113UK CS-100 Compression Sustainer Pedal

174.119UK EQ-100 Equalizer Pedal

174.125UK AC-100 Acoustic Simulator Pedal

174.128UK CH-100 Super Chorus Pedal

174.143UK DD-100 Digital Delay Pedal

174.152UK BOD-1 Bass Overdrive Pedal

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PORTABLE PA • SECTOR SPOTLIGHT

XLR connection, a digital FM/AM stereo tuner, 99 digital DSP effects, a DVD player, seven-band eq, a built-in amplifier with an output power of two x 150W, and a USB connection port. Also from DAP Audio is the Club Mate series of active speaker system sets that have been developed especially for mobile DJs, where a powerful bass and a smooth mid–high frequency response is required. The Club Mate Series is available with 12inch or 15-inch subwoofers. These newly developed subwoofers have a long linear cone excursion to ensure minimal distortion and high power levels as well as to get a higher maximum sound pressure. EMD With new product expected at NAMM from the Belgium-based distie, we can expect more in the portable PA market from EMD in 2010. For now, however, we must content ourselves with the MPAS-80, a neat and affordable little system that has been a consistently strong seller for the company for some time now, shifting in its thousands over the past couple of years. Cramming a microphone as well as instrument and audio cable into a wedgeshaped speaker cab that comes complete with a top hat for stand use, and retailing at just over £200, it’s easy to see why the MPAS-80 has been such a success.

NUMARK The Transactive Live and Transactive Mobile are Alesis’ take on the all-in-one portable PA system, and both have won plenty of fans since their introduction to the UK market. The systems feature iPod docks and a sturdy construction that makes them perfect for outdoor gigs. Reliable, well built and able to take a bit of punishment, these are perfect for smaller and events and competitively priced. BOSE The new L1 Compact system from Bose features an integrated low-frequency enclosure and combines the amplifier, monitor, PA, mixer and eq into a complete audio system ready for straightforward connection to an instrument, microphone, MP3 player, or computer. Like the Bose L1 model I and L1 model II systems, the L1 Compact system continues the legacy of the original Bose Cylindrical Radiator loudspeaker – the product to first introduce the company’s unique approach to live music amplification. The new L1 Compact system was engineered to bring much of the performance benefits of these systems to a broader audience of musicians, DJs, and other performers and presenters, and it does so with some style.

CONTACTS PEAVEY ................................................................................... 01536 461234 LD SYSTEMS (ADAM HALL)................................................. 01702 613922 STAGG (EMD) .......................................................................... 01293 862612 KUSTOM & HK (JHS)............................................................. 0113 286 5381 YAMAHA ................................................................................ 01908 366700 FENDER................................................................................... 01342 331700 ROLAND................................................................................... 01792 702701 PULSE (CPC)........................................................................... 08701 214377 QTX (AVSL) ............................................................................ 0845 270 2411 DB TECHNOLOGIES............................................................... 07595 672157 PHONIC (SHURE).................................................................. 01992 703058 SAMSON (KORG) ................................................................... 01908 857100 HIGHLITE ........................................................................... +31 45 566 7706 NUMARK................................................................................. 01252 341400 BOSE ...................................................................................... 0870 741 4500

For full product specifications and to view our full product portfolio visit www.avslgroup.com

173.045UK CG-15 Guitar Amplifier

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173.046UK CG-30 Guitar Amplifier

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GROUP

These high quality, competitively price guitar accessories are the 1st of many in our expanding music range, and will make a great addition to any retail outlet’s product offering.

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INTERVIEW • DAN DEL FIORENTINO

Dan at

NAMM Gary Cooper turns the tables on interviewer Dan Del Fiorentino by asking him about NAMM’s Oral History Initiative...

ne of the great ‘what if?’ games to play on a rainy afternoon is to imagine you had the chance to see any famous person in history in action – not filtered through the distorting mirror of another person’s prose. You might choose to hear Beethoven talking about the genesis of his Ninth, Robert Johnson talking about Crossroads, or, getting a little closer to home, Andrea Amati, talking about making his first violins. But what if it could really happen? Over in California, NAMM has been working on a project which, even if it can’t quite function as a real time machine, promises to be something very close for future generations. Already it’s starting to become one of the world’s potentially finest sources of musical legend and lore. NAMM calls it the Oral History Initiative and, from modest beginnings, it has grown to become a massive archive of videoed interviews – much of it accessible online now and all of it, one day, destined to be part of an interactive, freely available resource for anyone interested in our industry’s past. Heading the Oral History project is former radio DJ Dan Del Fiorentino, one of the most charming and affable people you could hope to meet and a skilled interviewer. His job – and it’s one that makes every journalist in this industry green with envy – is to research who should be included in the archive and then

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get out there, armed with sound and video equipment to make sure their stories are gathered in and added to the collection. On the eve of a trip to Japan, where he was set to interview the president and senior directors of Yamaha, Del Fiorentino was still bubbling with enthusiasm for a recent ‘find’ – one of the Shure microphone design team that had worked on the legendary SM57. And if that sounds a bit geeky, that’s one of the charms of the OHI. If you happened to be writing a

time, the way it was told to me, as it was a few years before I joined, there were several other things that happened. Wurlitzer went out of business, Baldwin went out of business – some of these great anchors – and, not too long before that, people were still reeling from CBS and Norlin. Our then president, ‘Link’ Linkin, was witnessing this change of an era and at the same time Leo Fender and Mel Bay both passed away. The people at NAMM said: ‘If we don’t do something,

“The project isn’t just about the United States and it’s not even about NAMM members. If you’ve made a contribution to our industry, we want to document that history.” Dan Del Fiorentino, NAMM book about the development of the modern microphone, that interview would be absolutely priceless. It is, in effect, all things to all men – a true encyclopaedia of our industry. So how did it come about? “About the time of NAMM’s 100th anniversary, it started the Museum of Making Music, which was one attempt to display the history of the industry,” Del Fiorentino says. “But also about that

we’re going to lose all this history’.” Which is how the Oral History Initiative came into being, soon to be joined by the enthusiastic Del Fiorentino. “I was put in charge of the resource centre to help archive the paper catalogues and photographs that we wanted to make available for research, so that people could learn about the industry and I was the first curator of the museum. But I was also given suggestions of people we should

interview for the soon-to-be-created oral history programme. ARCHIVING HISTORY “Link’s first goal was that in the first ten years of the programme we would collection 100 interviews and shortly after that the number quickly grew, because we realised it’s not just NAMM’s view and the view of people on the board that matters – the overall goal was, though we were kind of embarrassed to say it out loud – to archive the history of the industry. You can’t say that without people smirking and saying ‘well, shouldn’t you have started that around 1750?’, but we had to give it a try and to represent each segment of the industry.” As Del Fiorentino says, one of the great delights of this industry is its breadth, from retailers, to major manufacturers, bespoke makers and distributors – a tremendous and enjoyable diversity, which the OHI happily reflects. “I think we’re close to having completed 1,200 interviews. I came from radio and had interviewed there, but those interviews are easier to get because you can just pick up the phone and talk to somebody. But they’re a little less useful because there’s no picture. So I thought, especially since most people came to the NAMM show, that we could set up in a little corner and get these interviews with video. We did that right from the start – only two of the 1,200 are audio-only.

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DAN DEL FIORENTINO • INTERVIEW

A handful of the industry bods Del Fiorentino has met on his travels. Main pic: Ray Manzarek (left) and Dan Del Fiorentino (right). Inset, left to right: Cliff Cooper; David Seville; Jim Marshall; Ravi Shankar

“The goal that we have now and are testing the water for currently is to post a short, representative clip from each and every interview online, along with a paragraph-long bio and keywords that can be associated with web-clips, so that you can navigate around and, for example, look at all the piano salesmen, or all the guys from the UK, with two to five minutes from each interview to give people an understanding of more than their name and title. The next goal is to add larger chunks of interviews that will be keyword searchable, until the day when we can get it all up there.”

THE CONSTANT TRAVELLER Despite the tremendous opportunity offered by the NAMM show to add visitors to the already impressive tally, Del Fiorentino spends about one week every month travelling the world, interviewing people for the project – and by no means solely in the USA. He has already made three trips to the UK and has visited many other countries in the attempt to make the archive as universal as possible. “One of the things that has been very helpful is the existence of so many organisations, like the MIA in the UK, which has meetings and get-togethers where so many people are in one place. It makes sense for me to come in, find a little booth and go away with several interviews that otherwise I’d have to travel a lot to find. “The project isn't just about the United States and it’s not even about NAMM members. If you’ve made a contribution to our industry, we want to document that history. We want to preserve all of those stories.” It’s not even the case that interviewees have to be particularly warm towards NAMM itself. “I remember one occasion when the guy I was interviewing said he was expecting a hostile interview because of all the times he had questioned what NAMM was doing, but my first question was ‘so how did your father get into the music industry?’. That's what this is about – we’re in a wonderful position and we don’t have an agenda. “We’re about our industry's history and I know that sounds philanthropic or noble, but people do catch on pretty quickly that

this industry is about passion and if we’re passionate about what they’re passionate about, they want to talk about it.” The cynical reader might be wondering what the practical – maybe even financial – benefit of the programme is to NAMM and its members, but that question overlooks a philosophy that seems to run from top to bottom in the organisation – that it’s about the future and the future of music making. Get that assured and the business will follow. “There’s a lot of research material here. If you want to know what the industry had to go through in World War II, not just in the USA, but in the UK, Germany and Japan, you can go to this resource and see that – which is amazing to me.” LESSONS TO LEARN If you insisted on being resolutely hardnosed about it, however, and wanted a direct, practical application for the OHI, well how about learning lessons from the past? How did the piano business get established in Japan? How have companies handled previous recessions, booms or sudden changes in musical fashion? The American philosopher George Santayana said ‘Those who cannot learn from history are doomed to repeat it’ – but, equally, those who don’t listen, don’t get the benefit of when people did things right, either – and that’s all there, too. “We like to boast that the NAMM show brings the passion back and gets you fired-up for the year and I like to think that these interviews will do the same at any time – especially on those concepts that we all take for granted.

“The ability to bring music into somebody’s life is the passion for all these people – a powerful thing – and being a part of that process is important. For example, I talked to a factory worker at Fender, a lady by the name of Abigail Ybarra, who’s been winding strings since 1957 or 58 and she still does it. To hear her pride when she talks about Buddy Holly on the Ed Sullivan Show – ‘Wow. We had something to do with that?’ – is a really cool and powerful thing and maybe that what this is about – to bring that remembrance back and share it with other people.” GET INVOLVED As we closed our turning of the tables, interviewing the interviewer, Dan Del Fiorentino asked a favour which we are only too happy to report. “If any MI Pro readers have suggestions as to who we should interview, we’re really only too happy to hear them. Even if they are people we’ve already spoken with, that’s great too as it makes me think we did it right. But we would love to hear all their suggestions.” NAMM’s Oral History Initiative is a book that will never be finished, but it is, surely, a venture that everyone in the industry should and easily can support. NAMM’s Oral History Initiative can be found at http://www.namm.org/library /oral-history. Dan Del Fiorentino can be contacted by email at: dan@namm,org NAMM UK – BETTY HEYWOOD, DIRECTOR OF INTERNATIONAL AFFAIRS: 02392 732451

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IBANEZ • COMPANY PROFILE

Shred or dead Thanks to a resurgence of interest in high speed guitar playing, Ibanez is getting back to it's metal roots. Rob Power finds out more by chatting to Simon Fraser-Clark...

aybe it's the super fast necks, or the pickup layouts that scream 'rock', or perhaps it's just the pointy headstocks – whatever the reason, Ibanez is a name that will forever be associated with guitarists that can melt your face at 50 paces with the sheer speed of their playing. Perennially in the hands of virtuosos and metal heads intent

and 90s. Nowadays, Ibanez is an internationally respected name that covers a surprisingly broad area of the guitar market, from classical acoustics all the way up to snarling seven-string electric guitars that would scare your granny. With the appetite for speedy soloing and true guitar histrionics once again whetted – thanks in no small part to the

“Ibanez, with all the baggage that it has, is going to look at making every metal guitar an Ibanez guitar. The aim is to make every metal player want an Ibanez product.” Simon Fraser-Clark, Headstock on bringing about Armageddon with 1,000mph solos, Ibanez has a long held reputation as a hard rocking brand and over the next 12 months it is aiming to prove it all over again. A company with a heritage harking back to the early 1900s, it is a brand that has seen its fair share of changes, growing from a humble importer of Spanish-made classical guitars to a manufacturer of lookalike models throughout the late 50s and 60s and then becoming one of the few foreign brands to have made a significant impact on the American market in the 80s

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massive worldwide success of console games such as Guitar Hero and Rock Band – Ibanez is now able to re-conquer the area of the market that is has been associated with since its early 90s pomp. “If you look at Ibanez as a product, one of the things that it always had was a penchant towards metal,” explains Headstock marketing manager Simon Fraser-Clark. “Unfortunately for us, what happened in the early 90s, when it was the number one shred guitar, was that shred died, which left Ibanez somewhat high and dry.”

“To counteract that, Ibanez began to spread the net a little wider,” continues Fraser-Clark. “So, if you're looking from a diversity point of view, Ibanez is now a catch-all guitar manufacturer, catering for everyone from serious jazz players to alternative style guitarists.” With the wind now starting to blow more favourably in the direction of metal and heavy rock, the emphasis at Ibanez is set to revert back to its default setting. “Ibanez, with all the baggage that it has – the pointy headstock, super fast necks – is therefore going to look at, over the next 12 months, making every metal guitar an Ibanez guitar.” says Fraser-Clark. “The aim is to make every metal player want an Ibanez product.” With NAMM fast approaching, it's fair to say that the industry can expect some spectacular noises to be emanating from the Ibanez stand and with the market seemingly ready to once more embrace its inner shredder, 2010 could be a big year not just for Ibanez, but for a small army of metallists ready to headbang their way into the mainstream. “If you look at the impact of Guitar Hero, you can see that people want to play like that,” asserts Fraser-Clark. “It's revolution, not evolution. If you look at musical cycles, they're 15-year cycles. It's cool to do guitar solos again because

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COMPANY PROFILE • IBANEZ

we've had 15 years of players staring at their navels and playing chords. There are some players who stand out more than others, such as Matt Bellamy from Muse, but there haven't been many. It hasn't been cool to excel at your instrument, and the revolution to that is that players are now warming up to the idea of playing fast again. There's no doubt that it's a fine attribute to have and used in the right places it can be very impressive. “Ibanez has always been synonymous with super fast, playable necks and it's something that we will be focused on in the next 12 months – the whole prestige neck treatment. At the end of the day, playing the guitar, as with everything else, is about the interface – how the player interacts with the product. Ibanez necks have always been very playable, with very nice profiles. The neck profiles are going to return back to how they were in the days of Wizard and Super Wizard necks.” The reassertion of direction at Ibanez comes on the back of some serious demand from guitarists in the US, but also endless cycles of market research that is central to the company's strategy. “There's no doubt that the US market is a big influence, but our Japanese guys are stunning at market research,” says FraserClark. “They have people flying round the

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world every week, talking to people in stores and talking to players and distributors. We do similar work here, where we regularly get together with a number of players and quiz them on the instruments, about neck profiles, shapes, that sort of thing. The amount of data that Ibanez gets back as regards to what players want is massive, so there is an awful lot of data there.” Using the accumulated information as well as responding to the demands of the market will be central to the company's ability to continue moving forward in 2010 in what is still a fragile economic situation for many. With a lot of firms still struggling in a recession that looks to be with us for some time yet, a relatively successful 2009 seems to present the blueprint of a solution that will continue to see Ibanez through. “We've done good business over the last year and it's been quite surprising for us,” says Fraser-Clark. “If you look at the situation in America, for example, the market has shrunk quite dramatically. In the UK we're feeling the pinch, but we're also weathering the storm better than most. Musicians are a strange breed, and they'd rather not eat or drink than go without playing. I guess they're experienced at having a lack of cash – it's normal procedure for a musician.

Herman Li, of power metal band DragonForce, uses Ibanez guitars when he performs “Also, a guitar is an aspirational purchase, as is any instrument. If you're told every time you turn on the radio or the TV that you’re going to have to tighten your belt, then yes, the second car might have to go, the membership at the gym will have to go, but if you're not going out as much any more, then a guitar makes sense as a purchase.”

So with a reinvigorated sense of purpose, a number of steady sellers such at the RG350 keeping things ticking over nicely and a determination to make 2010 a year for metal, it is certainly going to be worth keeping an eye out over in Anaheim to see just what Ibanez has in store for its all-out shred assault. HEADSTOCK: 0121 508 6666

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COMPANY PROFILE • CORT

Holding Cort Quietly and with the minimum of fuss, Cort has been gently chipping away at market shares in the electric and acoustic guitar market. Lars Mullen took a trip out to the company’s enormous manufacturing plant in Indonesia…

hile there’s a multitude of offshore guitar brands offering affordable guitars of every style, many still echo the classic designs of yesteryear. Is it therefore possible to create and produce innovative guitars that will sell on a global scale, but that are not just recreations of iconic vintage guitars? Cort certainly thinks so. The company considers itself to be one of the world’s number one guitar manufactures, producing over 70,000 units every month. In excess of 1,000,000 solid bodied electrics and basses a year are made to suit pretty much every need, style or genre of music from its factories in Surabaya, Indonesia. One claim that is less arguable is that this is the biggest guitar plant on the planet. Having resided in its current location only since 1997, Cort has, for decades, maintained a longevity that combines with a seemingly endless flow of new and inventive guitar lines, focusing, of course, on the highest possible quality and (importantly for the businesses concerned) affordability in its major markets. Cort has various manufacturing processes divided between 27 factories totalling over 135,000 square feet, which makes the now ubiquitous CNC cutting machines an inevitability, but even with instruments being produced on such a vast scale, the company still employs a considerable amount of workers with hands-on craftsmanship, passed down through generations of skilled workers.

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To maintain these skills, Cort organises the workforce so that each worker learns all the relative skills through an everchanging rotation, covering every aspect of the production process. Bodies and necks are still hand-sanded, as are the fingerboards. Frets and inlays are all still installed by hand, with the strictest of quality control procedures around construction.

final set ups and accurate testing of the electronics (but thankfully, no shark tanks). For those in the UK and Ireland, it is interesting to note that this attention to detail continues when the guitars arrive at HC Distribution in Ireland. “On arrival from Indonesia each and every model is unpacked, checked and setup once more before onward shipping to the stores,” explains HC’s director and co-

CNC machines ensure uniformity

But there’s no substitute for skilled craft

During my time there, it was clear to see that the employees have a genuine passion for the product, an obsession that borders on infatuation for many and that is seen throughout the whole chain, from the huge wood-drying plant, which represents a small town in itself, to the final (separately located) hi-tech complex – more akin to a Bond movie, where men in spotless white coats, hats and carrying clip boards, supervise the execution of the

founder, Ian Collins. “This has earned us a superb reputation for spot-on guitars and it also breeds confidence within the shop owner and the customer, so it’s important that we ensure every guitar is 100 per cent right.” 2009 has been a very positive year for Cort, with various models including the Luce series of acoustic and KX solid bodied electrics gaining player awards within the main stream guitar magazines.

They all feature the company’s new electrostatic finish (about which the manufacturer is incredibly secretive), a proven technique developed by Cort, which reduces the thickness of the final coat by 30 per cent and which enables a rapid note response from the guitar. The company is planning a wide range of new lines for 2010, with the initial models to be introduced at NAMM, as well as upgrades on various models. On top of this, 2010 will see Cort moving into amplification with a brand new line of guitar and bass practice combos. These, Collins explains, will be completely new designs, developed by the company and constructed from scratch at the plant, from the cabinets to printed the circuit boards. On the marketing side, Cort has an impressive list of acoustic endorsers, covering the worlds of jazz, blues and pop, including, Una Healy and Mollie King from the Saturdays, to Nerina Pallot, all of whom will be using Cort models on their respective autumn tours. The company is promising ‘some of the biggest names in rock from the USA’ are also about to be added to the endorser list. “We all know it is a difficult economic climate,” concludes Collins. “I think that because of this, a lot of people are switching to the Cort brand. It offers quality and the affordability – which means value for money. I’m biased, but I see it as both evident and inevitable that things will grow from here.”

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MI Pro grem ad A4 Sept 09:full page grem ad.qxd

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Just a few of our Leading Brands...

Blueridge have taken America by storm with their authentic vintage style guitars, and now we have made them available in the UK. This range, renowned for spectacular value for money, continues to receive excellent reviews in all the best known guitar press, including Guitar & Bass, Guitarist, Guitar Buyer, Acoustic Magazine... For the Gypsy in your soul! These beautiful guitars pay homage to the Selmer and Maccaferri guitars of the early 20th century. They have solid tops, are a joy to play, and look and sound like the real thing, right down to the excellent reproduction of the original tailpiece. More to the point, they are very affordably priced.

The best selling aluminium whistles in the UK. Renowned for their clear sound, they appeal to whistle players of all standards. Though ideal for beginners, they are professional instruments and are used on stage by many leading players.

The Kentucky mandolins are the pinnacle of affordable bluegrass instruments, and offer exceptional quality at excellent prices. These mandolins are a very welcome addition to our growing section of great quality bluegrass instruments, which includes mandolins, banjos, dobros, guitars and more.

SK120 Rated ‘Exceptional’ in Acoustic Magazine. “A wonderful little amp designed by people who understand what musicians need”. Also Guitar & Bass have awarded the SK60 a massive 82%. We distribute these ShireKing Acoustic Amps along with Headway’s very popular pickups for acoustic instruments, including the Snake 3 and SA1 pickups, and the ‘Band’ violin and cello pickups.

A competitively priced range of student squeezeboxes, including Piano Accordions from 12 to 120 Bass, B/C, D/G and Cajun one-row melodeons, and Anglo and English concertinas, all ideal for beginners.

The leading brand of resonator guitars, with a long US heritage, available in the UK exclusively from Gremlin Music. Saga Music, have applied the same dedication to quality to these guitars as they have to the Gitane and Blueridge guitars, and the results are spectacular.

A professional quality range of Acoustic Guitars, Mandolins, Banjos & Fiddles, Basses, cases, electrics and more. This is the largest range of mandolin family instruments, banjos and ukuleles in the UK, and the Ashbury name is associated with high quality and excellent value.

As well as being the first point of call for all the hard to find traditional musical instruments your customers are asking you for, Gremlin Music is a one stop shop for any musical instrument retailer. We can supply a massive range of acoustic musical instruments, spares, accessories, strings, books and DVDs. Become a Gremlin Dealer and give your customers a better choice! We pride ourselves on the personal touch - you can always reach us by phone during working 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 been in the business for over 25 years, and can offer you an experienced, friendly and professional service.

www.gremlinmusic.co.uk

post@gremlinmusic.co.uk

Tel: +44 (0) 1903 203044 (9.30 - 5.30 Mon - Fri) | Unit A, Easting Close, Worthing, West Sussex, BN14 8HQ

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MANUEL RODRIGUEZ III • INTERVIEW

Feeding fire with fire From the days when he was a solo act, driving his products around Europe and selling direct to dealers, to running a company that makes well over 20,000 classical guitars each year is quite a spectacular journey. Manuel Rodriguez III talks to Andy Barrett about what keeps him going and what the future holds…

anuel Rodriguez III is a busy man – so busy that we have bumped into each other at every trade show this year, but also so busy that a few hastily snatched words were all that were possible until we finally found 15 minutes to sit down together at the Music China show in Shanghai during October. Even then, another impromptu meeting took place during our conversation. The reason for this is easy to understand for anyone running their own business. Your business is your baby and you will do anything for it. When that baby is a global manufacturing, sales and marketing operation, then it is obviously going to be that bit more demanding. The truly impressive thing is how smoothly Rodriguez takes it all in his stride. Being the third generation of the family business, he has grown up with classical and flamenco guitars all around him, most of them made by his father and grandfather and now by his brother and a staff of 35 in Spain, so some degree of routine has almost certainly set in. Do not, however, mistake that for sitting still. There is a fire in Rodriguez III and it is doubtful anyone will ever be able to put it out… Not that you would want to. “When I was growing up in the US, my father used to make shellac,” he recounts. “As a young child, I drank some of it, so perhaps it comes from there.” He looks at me seriously without batting an eye. It takes a second for me to laugh, but when I do, he does too and continues. “My parents started out with a few tools and

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had to build the company from nothing, so for them, there was always that sense of adventure – and you get a passion for that. It’s very difficult to pass that on to your children unless they find their own. “I have found a lot of challenges over the years, but at the moment it is the goal of establishing Manuel Rodriguez guitars in

cures for river blindness in children. “This means we can save children with our own hands,” says a visibly moved Rodriguez III. Although he doesn’t mention it, he is still clearly very fired up about his routine, too. He markets and sells his guitars in the most active and direct way a company owner can – and after his appearance on

confesses. “When I said I was going to work with the Chinese, everybody said I was crazy, that I would kill myself. But I’m still here and they are all copying me. I love working here.” The move to China was simply another ‘new idea’ in action, and Rodriguez likes new ideas. From the days when he couldn’t

Rodriguez Snr built company from nothing Far right: Rodriguez III standing next to the President of Tunisia, Mohammed Ghannouchi 160 countries around the world. We are in about 120 at the moment. “On top of that, I am really passionate about the transmission of culture, which is happening through my gifts of guitars to world leaders and ambassadors. At the request of the King of Spain, I am giving a gift of Spanish culture, a gift of music, of peace – it’s better than mathematics.” And that’s the short answer. He goes on to explain about the guitars he has given to the Jimmy Carter Foundation, which the former US president then signs and auctions with the money going towards

his stand at the Music China show, he was off to Korea for more business development. Despite all this, he still finds time to make about ten guitars each year, but that, when compared to his brother Norman and the 35 luthiers at the Spanish factory who put out some 8,000 instruments, is clearly no more than a hobby. What Manuel Rodriguez III did do, however, was open up a Chinese manufacturing base, which is now responsible for some 15,000 guitars each year. “China saved this company,” he

find his own distributors in Europe and so drove a large truck around the continent, from shop to shop, and turned over some 20,000 units, he has been reliant on the dealer for information and ideas. He still is and, as is the case with John Hornby Skewes in the UK, he expects the same from his distributors, too. Whether it is ways of making his factories more ecologically friendly or new designs for guitars, Roriguez III takes it all on board and tries it all out. “Some ideas work, some don’t, but if you don’t try, you won’t get anywhere,” he says.

miPRO DECEMBER 2009 35

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Own the dream. Having the right studio gear can make all the difference in realizing your musical dreams. That’s true both of the individual pieces and how they work together. Digidesign® and M-Audio® products are designed to form integral creation/production systems right out of the box so you can focus on your music rather than technology.

Pro Tools 8 Professional Music Creation and Production Software

Studiophile CX5 High-Resolution Active Studio Reference Monitors

003 Factory FireWire Pro Tools LE Audio/MIDI Workstation

Axiom Pro 25 Advanced USB MIDI Controller with HyperControl

© 2009 Avid Technology, Inc. All rights reserved. Avid, M-Audio, Digidesign, Pro Tools, Studiophile, 003, Axiom and HyperControl are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and/or other countries. All other trademarks contained herein are the property of their respective owners. Product features, speciﬁcations, system requirements and availability are subject to change without notice.

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COMPANY PROFILE • ANTIGUA

Saxy beast As is befitting a company with such a broad range of top-notch products on its roster, Barnes & Mullins has taken on the popular saxophone brand Antigua in order to introduce a realistic middle-ground option for UK-based saxophonists…

ell established internationally, Antigua is the baby of the American music teacher, Fred Hoey, who discovered, much to his chagrin, that there was no acceptable middle ground sax for his students. The inexpensive instruments around were lacking in quality and high-end saxes were well out of the reach of his cashstrapped pupils. “Just like any other educator, Hoey knew that the quality of a student’s instrument played a crucial role in the desire to continue learning – but most students were unable to afford the saxes that would have this positive learning impact and given them the appropriate sense of achievement,” comments Barnes & Mullins Alex Mew. “To address this problem, Hoey decided to develop a

It was the right move. B&M is now looking forward to seeing how a new line will perform this side of the pond. So far, the most popular series in the Antigua line is the Antigua Pro series. The starting point of the Pro range is the SS4290LQ soprano (£569), which comes complete with both straight and curved necks. This clear-lacquered soprano is supplied in an ABS case, designed to withstand the rigours of travel – whether that be on the school bus or the tour bus – and is also available in a silverplated finish at £750. On the alto and tenor side of things, all the Antigua Pro range feature a Powerbell design which aims to provide increased projection and tonal clarity. The starting point for these models is the alto AS4240 (£835) or tenor TS4240

“Like any other educator, Hoey knew that the quality of the student’s instrument played a crucial role in the desire to continue learning.” Alex Mew, Barnes & Mullins range of instruments in conjunction with an established saxophone manufacturer. After a decade of testing, the Antigua brand was born in 1991.” Manufactured in Taiwan, Antigua models were initially launched only into the US market, but with sales proving strong, the brand was ready to go international. It has gone on to find success throughout mainland Europe, South America, South East Asia, New Zealand and South Africa. “Having seen the incredibly positive results in America, Reliance Corp [which manufactures Antigua intruments] chose to refocus its efforts towards building Antigua into the global brand it deserved to be,” continues Mew. “Having spent its recent history manufacturing saxophones as OEM products for some of the biggest names in the business, its experience was second to none.”

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(£969) which feature a clear lacquer body and keys, extensive handengraving, premium leather pads with domed metal resonators and a hardshell, wood case. Probably the most exciting models in either alto or tenor ranges, however, are the AS4230 (£1,035 and exclusive to the UK) or the TS4230 (£1,285) which come in a rather tasty antique finish. These models not only benefit from the projection and tone that the Powerbell delivers, but they also look the business due to the ‘used’ aesthetic – more usually the preserve of antique violins or vintage guitars. Finally, to the pro-level, Powerbellequipped baritone that represents the top end of the Antigua range: the BS4240LQ (£2,989). A beautifully engraved workhorse baritone with a clear voice and eye-catching

appearance, it comes with a hard-shell ABS case complete with wheels to make transporting it that little bit easier. “Introducing a new woodwind brand is a very exciting project,” comments B&M joint-MD Bruce Perrin. “Our experience of top woodwind brands such as Yanagisawa and Rico, and the professionals that they attract, has taught us to be cautious in this field. However, after a very close look at the Antigua range and after a number of artist test cases, we felt that there was something special on offer. The subsequent response from retailers – and even more so from artists – has been incredible. The retailers are looking for not only a good quality product for their customers, but also for a range that can offer them a good margin and return on investment. “We have chosen to start the process at the higher end of the range, because that is where Antigua is strongest right now,” adds Perrin. “The incredible impact of the brand in the USA tells me that there is definitely appeal right through the range. We will be testing a number of the lower range models in the future and hope to introduce the student and starter instruments soon.” BARNES AND MULLINS: 01691 668310

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SECTOR SPOTLIGHT • HEADPHONES

Can the

cans Headphones might be everywhere these days, but it’s still important to select the right ones to stock. Andy Barrett separates the goodies from the phonies....

s recently as 50 years ago, a set of headphones was the preserve of men in white coats on grainy black and white footage, showing Ministry of Defence code crackers or record producers and engineers carefully turning large Bakelite knobs in a sealed room (where the musician was certainly not allowed). As recording technology and home hi-fi systems became simultaneously more sophisticated and more available, headphones began to appear on the heads

of laymen in all manner of places – and with the disappearance of white coats in the studios came permission for musos to enter the control room and don the cans. Today, of course, headphones and earphones proliferate to quite astounding degrees and you would be hard pushed to even walk to the corner shop without seeing someone delightfully oblivious to the outside world with a set of phones on the head or wedged into the ear cavity. Such is the simplicity of the basic technology and the ability of modern manufacturing around the world (read South East Asia), a set of cans can be bought for as little as a fiver and pretty much any company you care to name will have a range of branded phones for you to take advantage of. Such ubiquitousness means that margins are squeezed to say the least, but with home recording and personal computer technology now in the hands of the most Luddite of guitarists, stores that are not offering a pair of headphones on the side are missing a trick. After all, why should Currys, Dixons or Maplins make money out of musos? What follows is a runthrough of some of the brands and models on the market, avoiding earphones and sticking to closed-back products that would suit the recording musician. But also talk to your suppliers about headphones. They’ll likely have plenty in stock.

SHURE Shure has expanded into the pro headphone market with the SRH models, launched this year. The SRH240, SRH440 and SRH840 represent Shure’s first foray into the pro headphone market and range from entry level and home recording offerings, to premium quality professional headphones. The flagship headphone model is the SRH840, which offers the widest frequency response (5Hz to 25kHz), tailored to deliver rich bass, clear mids and extended highs. These headphones are targeted for studio monitoring and recording applications, offering the same

about’. Well, that’s as may be, but there is no doubt that the German manufacturer is placing a lot of superlatives onto the HD 800 and asks users to take note that presently, no other manufacturer has been able to come up as close as the HD 800 in replicating the basic acoustic conditions of natural hearing. As well as a two-year warranty, the phones have the largest transducers ever used in headphones to date and a new, dynamic transducer design. Also worth a close look is the HD 280 silver, a closed-back, circumaural headphone designed for professional monitoring applications. Although suitable

Music stores that aren’t offering a pair of headphones on the side are missing a trick. After all, why should Currys, Dixons or Maplin make money out of musos? detachable cable and collapsible design as the SRH440 model. In addition, a padded adjustable headband has been incorporated for superior fit and comfort. The SRH840 is supplied with a carrying bag and an additional set of ear pads. SENNHEISER Unlike its main competitor, Sennheiser has been forging ahead in the phones market for years and has an impressive collection to offer. High on its list of quality cans is the HD 800. These open, circumaural dynamic stereo headphones claim to ‘redefine what reference-level audio is all

for a very wide range of applications, the exceptional 32dB attenuation of external noise makes the HD 280 silver particularly suitable for use in a high-noise environment. As with many Sennheiser products, the 280 Silver has replaceable parts – which adds to the longevity considerably – neodymium magnets for optimum sensitivity and a wide dynamic range. AUDIO TECHNICA Moving away from monitoring for a moment, Audio Technica has been making much recently of its noise-cancelling headphones. The newly designed ANC7b

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HEADPHONES • SECTOR SPOTLIGHT Quiet Point closed-back headphones are the successor of the award-winning ANC7 headphones and are designed for use with MP3, CD, DVD and in-flight entertainment systems, as well as all Apple products. They feature large aperture 40mm drivers with neodymium magnet systems, giving you deeper bass, extended treble and high fidelity. Noise-cancelling electronics are fully integrated into each earpiece with no need for external modules and the headphones effectively cancel background noise by up to 85 per cent. One AAA battery powers the active noise-cancelling technology and the audio functions in passive mode even without the battery. AT’s driver technology and components deliver exceptional power handling and very high SPL capabilities while maintaining clarity of sound throughout its extended range, with deep, accurate bass and outstanding high-frequency extension. The headphones feature proprietary largeaperture drivers with neodymium magnet systems for ultra-efficient signal transfer. JAYS A new brand to many in the MI market, the Jays range of headphones and earphones offer the dealer an excellent route into this market. Despite being lightweight units, the v-Jays headphones are claimed to be ‘hard-hitting’ and ‘robust’ beyond anything else in the price range. The heavy sound of the v-Jays headphones comes from two 40mm Mylar speakers, which are designed to create a superior bass without overwhelming the other frequencies. The core construction is a powerful neodymium magnet and a copper clad aluminum coil. The impedance

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is as low as 24 Ohm, making these speakers extremely powerful. Jays’ speaker technology doesn’t end there, either. The c-Jays model has dynamic drivers with a multi-layer diaphragm, which is put through a special process to obtain its unique characteristics. The elasticity in the diaphragm allows it to follow the movement of the lightweight voice coil. The core of these is also neodymium and to vent the whole construction a customised airflow system has been created. On top of this, c-Jays use single crystal copper wires with 3mm diameter TPE coatings. These wires are created by patented manufacturing methods, which make it possible to create 1,500-metre copper wires without any copper grain boundaries. This means that signals can travel all the way from source to the headphones in the same grains, free of cross crystal distortions. Impressive stuff. GYC JHS’ own brand, GYC, has headphones designed for premium audio monitoring – it’s a lightweight and portable range, built to deliver pristine audio with detailed highs and a full-toned bass response. Targeted at all musical applications including DJs, music monitoring, keyboards, hi-fi, home recording, TV, computers, personal stereos, CD and MP3 players, the HP 800s are described primarily as DJ cans and have a compact, foldable, dual-cup design. A frequency response of 20Hz to 22kHz through 38mm drivers, means these phones can pick up and reproduce pretty much anything thrown at them and the closed cup design makes them ideal for both live and studio monitoring. A few quid cheaper (the 800s are £22.99) are the HP 400 multi-purpose phones. Gold-plated connectors and a frequency response down to 10Hz makes these a quality, functional bit of value at just £18.99. AKG The Austrian mic maker, like the other mic specialists, makes some pretty classy models – and by default adds to the complete offering of the Harman family of products.

As you might expect from AKG, there is some serious quality going on in the headphones sector, not least with the K701. This set utilises what AKG calls ‘flatwire voice coil technology’ – a proprietary technology that claims to place ‘every musician at their correct location with pinpoint accuracy’. The phones are openbacked, but in an isolated studio listening environment, there is little to match the sonic clarity these phones offer. On the DJ front, the K 518 is a popular choice – and at the moment there is a K 518 LE limited edition, too. With its powerful sound, perfect screening and patented 3D axis capsule rotating mechanism, the K 518DJ will not just impress DJs. It produces a rich sound even on portable MP3 players and it folds up small enough to fit in any pocket. The LE is available in a run of seven coloured models. Smart. CITRONIC Sticking with DJs for the moment, the Skytronic brand of everything DJ has the HP 500 Pro, what the company states is ‘the ultimate DJ headphone’. Designed for use in high volume environments, the 50mm drivers with neodymium magnets have a special diaphragm which allows them to sustain a high SPL and give a wide frequency response with exceptionally clear sound. With the DJ environment in mind, the full-size closed cups are padded with soft, low compression set foam, giving a durable, comfortable fit for long periods of use. The earcups can be swiveled by 180° and rotated by 90°, enabling the user to wear them in multiple styles; this also allows them to be folded for compact storage in the supplied vinyl carry bag. KAM DJs and DJ manufacturers seem to place a lot of importance on the ability to make headphones as small as possible. Well, not to be outdone, Kam’s KHP1000 and 2000 models are even monikered as foldable. These cans enjoy some neat USPs and, being aimed at the pro DJ, contain enough quality to serve a lot more functions than standing on stage before the dance floor – including studio monitoring.

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SECTOR SPOTLIGHT • HEADPHONES The KHP2000 has a large, 53mm driver for impressive bass and clear treble and that all-important ergonomic design for comfort. There is also oxygen-free copper cable for minimum signal loss or noise and 80 degree swivel ear cups. The KHP1000 is an entry-level version of the 2000. FOSTEX Talk recording and the name Fostex is never far away. Fostex’s supplier in the UK, SCV London, offers the new Fostex T20RP mkII and the T40RP mkII as alternatives to the popular T50RP – and all of them offer the sort of accuracy of monitoring that’s crucial for recording studios, post houses, remote broadcast facilities, project studios and DJs. Here is a range of headphones that has been designed from the outset to offer the widest frequency range, to minimise listening fatigue and to allow the user to pinpoint and analyse all aspects of their creative output. Where some headphones struggle at high SPLs, the RPs have no such problems and claim distortion-free listening at the highest of volumes. This is essential when headphone monitoring in noisy environments such as ENG recording, DJ work, and in applications where you need to concentrate totally on your the program material. The design of the leatherette padded ear cushions enhance the excellent sound isolation and superb deep bass reproduction. ROLAND Born of its heritage in the keyboard and hard disk recording markets – but then put to further use in the deluge of electronic drums – Roland is for some an unexpected name to feature in talk of headphones… Until you think about it. Actually, Roland’s headphones are anything but an afterthought and promise a flatness, clarity and breadth of reproduction that would serve professionals from many sectors well. The the RH-200 and RH-200S models are closed-back phones with 45mm neodymium drivers, which are new to the company and provide an ultra-wide frequency range. On top of this, they have a classy visual appearance with an aluminum housing plate – the whole

caboodle ships with a vinyl carrying pouch. M AUDIO Whether they are tracking, mixing or listening, your customers can expect good sonic accuracy from M-Audio’s Studiophile Q40 headphones. Designed by the company, which has grown out of reference monitor technology, as well as interfaces, this closed-back model has cups that completely surround the ears and they deliver a full range with excellent isolation from outside noise. Lightweight construction and comfortable earpads make them ideal for long studio sessions or hours of listening. These sturdy phones are collapsible for easy travel and include a detachable (and replaceable) three-metre cable. Further to these beauties, the DNHP500s are new entry-level DJ headphones with 1,300mW input power, a 40mm driver, 40 Ohms impedence, 103dB output, ten Hz to 28kHz frequency response and a 90 degree swivel mechanism. Once again, that all-important comfortable ear pad and headband for prolonged periods of use is a major feature. SAMSON Another audio brand where you would expect to find quality phones does not disappoint. The Samson CH700 headphones are ideal for any listening and monitor application where accurate sound reproduction is needed. The closed-ear design provides maximum isolation, reducing unwanted bleed that can be picked up on microphones. It employs 40mm drivers with ultra-thin Mylar diaphragms and high-output neodymium magnets. The result is a wide dynamic range and linear frequency response from 20Hz to 22kHz for quality reproduction and a balanced sound, making them an excellent choice for monitoring digital audio. The large earpiece further extends

the low frequency response and the adjustable headband and lightweight design provide comfort and easy listening through the longest sessions. Samson’s top-line model, the RH600s, use the same, thin driver and neodymium magnet, as well as sophisticated circuitry to provide reference quality audio. Its ambient open-ear design with special acoustic mesh fabric ensures clear, transparent sound and a comfortable listening experience. ASHTON Never a brand to be left out of any market, the entry-level specialist actually goes a little further when it comes to headphones, as can be seen by the HD50s, which retail at £46. A great set of studio monitor headphones, the HD50 phones are designed to cut out noise to let the user focus on the job at hand, whether in the studio, in rehearsals or on-stage. These phones are closed design with a frequency response of ten Hz to 30kHz, an impedance of 150 Ohms and a maximum power handling of 100mW.

Taking a further step up (although they’re only a couple of quid more expensive), the HD70 phones are billed as Ashton’s ‘ultimate’ and enjoy a similar spec to the HD50s, but are padded for extra comfort and built to last a lifetime. STAGG Stagg has a selection of headphones that fulfils any task for those looking for cans on a budget. The SHP 3500s are closedback, circumaural headphones for professional monitoring and a wide range of other audio applications, including DJ, hi-fi and so on. That 40mm driver and high sensitivity neodymium magnet are back, as well as a power handling of 300mW and a frequency response of 20Hz to 20kHz. Offering even more value for money, the SHP 2300s are ultra-wide response headphones with a high definition deep bass and a transparent high frequency over the full audio spectrum. The closed cup design with its padded headband make these very comfortable during long sessions.

CONTACTS SHURE ....................................................................................01992 703058 SENNHEISER ...........................................................................01494 551551 AUDIO TECHNICA ...................................................................0113 277 1441 JAYS (GEM) ............................................................................01279 822822 GYC (JHS) ...............................................................................0113 286 5381 AKG (SOUND TECHNOLOGY) ..............................................01462 480000 CITRONIC (AVSL) ..................................................................0845 270 2411 KAM ........................................................................................01582 690600 FOSTEX (SCV) .......................................................................020 8418 1470 ROLAND ...................................................................................01792 702701 M AUDIO .................................................................................01753 655999 SAMSON (KORG) ...................................................................01908 857100 ASHTON (MUSIC FORCE) .....................................................01780 781630 STAGG (EMD) ..........................................................................01293 862612

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COMPANY PROFILE • FOCUSRITE

The right focus From its high-end studio beginnings, Focusrite has been gradually increasing its presence in the MI sector. Gary Cooper takes a peek inside the control room to find out what could be in it for you…

ith all the excitement generated by reports of impressive preChristmas sales for Novation’s new Launchpad controller, it seemed a timely idea to turn the spotlight on the Focusrite group as a whole. Though it might not be at the top of some traditional music shops’ lists of suppliers, this UK company has become one of just a handful of formerly largely pro audio/ hi-tech sources that have helped create a new sector for MI retail – and one that is rapidly spreading into traditional retail outlets, too. Simon Halstead, Focusrite’s UK marketing manager, helped guide us around the different elements of this increasingly important company. “What may cause some confusion is that we are a distributor that looks after four brands including Ableton, but we’re also manufacturers,” he explains. “The bit that’s the most relevant to MI is Novation, which has its own products but also distributes Ableton and KRK studio monitors. Focusrite is an umbrella to that, with its own products. It is crucial for us to remind people that Focusrite started out making mixing desks that cost £500,000, but now we make interfaces that are designed for people who want to get really good sound into their computers in their bedrooms, or when they’re out on the move.” It’s Novation that is particularly the source of interest in the MI market at the

44 miPRO DECEMBER 2009

moment, boosted by the nationwide Ableton/Novation tour that took place in November and which had just got under way when we spoke. The first few dates had gone extremely well, Simon Halstead reported, no doubt helped by the tremendous reception received by Launchpad. So what could he tell us about Launchpad and its sudden success? “It’s a controller that is specifically integrated into Ableton Live and Ableton is

eyes and ears so we respond to what they’re saying the public wants and I think we’re doing it better now than ever before.” Another example of responding to demand like this was the launch of Novation’s new controller keyboard – the Nocturn. As with Focusrite’s ability to let its top-end technology trickle down into its mass market products, Novation has done much the same with Nocturn, according to Halstead.

“The market is increasingly receptive to hi-tech and I think it’s down to us to make the technology appealing.” Simon Halstead tremendously popular at the moment – very much in the consciousness of music makers. In essence, it enables people to play Ableton with their hands – bringing it out of the realm of computer software and into the realm of musical instruments, which is very much how I see Novation as a brand. “The market is looking increasingly receptive to hi-tech and I think it’s down to us as manufacturers to make the technology appealing. Retailers are our

He says: “We used to be a boutique synthesiser manufacturer, making our name with quite expensive digital modelling synthesisers and we decided to go for this controller keyboard using lessons we've learned along the way. “I think our particular success has been with the Automap technology we've developed. Without going too deeply into it, it enables our hardware to talk to all the popular music making software – which is something the Japanese and

American manufacturers hadn’t managed to do and which provided our toehold in the market and is why we’ve managed to grow so well. “Essentially, this all goes back to the idea that Novation looks on computers as musical instruments, which have been, until now, quite difficult to access. Looked at this way, computers are not just machines for recording events – people want to play them and what we’re trying to do is provide sensible, clever and easy ways to get your hands into your computer software.” There are many challenges attendant in that but one of the biggest is keeping up to speed with all the rapidly mutating and evolving software systems on the market, because although Novation has the obvious tie to Ableton, it by no means restricts its users to that product. All the same, it is Ableton that has challenged the accepted ways in which musicians work with software, and has become an increasingly mainstream MI product as a consequence – and, again, not necessarily an expensive one. “The standard Ableton package costs just under £300, so it’s an investment, and there’s a higher end package that costs around £500, but there’s now a lower cost version called Live Intro and it’s going to cost around £80 – which is incredibly good value, as you get pretty much all the functions and features of the main version, but slightly stripped-down.”

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FOCUSRITE • COMPANY PROFILE

Under the Focusrite umbrella are an awful lot of products that MI should be eager to get its hands on

Launchpad is doing well for Novation in pre-Christmas sales alone

For a retailer who didn’t feel particularly comfortable with £300 packages on the shelf, this new version of Ableton, particularly sold alongside Launchpad (which sells for around £150), could be a very tempting proposition. So does Novation make it easy for non-specialist retailers to get a piece of this action? “I think this is something that ordinary music shops are definitely going to find themselves stocking, because everybody has a laptop now,” Halstead says. “It will probably be the case that the broader range of music shops will stock Ableton Intro, though they probably won’t stock the £500 version and we’d be happy with that.” Meanwhile, very aware of the need for sales staff to know what they are selling in this complicated market, Novation has recently taken on a member of staff whose sole responsibility is going to be visiting shops, demonstrating the product. Another Focusrite/Novation specialist, meanwhile, looks after education – a rapidly growing market for these products. While Novation’s own products and Ableton have become increasingly mainstream, Focusrite itself has historically been an upmarket pro audio brand with plenty of legacy and prestige, but possibly not too much relevance to the mainstream MI market. But even that is no longer set in stone, Halstead says. “Now we do an entire range of soundcards and effects processors that are not only aimed at people who have project studios, but also at schools and colleges that want a good quality audio interface on every machine. We’ve just brought out the Focusrite Saffire 6 USB, which has simple things like two headphone outputs, so that two students can sit at a workstation, but which also has the same high quality mic preamps that we put in our £600 interfaces – and that retails for £140, making it the most affordable interface that we’ve ever released under the Focusrite brand. “In the past we’ve been making interfaces that sell for £800, £600 and £400, for people who want to spend serious money and it’s only now that we’ve had the means and the development time to bring that

technology to a box that costs only £140. Obviously you don't get the bells and whistles that high-end studio users want, but they’re ideal for people who want to get a really high quality sound from their guitar or vocals into their computer.” And finally, yet another red-hot brand from the Novation distribution stable is the US monitor company KRK Systems. KRK has pulled-off an unlikely coup in entering the crowded studio monitor market and making a success of it, despite the presence of so many longestablished competitors. “KRK is an enormously successful brand for us,” Halstead says. “Products range from a single powered speaker that costs £140 to main studio monitors that cost £2,000 and it’s been particularly successful with the DJ market – especially at the more affordable end and in a way that we could never have anticipated. They’re great quality speakers, at the right price point and they’re very attractive. DJs are a clever bunch that have branched out into new ways of creating and performing music. Increasingly, they’re wanting a pair of speakers that will perform when they’re playing records, but that will also give a nice flat response when they are making their own music. If you’d asked me a couple of years ago, I’d have said it was a crowded market, but I’d guess the Rokit 5 is probably the biggest selling monitor in the UK at the moment.” Asked to summarise why retailers should look to Focustrite/Novation today, Simon Halstead has an interesting answer. “I’d say, firstly, look at the number of products that come back. You don’t get many returns from our brands and that makes life easy. None of our brands are about getting the cheapest items available, because we’re quite aware that frequently costs manufacturers and retailers more than it’s worth. Although we’re meeting new price points all the time, our stuff is designed and built to a standard and the price tag reflects that. We’ve brought the prices down as low as we can but were not turning out cheap, disposable units. I’d say urge your customers to follow the philosophy that you get what you pay for.”

Now available from Gem

For more information contact your Gem account manager for more information or visit www.gem.co.uk

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miPRO DECEMBER 2009 45

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PROFILE

JOHN HUGHES-CHAMBERLAIN Managing Director, Tom and Will

I WOKE UP THIS MORNING

MI Pro chats to John Hughes-Chamberlain about email, instruments, gig bags and late nights at Tom and Will...

live about two miles from the office, so it takes me about ten minutes to get to work. My day starts at about 8am and begins with a cup of coffee before I sit down in front of the computer. Email is always the first chore of the day and I’ll have a pile of emails to go through, including a horrible amount of spam. I’m one of those people that believes you have to reply to emails quickly, as it annoys me when people don’t do that with me. At the moment, we’re particularly busy as we’ve just taken on the distribution of a new musical instrument that used to be called a Lyons C Clarinet, which Graham Lyons invented in the early 90s. It’s been relaunched this year under a new name, the Clarineo, and it’s now manufactured in the Far East. It’s been improved in a number of ways and comes with

46 miPRO DECEMBER 2009

a smart case and in a selection of colours, so we’re madly promoting that, sending lots of letters to music shops, doing a lot of advertising. We’ve also just got a website sorted for it and it’s going really well. I’ve just come back from China, where our gig bags are made, having spent a little bit of time in our factory, which I visit a couple of times a year. The gig bags are our own Tom and Will brand. Tom and Will are the names of my two kids – when we started the company, we couldn’t think of a name and we eventually hit on that. Tom and Will are actually a 13 and a 16-year-old who take a keen interest, but not in the dayto-day running of the company. We started the firm approximately four years ago and it’s really taken off; we’re very busy now. I was just studying a broken caster on a keyboard bag this morning, trying to figure out

how it could have happened, so one minute I could be looking at a bag, or designing – we’re working on various prototypes at the moment – so I do everything from putting orders on to looking at new bags. Clive Guthrie runs our sales to music shops, so I speak to him a lot. He tends to look after sales and I do more of the back office stuff. Our bestselling bag is the trumpet, while double bass and bassoon is in our top five sellers, so we’re very diverse. Our aim is to have a full range of bags, as the unusual ones tend to be sought after because they can be difficult to find. I finish ridiculously late, normally about 8.30 to 9pm. I just can’t leave my desk if there’s something that has to be done. Also, when the phones stop ringing and people stop asking you things in the evening you can get lots done.

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MIA NEWS an update from your industry trade association

Music for All, update for all An update on all of the goings on with the industry’s own charity, which sees news on various educational activities, as well as information about how to get involved…

usic for All is the charity owned by the musical instrument industry with the simple mission of making more musicians. This month in MIA news, the UK’s trade association lists four of the notable activities in the recent calendar: FREE SCHOOL LESSONS The MIA reported earlier in the year about Music for All taking free ‘taster’ lessons into primary schools. More of these tours are now being planned and we will involve MIA members at these events to help inspire more young people to take up music making. SWINDON OPEN DAY The charity recently supported a musical open day at Swindon that gave hundreds

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of people the chance to try a real musical instrument. NOEL EDMONDS Music for All recently supported Noel Edmonds and his HQ programme. This was a project to help a London school that had a fire and had lost all its musical instruments. A whole new music room is now full of instruments. PRISONS TEACHING PILOT The charity has recently launched a pilot to take music lessons into prisons and young offenders’ institutes. Full Sutton Prison and Wetherby Young Offenders Institute inmates are currently involved in a programme to learn the guitar in weekly lessons over a six-month period.

Rockschool has partnered with the programme and is accrediting the teaching with the aim of the inmates attaining a Rockschool qualification at the end. This may well be the first qualification that some of these people have ever attained. MfA is closely monitoring the programme, along with the prison authorities, to see what effect the power of music has on the students. The MIA is naturally hoping that music will help in the rehabilitation of people to enable them to make a better contribution to society in the future.

Music for All will assess the outcome of the pilot early in 2010 to see if there is a case for rolling the scheme out to more institutions. WANT TO GET INVOLVED? The charity uses all of the money it raises to go directly into more teaching programmes – if you can support us, can make a donation or know of a good project that could use our support, please contact Paul McManus at mfa@mia.org.uk or visit the website at www.musicforall.org.uk. MIA: 01372 750600

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RETAIL NEWS, OPINION, DATA

RETAIL NEWS Reverb considers new store, Nevada reports fraud, Guitar shop’s free classifieds

RETAIL FEATURE Andrew Landesberg reveals the truth about his plans for Reverb

INDIE PROFILE

BEHIND THE COUNTER

The newly expanded guitar specialist gives us a view on business

Christmas is coming – forget the goose, please put a penny in the MI retailer’s hat

Manson’s looks to 2010 Chalking up a second success with its guitar show, Devon’s famous guitar store is looking forward to an equally successful 2010, but don’t make any mistakes on the emphasis – it sees itself as a ‘specialist’ not a ‘regional’ event OWING TO the success of Manson’s Guitar Shop guitar show in 2008, its first guitar show for nearly ten years, the team at the Exeter, Devon store was drawing up plans for a 2009 event before the last punter had even left the building. This year’s show was held in the same venue as last year, the town’s Riverside Leisure Centre on October 24th and 25th and is being hailed a success in every department, with an increase in visitor traffic and show sales and orders placed all up considerably on last year. Arguably the UK’s biggest guitar specialist, Mansons carries an impressive stock of acoustic and solid bodied electric guitars, amps and effects, and with over

“While we have a very healthy brand clientelle, we also had many independent brands attending the show, which are not affiliated companies, but applied on the strong recommendations of traders who were here last year and wanted to show off their wares at a high profile event.” Exhibitors were clearly happy with the quality of the visitors, the first of whom were queuing before the Saturday doors opened to get full advantage of many first come, first served deals. “As a big company, we fully understand the importance of this show, not only to support the local dealer, but to get down and have a verbal one to one with the customer at grass roots level,” said

Aziz Ibrahim in the live room

The customers came

The UK’s premier guitar show?

“Because of the vast amount of brands, our event has quickly earned a reputation as a specialist guitar show.” Adrian Ashton 40 major names exhibiting, all allocated floor space was snapped up months ago. While an ideal occasion for local oldschool musicians to meet up for the first time in ages, moan about modern bands, their hair loss and their weight, youngsters and parents were arriving from as far afield as Preston and Manchester. “Regional shows are popping up everywhere, but because of the vast amount of brands Mansons carries, our event has quickly earned a reputation as a genuine ‘specialist guitar show’,” commented co-owner Adrian Ashton. “We’re on track to be the UK’s premier guitar show, which is no small claim. The response to this year’s has been nothing short of amazing.

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Marshall’s area manager Mark Sawyer. While some of the legendary names in rock, including Pink Floyd’s Guy Pratt (who replaced Roger Waters on bass in 1992) and former Whitesnake axeman, Bernie Mardsen, were booked for clinics and demonstrations in the live room, others simply called up asking to play. “It was quite uncanny – we had artists asking to perform, including ex-Stone Roses guitarist and multi-instrumentalist, Aziz Ibrahim,” said Ashton. “He played an outstanding set. The overall mood of the show was vibrant and extremely positive, especially the loyal support from our customers in this challenging economic climate; we’re already preparing for 2010.” MANSONS: 01392 496379

From the left Adrian Ashton, Guy Pratt, Hugh Manson

Session bassist Guy Pratt book signing

Bernie Marsden demo’ing PRS miPRO DECEMBER 2009 49

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RETAIL • NEWS

Reverb looking to London Consolidation is first priority, but retail chain admits lure of London area IN AN exclusive interview with MI Pro (see feature, page 50) Andrew Landesberg has revealed that while the consolidation of his four remaining stores is a priority, he is keeping an open mind about the prospects of opening a new store – possibly in the London region. Reverb was born out of the demise of the Sound Control chain, when Landesberg bought six of the stores, with two of them now closed. He said: “We have a clear view of what is emerging and where we want to be and all of our main suppliers are behind us.” Landesberg has taken some criticism of late, following the closure of the Sheffield and Leicester branches of his chain, but he’s adamant that his decisions are purely on the basis of making his business succeed. “When you consider that we have taken on a difficult job in a

Guitar dealer opens up free classifieds Richard’s Guitars site gives away online space

LANDESBERG: “We have a clear view of where we want to be” difficult time, my managers and their staff have done an amazing job, yet they have taken flak from the customers and I have taken it from the trade. The only thing I can think of is that there are some people who want to destabilise what we are trying to do.” He went on to explain that he is now solely focused on developing his stores to their full

potential, but did not rule out expansion. “You have to concentrate on what you’re doing. There is no other way to work. Ultimately, we want to grow, but opening a new store must be on the basis of it being in the right place and at the right time. It would be nice if that were closer to London, but I’m not going to compromise on my criteria.”

RICHARD CHOLLERTON of Richard’s Guitars in Leamington Spa has opened up his website’s classifieds section for free ads for customers and dealers alike. This service is, in its most basic form, free of charge and arose out of Chollerton creating the ad section for himself and deciding that it would be beneficial to open it to others, too. The basic service allows anyone to put an ad on the

guitars.co.uk website, although anything more, such as using a photograph, will incur a fee. The advantage of his website, he explained, was that, unlike eBay, there is no time limit to selling an instrument. “It is not a question of whether it will sell, but when it will sell,” he said. “It’s mostly about getting my own brand out there. If other dealers use my site to sell their guitars, we can both win.”

Nevada Music hit by fraudsters Reward offered for the recovery of the high-end Roland keyboard PORTSMOUTH-BASED Nevada Music has been hit by internet fraud, resulting in the theft of a high-end Roland keyboard. Nevada Music insists that it took all necessary precautions, but the delivery was intercepted at the cardholder’s address, in Gravesend, Kent, by the fraudsters. Several other music businesses were hit on the same day. The firm is now offering a £500 reward to anyone providing information that leads to the return of the Roland VP770 keyboard, serial number ZX90295.

Nevada’s financial director, Jenny Devereux, said: “With Christmas approaching we expect credit card fraud to increase and advise other retailers to be vigilant.” Anyone with information on the VP770 should get in touch with Laurie Eadon or Jenny Devereux. This news came shortly after the retailer broke its all-time sales record on November 8th, during celebrations that marked the business’ 40th anniversary. With over 500 people going through the doors on the day,

Nevada’s online celebration sale during the Sunday was instrumental in setting the record. The reason for the drastic increase in sales was due in the main to prices being rolled back to 1969 levels, with bargain hunters queuing from 3.30am. A local singer/songwriter was first in the queue for a Gibson Guitar at only £40. Staff were dressed in hippy style costumes as DJs Mick & Keef from The Bog Rolling Stones spun the sounds of the ‘60s throughout the day. NEVADA: 023 92 205100.

A Lifetime of Satisfaction In 2007, we introduced a unique Lifetime Warranty* across our 40 Series studio microphones and in 2009 we are going a step further and extending this offer to include both our Artist Elite and Artist Series ranges of wired microphones. Unsurpassed in the market, our Lifetime Warranty offers genuine added value to every sale and reinforces 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.

50 miPRO DECEMBER 2009

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RETAIL FEATURE • REVERB

Reverberations If you want the MI trade to sit up and take notice, get Andrew Landesberg involved. No-one manages to cause more controversy than him – although he is somewhat bemused about this. He tells Andy Barrett the truth about Reverb…

ince the collapse of Sound Control, there has been little that has raised the temperatures of the UK’s MI retail fraternity more than the mention of Andrew Landesberg’s Reverb chain of stores – six locations bought from the administrator in the aftermath of Sound Control’s demise. These passions have been brought to the fore by the closure of two of the stores in Sheffield and Leicester – as can be only too clearly seen on the MI Pro website threads that dealt with these news items. At the same time, the UK’s suppliers have been positive about the new multiple. It seemed important to get to the bottom of what was going on, so I took a trip to Bristol to talk to Landesberg and have a look at what Reverb was up to. For a start, the talk of depleted stock and shabby upper management was put immediately to rest when I walked into the city centre store and saw a shop well stocked and superbly laid out. As far as Bristol is concerned, I can happily report, Reverb is doing anything but struggling. Landesberg praises his store managers and their staff for the efforts they have put in bringing these changes about. Pretty much all of them were with the stores in the Sound Control days – although that does beg the question as to whether buying out a ‘dead’ company is necessarily the way to go. “We’ve had to work hard to overcome the Sound Control stigma,” says Landesburg. “I’ve taken flak from the trade and my guys on the shop floor have taken it from the customers.

52 miPRO DECEMBER 2009

“The only way through this is to focus on what you have to do. You have to be mindful of what’s going on around you, but my business comes first for me. I think now I have a good view of what I want and what is emerging.” There are some easy markers to note in this. For a start, Reverb is a Gibson dealer – which we all know requires a considerable sum up front. Then there are three Roland

Reverb inherited a lot more than just baggage, however, as it was impelled by Deloitte & Touche to buy stock that it probably wouldn’t otherwise have wanted. “I would have liked things to have been different, but the administrator was only going to sell the business in one way and the biggest thing they had to sell was stock.” On top of that, Landesberg’s connections with a real estate company meant that

“Building on what we have is the most important thing. We need to make sure we don’t simply open a store for the sake of it. It has to be right.” Andrew Landesburg Planets and, certainly as far as Bristol is concerned, plenty of big name brands across the guitar, hi tech, recording and PA. This brings us to the apparent contradiction between what competitors say and what the suppliers are doing. “My customers want good brands, so my relationships with suppliers is vital. Sound Control was an important business, but when it went away, it caused an enormous shock. Now the suppliers are a lot more comfortable – but that doesn’t mean that we haven’t inherited some of the baggage.”

some of the stores’ premises could be bought. It is this that has caused the most ruffling of feathers among MI retail. “This is the danger of having a little knowledge,” says Landesberg with a sigh. “There were no freehold premises in the Sound Control sale – they were all leasehold. The company that bought the freehold is separate from Reverb and since then one has been sold and two are in negotiations. Will money be made out of the sales? Yes, of course, but any of the money that originated from Reverb will be reinvested in Reverb.”

What, then, is the plan for Reverb? The chain has gone from six stores down to four, so one could hardly assume that growth is part of the plan, leaving consolidation as the most obvious course. “We’re pretty happy with the suppliers we have – although there are one or two we would like to get on board, of course,” admits Landesberg. “Building on what we have is the most important thing, but that’s not to say we’re not considering opening another shop. We have to make sure we don’t simply open a store for the sake of it. It has to be the right place, the right time – everything has to be done properly. I’d like it to be closer to London, but I’m not going to rush into anything. Beyond that, who can say? The economy is so unstable at the moment and no-one can seriously make a ten year plan.” The demise of Sound Control is now 20 months behind us and in that time we’ve witnessed the worst economic downturn in 70 years. The fact that anyone has survived the past two years is testament to their doing things right to some degree or other. “I think if anyone had known what was coming, no-one would have bought the pieces of Sound Control, but we did. We saw an opportunity and we went for it. Now, after 18 months or so, we can all see our purchases as an opportunity again. “It’s been hard for all of us. Anyone who has ever done it knows how painful it is to lay people off, but it’s business – it’s not personal. Despite some of the things that have been said – which also hurt – MI is a great business to work in; I wouldn’t want to be anywhere else. We are here to stay.”

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INDIE PROFILE • RETAIL

ROCKEM MUSIC ROTHERHAM What was Rotherham’s Piano Centre is now Rockem Music. Rob Hughes chatted to general manager Karl Ruston... How is business compared to this time last year? It’s much busier than it was last year, possibly due to a new guitar showroom. We’re constantly expanding. How do you market the shop? Primarily on the internet using Google, eBay and so on – generally having a web presence. We also do in-store promotions, but we haven’t done any hard copy advertising since last year, because it didn’t seem to work.

How do you compete with the online competition? We have the stock. That’s the most important thing. If someone visits our site and finds what they’re looking for, we’ll have it in stock. What are your biggest strengths? We’re very much a specialist shop, which means that we’re dedicated and we have the knowledge required across everything that we sell.

FACTS & FIGURES Address: The Old Chapel, Canklow Road, Rotherham, South Yorkshire, S60 2JB Phone: 01709 382220 Owner: David and Robert Hockem Established: 2003 Employees: 9 Bestselling lines: Mapex drums, Zildjian Cymbals

54 miPRO DECEMBER 2009

This, in turn, means that we can provide help and guidance to any customer. How do you ensure a good level of customer service? We really look after customers who need help. We answer questions via email until 4am, so we’re only really closed for a few hours each day. We’re fast becoming a 24/7 business. What’s the one product that you couldn’t live without?

I sell vast numbers of most products, so I’m not sure to be honest. There’s no specific product that I stock that I could do without at the moment. How can the industry do more to support retail? Just be more helpful. Unfortunately, it’s quite a lazy industry.

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BEHIND THE COUNTER • RETAIL

Christmas is coming, retail aims to get fat This month our undercover retail reporter eagerly awaits his opportunity to up his sales game...

aah, here it comes. We know the sensations well: the taste of snow on the air, the heady lastday-of-term atmosphere, the reverential adoration of the baby Jesus, the fevered, sweating last minute shopping of the panicked parent. Rejoice! Christmas is here! And we’ve got an awful lot of work to do... Yes, of course, I’m talking about the any-day-now arrival of old Saint Nick himself. How could any respecting shopfloor-bound scribe ignore the fact that the turkeys have all been

No matter how eagerly we might eye up the coming carnival of consumerism, we must never take it for granted that Christmas can redeem us all and save an average (or just plain bad) year. If anything, it’s now that the real work starts. We all know that every customer coming into the shop at this time of year either wants something for themselves or their loved ones. That means that as salesmen we must raise our game to superhuman levels, up-sell like maniacs and be able to take even the most clueless and befuddled parent

Every customer at this time of year either wants something for themselves or for their loved ones. That means as salesmen we must raise our game to superhuman levels. plucked and retail’s favourite religious holiday has rolled around once more? Like a Roman legion braced for an assault by a bunch of crazed barbarians armed only with credit cards and confusion, this is when we really earn our stripes as salesmen.

ST M

by the hand and guide them towards musical nirvana, no matter how busy the floor might be. It’s a crazy time of year, and we must be on our toes more than ever, ready for any eventuality and able to cope with the most ridiculous questions, no matter how flustered and overworked we might find ourselves. Of course a lot of the success of any retail outfit during the holiday season comes down to teamwork. Like a well oiled machine composed entirely of work-shy musos, it is now that the great God of Work cashes in all those hours we spent noodling away while the shop was empty and makes us work for our wages. But believe it or not, it’ll be worth it – in sheer satisfaction of a busy shop well run, the joy of a bulging till and killer sales sheets, and, of course, the thought of all those happy faces on Christmas morning. For the real proof in the customer service pudding though, we must look to the post-turkey comedown; how many guitars will come back to your store? One or two? Or tens? Decent pre-sales set-ups are just as important as after-sales service, and a bit of time taking care of the mountains of new instruments that are currently flooding stock rooms across the land could save an awful lot of time (not to mention reputations) once all the crackers have been cracked. Good luck, friends. See you on the other side...

RL Y

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NEW PRODUCTS ACCESSORIES

BACKLINE BASS & GUITAR DRUMS PRINT

TRADITIONAL • PRODUCTS STAGG 77B FLUGELHORN £260

STAGG 77PHR BB HUNTING HORN £272

They say: The best value for money of this niche instrument available. For: Flugel horn players Range: Stagg brass Spec: Precision crafted, lacquered body, 77-BR Bb fluglehorn also available (£285). From: EMD 01293 862612

They say: Tally-ho! For: Hunt leaders, brass players Range: Stagg brass Spec: Bb hunting horn, leather binding, lacquered finish, levered valves. From: EMD 01293 862612

STAGG 77TP PICCOLO TRUMPET £485 They say: For those longing to do the solo from Penny Lane. For: Trumpetists Range: Trumpetists Spec: Bb or A piccolo trumpet, four valves, lacquered finish. From: EMD 01293 862612

ROSSINI BASS ACCORDIONS FROM £399.99

STAGG 77TV VALVE TROMBINE £459

They say: The dealers who have received them are delighted with the quality – many have repeated orders. For: Accordion players Range: Rossini accordions Spec: Six new models available (12, 24, 48, 96 and 120 bass buttons), also two-row button key model in the range, Chinese made. From: P&R Howard 01355 236621

They say: For those with the most specific of brass-based tastes. For: Tombonists Range: Stagg brass Spec: Three-valved Bb tenor trombone, lacquered finish. From: EMD 01293 862612

GORS & KALLMANN BAUHAUS UPRIGHT PIANO £3,095 They say: A most distinctive looking piano – and in the UK now. For: Pianists Range: Gors & Kallmann uprights Spec: 121cm frame, chrome fittings, ‘art deco’ styling, slow fall. From: Piano Warehouse 020 7267 9229

NUVO CLARINÉO CLARINET £169.99 They say: Satisfies the demands of top musicians and the needs of the youngest beginners. For: Clarinet students Range: New product Spec: Lightweight, scaled clarinet, small tone holes (easy fingering), snap-shut ligature, easy assembly (mouthpiece, body and bell ), ships with plastic reed and special case. From: Tomandwill 08450 945659

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PRODUCTS • DRUMS BASKEY DRUMRUGGS DRUM CARPETS £POA

DRUM ART DRUM STICKS £9.99 PER PAIR

PERFORMANCE PERCUSSION CYMBAL PACK £99

They say: A new range of drum carpets to suit a variety of applications. For: Drummers Range: Baskey drum accessories Spec: 18 different configurations including Elipt-e-kit drumkit-shaped carpets, round carpets, studio carpets, e-kit carpets, standard sizes and Throne Zone add-on. All with centre or offset zips and carry bag. From: Baskey 01763 250800

They say: The maker of specialist snare drums announces a brand new range of ultra quality drum sticks. For: Drummers Range: New Drum Art product Spec: Individually made from hickory or maple, matched pairs, available in 2B, 5A, 5B, 5B concert and 7A. From: Proel 020 8761 9911

They say: Experiencing a tonal quality something akin to battered old dustbin lids? For: Drummers Range: PP cymbals Spec: Bronze cymbal upgrade pack, contains 14-inch hi-hat pair, 16-inch crash,18-inch ride and cymbal bag. From: JHS 0113 286 5381

SABIAN SBR BRASS CYMBALS £POA They say: Brass cymbals designed to offer improved quality and value for the entry level drummer. For: Drummers Range: Sabian cymbals Spec: Special-formula brass alloy, full range of popular sizes and models, large-peen hammering and pinpoint lathing, natural finish. Also available as sonically matched sets. From: Westside 0141 248 4812

ROLAND TD-20KX V-DRUMS £4,899 They say: Makes a full-impact impression onstage. For: Drummers Range: Roland V-Drums Spec: TD-20X sound module, two PD-125X pads, PD-125XS snare pad, two PD-105X pads, VH-12-SV V-hi-hat , two CY14C-SV crashes, CY-15R-SV ride, KD-140 V kick, brushed-metal pads and silver cymbal pads. From: Roland 01792 702701

STAGG SPSB DRUM HARDWARE BAG £36 They say: The perfect method of transporting those cumbersome bits and pieces. For: Drummers, percussionists Range: Stagg accessories Spec: Heavy duty nylon bag with individual compartments, holds three cymbal boom or straight stands, single hi-hat and snare stand. Wraps for easy storage and portability. (Also with extra cymbal boom/straight compartment: £48.) From: EMD 01293 862612

STAGG EDAP E-DRUM ACCESSORY PACK £95 They say: Neatly packaged kit for all your e-drum needs. For: Electronic drum kits Range: Stagg accessories Spec: Includes DP-32BK drum throne, PP-50 bass drum pedal, SHP-2300 headphones and set of 5A American hickory sticks. From: EMD 01293 862612

THIS PAGE IS SPONSORED BY MIKEDOLBEAR.COM, THE LEADING ONLINE RESOURCE FOR EVERYTHING DRUMS.

VISIT WWW.MIKEDOLBEAR.COM FOR MORE DETAILS.

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BASS & GUITAR • PRODUCTS WASHBURN CRACKED MIRROR IDOL & V ELECTRICS £713 & £816.50 They say: This much soughtafter finish can now be found on two popular Washburn electrics. For: Guitarists Range: Washburn cracked mirror electrics Spec: Mahogany body, set mahogany neck, rosewood (on WI1800CM Idol) or ebony (on WV1800CM V) fingerboard, Randall UL neck and Ultra XL bridge pickups, Buzz Feiten tuning system. From: Sound Technology 01462 480000

SQUIER JAMES JOHNSTON SIGNATURE BASS £419.99 They say: Designed in collaboration with the Biffy Clyro bassist. For: Bassists Range: Squier signature models Spec: Jazz bass guitar, Custom Shop Jazz bass single-coil pickups, modern radius neck with medium jumbo frets. Lake Placid blue finish with matching headstock and Biffy Clyro logo. From: Fender 01342 331700

SQUIER SIMON NEIL SIGNATURE STRATOCASTER £359.99 They say: Based on the popular artist’s favorite personal instruments. For: Guitarists Range: Squier signature series Spec: Colour-matched to Neil’s 60s Fender Custom Shop Stratocaster, custom pickups (blend of Alnico III and V magnets). Biffy Clyro logo on headstock. From: Fender 01342 331700

VINTAGE V6MRTBG THOMAS BLUG SIGNATURE £399 They say: One of the most recognisable guitar sounds, synonymous with the faded Olympic White 61 double cutaway electric. For: Guitarists Range: Vintage signature Spec: Wilkinson custom electronics, personalised switching (incl Bukka Switch extra hum-cancelling coil selection), basswood body, bolt-on hard maple neck, rosewood fingerboard, Wilkinson hardware. From: JHS 0113 286 5381

ARIA ZZ-2 ELECTRIC £359

They say: Generates deep sustaining qualities, a perfect marriage to the gnarly edged attack of the mids and soaring highs. For: Guitarists Range: Aria ZZ electrics Spec: Alder body, bolt-on maple neck, two Seymour Duncan designed, active HB-105N humbuckers, through-body stringing, Aria solid STP bridge, black hardware. E-type guitar, black finish. From: Aria 01483 238720

CONSUMER SALES MANAGER When most people think of Fender® guitars and ampliﬁers, 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? If so, we have a unique opportunity for an extremely self-motivated individual to join our Sales Department as Consumer Sales Manager. Reporting to the Director of Sales for Europe, this position will manage sales and business development into our non-core markets. This will include musical instruments in our European Mass Merchant channel and development of opportunities for Fender’s audio products in the Leisure, Education, Fitness & Service markets.

MARINER JX-6SB JUMBO ACOUSTIC £485 They say: A most traditional drop shoulder acoustic guitar. For: Guitarists Range: Mariner Masthead series Spec: Solid mahogany back and sides, selected solid sitka spruce top, maple and rosewood bindings and detailing, abalone inlays, Grover Sta-Tite tuners, vintage sunburst finish (also available in natural). From: Music Force 01780 781630

The Consumer Sales Manager will work closely with many aspects of our organisation including product development, marketing, planning and logistics and as such a broad understanding of those business functions would be advantageous. The successful candidate will need to be commercially astute, determined, creative and ﬂexible as a variety of styles and routes to market need to be accommodated. The market is Europe wide so regular travel will be expected so some multi-language skills would be desirable. A proven track record of sales success is required. Although a Musical Instruments or Pro Audio sales industry background would be beneﬁcial it is by no means as essential as possessing a keen commercial, strategic sense and the ability to communicate and present ideas and objectives clearly. IF YOU WISH TO FIND OUT MORE OR APPLY (CV AND COVERING LETTER) FOR THIS UNIQUE OPPORTUNITY THEN PLEASE CONTACT EUROPERECRUITMENT@FENDER.COM OR TELEPHONE HUMAN RESOURCES ON 01342 331764. CLOSING DATE FOR APPLICATIONS IS 14TH DECEMBER 2009

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NEW PRODUCTS • PRINT

BOOK OF THE MONTH Author: Brown, Abraham & Munson (compilers) Relix: The Book Target: Dead Heads, general Comment: I somehow doubt that this book will sell particularly well in the UK, but then again, by its very underground nature, the world of Grateful Dead fans is a distinctly murky one, which for all I know involves secret handshakes, membership ties and a carnation button hole in a particular shade of purple – maybe I’ll be surprised. Few in the UK will have come across Relix magazine, but its history is an

EDUCATION Author: Mark Walker World Jazz Drumming Series: Berklee Press – Drums Target: Drums, percussion Comment: The multi-Grammy award-winning drummer and professor of percussion at the Berklee College of Music takes the advanced learner through the styles and techniques of Caribbean and South American music, applying the largely percussion set up to a largely drumkit setting. Featuring Walker’s own music in each lesson (and on the accompanying CD), there’s a hefty amount of knowledge to take on board. HAL LEONARD (MUSIC SALES): 01284 702600

Author: Tim Quinn Fluid Soloing: Book 4 Series: Rock Curriculum Target: Guitar Comment: The fourth in the the Rock Curriculum series takes the soloing guitarist into some quite distant territories, introducing the techniques of string skipping (or cross picking), wide interval scales and other soloing tricks and tips. The result is an exciting and unpredictable melodic style, giving a complex feel and a fascinating collection of textures. This is a serious book with some serious content for guitarists looking to further develop their skills. MEL BAY: 020 8214 1222

interesting one. Launched by Les Kippel in 1970, with the intention of exchanging bootleg recordings of Dead concerts, the sheer swell of interest from fans, and eventually bands in the classic rock and improvisation schools, saw the pamphlet grow from nerdy cult to mainstream rock journalism. This book takes the 30-year life of the magazine and crams it into a 250 pages, overflowing with psychedelic imagery and

proto-punk attitude in the shape of mag covers, articles, cartoons, anecdotes and just about everything you would expect from a bunch of hippies spending 30 years making a magazine. It’s clear these guys had a lot of fun and this book will look good on any ageing hippy’s coffee table. It’s a little chunk of history – whether it’s yours or someone else’s, it’s still a fun book. BACKBEAT: 020 7720 3581

Artist: Dick Weissman & Dan Fox A Guide to Non-Jazz Improvisation Target: Piano Comment: Mention improvisation to many and the first thought is ‘jazz’. This book goes a long way to helping non-jazzers find an improvisational voice by working through the various modes and giving the student examples to play (with an accompanying CD), before leading into asymmetric time signatures and on to Japanese, Cajun, bossa nova and other styles. It’s an easy-to-follow little gem of a book that should open up a world many musos might have thought was closed to them. MEL BAY: 020 8214 1222

Artist: John Kember & Martin Beech Guitar Sight-Reading 2 Series: Sight Reading Target: Classical guitar Comment: The second of the guitar-centred sight-reading books naturally builds on the skills accumulated by studying the first book. In this volume, Kember and Beech take the learner through five sections, each one introducing new notes, rhythms, articulations, vocabulary and styles, carefully planned to achieve a logical progression. An essential companion for the solo or ensemble guitarist. SCHOTT: 020 7534 0744

GENERAL

TRADITIONAL

Author: Stuart Shea Pink Floyd FAQ

Artist: Chris Bartram (ed) English Fiddle

Target: General Comment: An unofficial band ‘biography’ made up of snippets of personnel bios of band members, contributors, producers and management, concert tales, lists, tour histories and an awful lot more. With the existence of Nick Mason’s memoirs on Pink Floyd, this is perhaps a little bit too much, too late, but still an interesting book to dip into or read through – with a nice bit of dirt dug, but a whole lot more praise shovelled. BACKBEAT: 020 7720 3581

Target: Fiddle Comment: It is a point often made, that English folk music is alive and well, but rather buried beneath the sheer weight of Celtic and European (not mention American) folk. The same goes for fiddle music – the English tunes have been somewhat swept under the carpet. This book changes that with a collection of over 80 English fiddle tunes. Hornpipes, jigs, Schottisches and polkas combine to re-introduce a new generation to a very English tradition. MEL BAY: 020 8214 1222

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THE PLACE FOR BUSINESS

MI MARKETPLACE TO ADVERTISE ON THESE PAGES CALL DARRELL CARTER ON 01992 535647 440 DISTRIBUTION . . . . . . . . . . . . . . . . . . . . . . . 01132 589599 A ALLPARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0870 442 3336 B BILL LEWINGTON . . . . . . . . . . . . . . . . . . . . . . . . . 01268 413366 C COVERNOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0121 327 1977 F FOCUS MERCHANDISE . . . . . . . . . . . . . . . . . . . . 01252 794 029 FCN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01892 603730 FUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0113 320 0304 G GHANA GOODS. . . . . . . . . . . . . . . . . . . . . . . . . . . 0117 955 8668 GUITARRAS DE ESPAÑA . . . . . . . . . . . . . . . . . . . 0117 973 3214 H HC DISTRIBUTION . . . . . . . . . . . . . . . . . . . 00 353 5991 34268 HERGA MUSIC SERVICES . . . . . . . . . . . . . . . . . . 020 8861 1590 HOT ROX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0115 987 3163 J JAM PERCUSSION . . . . . . . . . . . . . . . . . . . . . . . . 0151 494 1492 L LEED REPRESENTATION . . . . . . . . . . . . . . . . . . 01243 378050 LEISURETEC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01525 850085 M MARSHALL AMPLIFICATIONS . . . WWW.MARSHALLAMPS.COM MCELLAND/GREMLIN MUSIC. . . . . . . . . . . . . . . . 01273 491333 MELBAY . . . . . . . . . . . . . . . . . . . . . . . . . . +44 (0)20 8382 8010 MUSIC SHIPPING CO. . . . . . . . . . . . . . . . . . . . . . . 01562 827666 O OCARINA WORKSHOP . . . . . . . . . . . . . . . . . . . . . 01536 485963 ORANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 020 8905 2828 R RICH ART . . . . . . . . . . . . . . . . . . . . . . . . . WWW.RICH-ART.CO.UK ROTHWELL AUDIO . . . . . . . . . . . . . . . . . . . . . . . . 01204 366133 S SAXOPHONE UK . . . . . . . . . . . . . . . . . . . . . . . . . 01892 662 533 SOAR VALLEY MUSIC . . . . . . . . . . . . . . . . . . . . . 0116 230 4926 STEVE CLINKSCALE . . . . . . . . . . . . . . . . . . . . . 01573 225 885 T TEAC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01923 438 880 TOM & WILL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08450 945 659 W WIND PLUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0116 243 1698 WORLD RYTHM . . . . . . . . . . . . . . . . . . . . . . . . . . . 01242 282 191

SUPPLIER SPOTLIGHT

MARKETPLACE INDEX

Get yer Rox on The world of valves and FX can often be overlooked, but behind the world of guitars and amplifiers, Hot Rox UK is proving the point that it is becoming something of a big fish…

s a year of uncertainty draws to an end, there is a success story to report with Hot Rox UK, a leading supplier of vacuum tubes that are tested and rated in real amplifier conditions. Hot Rox is now recognised on a global scale and relied on by many leading service engineers and touring musicians. This includes the recent backline and service support of bands such as the Arctic Monkeys, Pink, Fratellis, Status Quo, Radiohead, and the West End rock musical We Will Rock You, just to name a few. The company sees its valve testing facilities as among the best in the world. On its custom-built test rigs, valves are subject to a long vigorous burn-in, prior to a precision matching programme that maintains Hot Rox UK’s reputation for excellence and reliability. There is a prodigious stock of famous brands such as Electro Harmonix, Genalex, NOS Valves, Svetlana, JJ Electronics, Sovtek, USA original valves and the like. A full range of components including Orange Drops, Sprague, JJ, Silver Mica and Mallory, as well as all of the

sockets, pots, retainers, handles, switches –essential in the trade – are always available. After being appointed as the UK’s distributor for Jensen and SICA Speakers 12 months ago, Hot Rox has expanded its range of Jensen speakers available and these are now being used by leading amplifier manufacturers such as, Fender, Mesa Boogie and Cornell. Mark Simmons of Hot Rox tells us that retail shops are already capitalising on increased sales by offering Jensen speakers to their customers for excellent replacements and upgrades. News from the company is that a new name has appeared on the Hot Rox catalogue of boutique effects, as Hot Rox is now the sole distributor of the amazing Tortuga pedals, handbuilt by Matt Johnson in Renton, Washington, USA, famous for the Neptune Opto-vibe and the Yeti fuzz to name but two. To hear these amazing pedals, go to www.hotroxuk.com. For trade enquiries, please call the sales team on Tel: 0115 9873161 or email: sales@hotroxuk.com

CLASSIFIEDS: MINIMUM 12 MONTHS - ONE ANNUAL CHARGE QUARTER PAGE £1,295 62 DECEMBER 2009 miPRO

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MI MARKETPLACE ABROAD REPRESENTATION

ACOUSTIC DISTRIBUTION

For full dealership details contact your local area representative

IRELAND & N.I Walter Hennessy

087 2596183 SCOTLAND & NORTH EAST Steve Clinkscale

07958 351712 NORTHERN ENGLAND Chris Hind

07958 830072 SOUTH WEST CENTRAL ENGLAND & WALES Steve Preston

07554 454054 HC MUSIC DISTRIBUTION LTD

00353 5991 34268 sales@hcdistribution.com www.cort-guitars.co.uk www.myspace.com/cortguitars

ACCESSORIES AND GIFTWARE

LONDON & SOUTH EAST Ian Collins

07836 237337

AMPLIFICATION

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

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MI MARKETPLACE CLASSICAL GUITARS

DESIGN

DISTRIBUTION

…more than just a gig bag!

Style! Visit us online at www.fusion-bags.com Distributed by + 44 (0)1483 238720

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MI MARKETPLACE DISTRIBUTION

DISTRIBUTION

Your Box

Ready to Snatch 01525 850085

www.leisuretec.co.uk

Sound • Lighting • Special Effects - Established 1990 - Distribution Power Squared

DISTRIBUTION

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DISTRIBUTION

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MI MARKETPLACE GUITAR PARTS

ier Guitar, m e r P ’s K U The ts Supplier r a P p m A & Bass

t r a p a k c Pi p mp Am eA ge tag inta V Vin

• Amp Cabinets • Amp Kits • Capacitors • Grill Cloth • Pots • Hardware • Speakers • Resistors • Transformers • Transistors • Valves • Tubes ... and much more ! ! ! DISTRIBUTION

66 miPRO DECEMBER 2009

To order call 0870 442 3336 Low call rate 0845 345 59

Order online @:

www.allparts.uk.com or email us: info@allparts

.uk.com

DISTRIBUTION

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MI MARKETPLACE DISTRIBUTION

DISTRIBUTION

Call Tom Harrison on 01132 589599 or email - tom@440distribution.com ETHNIC AND FOLK

INSURANCE AND BUSINESS

GHANA GOODS WEST AFRICAN PERCUSSION WHOLESALE AND RETAIL PO Box 95, Fishponds Bristol, BS16 1AG Tel: 0117 9354132 ghanagoods@clara.net

www.ghanagoods.com

BRITAIN'S FINEST BOUTIQUE EFFECTS Rothwell effects pedals are truly hand-made here in the uk and built to the highest standards. The cases are hand polished and the electronics carefully assembled by skilled uk workers. The circuit design is innovative and original (we don't do clones, repros or mods) 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 the world's biggest stages. The Hellbender (overdrive) and Switchblade (distortion) are currently being heard by thousands of fans on Justin Timberlake's world tour, played by Mike Scott (also Prince's main 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 boutique effects pedals.

WWW.ROTHWELLAUDIOPRODUCTS.CO.UK 01204 366133 WWW.MI-PRO.CO.UK

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MI MARKETPLACE INSURANCE AND BUSINESS

MUSIC PUBLISHERS

OCARINAS

tel: 01536 485 963 fax: 01536 485 051 email: sales@ocarina.co.uk

Making Music in Schools Since 1983 UK made rainbow ocarinas from Ocarina Workshop are easy to play and great fun to teach with. These pocket-sized instruments are popular with kids & well-tuned. Together with 'Play your Ocarina' music books, they are the key to successful music-making in many schools around the country. Make sure school ocarinas are on your counter-top and available when customers request them! Quote ‘MI Pro’ when you order 12 Ocarinas & 12 Books and be amazed at the ocarina’s potential... Trade orders are sent by return: free delivery & no minimum order

www.ocarina.co.uk 68 miPRO DECEMBER 2009

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MI MARKETPLACE

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PERCUSSION AND DRUMS

PERCUSSION

PROMOTIONAL

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MI MARKETPLACE REPAIRS

SAXOPHONES

WIND INSTRUMENT

MI MARKETPLACE GREAT ADVERTISING OPPORTUNITIES

CONTACT DARRELL CARTER +44 (0)1992 535647

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MI MARKETPLACE ADVERTISERS INDEX

ADAM HALL . . . . . . . . . . . . . . . . . . . . . 46,54, 56

LEISURETEC . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

ANGLO SPANISH GUITAR. . . . . . . . . . . . . . . . . . 5

MARSHALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

ARIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

MELBAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

AUIO TECHNICA . . . . . . . . . . . . . . . . . . . . . . . . 50

MUSIC GUARD . . . . . . . . . . . . . . . . . . . . . . . . . . 47

AVID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

NAMM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

AVSL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 & 25

P&R HOWARD . . . . . . . . . . . . . . . . . . . . . . . . . . 34

BARNES & MULLINS. . . . . . . . . . . . . . . . . . . . . 43

PEAVEY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

CPC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

ROLAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

DBT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

S.JOHNSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

FABER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

SCATTERED MEDIA . . . . . . . . . . . . . . . . . . . . . . 71

FENDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

SCV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

FOCUSRITE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

SOUND TECHNOLOGY . . . . . . . . . . . . . . . . . . . . . 1

GEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

SUMMERFIELD . . . . . . . . . . . . . . . . . . . . . . . . . . 15

GREMLIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

TANGLEWOOD. . . . . . . . . . . . . . . . . . . . . . . 38&39

HARDCASE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

TEAC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

JHS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 51

TOM & WILL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

LAMBA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

WESTSIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

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PRO THE LAST WORD IN MI 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 mipro@intentmedia.co.uk...

RETRO

DECEMBER 2001 Cover Stars: Trade shows, no less. After the horrors of the September 11th attacks a few months previously, international shows were either postponed or suffered heavily reduced visitor numbers. Local shows, however, such as Music Live, were going from strength to strength News: PMT nicks Gary Chapman from Sound Control, Studio Sound mag closure imminent, Taylor and Fender cut staff – Gibson hires, Tim Walter and Paul Blease join Roland UK board Features: Bose, the cymbal market, YamahaKemble Family Tree, Music Live, AES, SBES and LDI reports

MARSHALL'S PUDSEY STACK The UK amp maker created an auction of a special amp for Children in Need and as MI Pro goes to press, bidding on the Marshall ‘Pudsey Stack’, specially made for the BBC’s charity, was well over £1,000 – which bodes well for when the auction comes to an end on November 23rd. As you read this someone is already the lucky owner of this neat looking bit of kit. The one-off DSL50 stack is covered in a bright canary yellow vinyl and features a print of the

charity's mascot, Pudsey Bear, rocking out on the baffle. Taking its inspiration from the famous little bear, the stack also wears a polkadot bandana over the left side of the head and is finished off with gold piping and a red and green corner front and rear. The stack was hand-built in Marshall’s factory in Milton Keynes and the inside of the speaker cabs have been signed by every employee in the company, not forgetting the guvnor – Jim Marshall – or the co-MDs, Graham Young and Jon Ellery.

Products: Carslbro Sherwood Wood Stock, Laney Hardcore Max, Crafter CT 125 thinbodied electro, Ibanez MIDI guitar, Mobius Maxtapper Megatar, Korg PXR4 pocket studio, Akai Z4 and Z8 samplers Number one singles: Robbie Williams and Nicole Kidman – Somethin’ Stupid Number one albums: Robbie Williams – Swing when You’re Winning

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THE LAST WORD IN MI PRO

MARSHALL FRONTS GUITAR STORE

IVORIES TICKLE FOR CHRISTMAS In the run up to Christmas, PRS for Music has revealed that the piano remains the instrument that the UK population would most like to learn. With tens of thousands of musical presents set to be shared this coming season, whether it’s an actual instrument, music lessons or games, the PRS was keen to find out exactly which one would top Christmas lists. Over one third plumped for the Joanna. Despite what many might like to think, the guitar’s combined results still fall way short.

MI ICON

or those of us fond of the odd bit of noise mangling, there is nothing better than the sound of a Roland Space Echo being thoroughly abused at the hands of some enterprising adventurer in sound. Launched to a not entirely unsuspecting world in 1972, the Roland RE-201 Space Echo came hot on the heels of earlier versions, but it was the idiosyncracies of this unit in particular that were to make it the go-to box for mental noise for a huge array of high profile players. Seemingly built to withstand a nuclear bomb, such was the build quality, it was the sounds that could be wrangled form its beautifully designed exterior that were to make its name. With a relatively simple system in which a small loop of tape,

Based on a survey of over 1,500 UK respondents conducted by the RS, the following has now been revealed: 1.) Piano (34%) 2.) Trumpet (14%) 3.) Electric guitar (13%) 4.) Saxophone (11%) 5.) Acoustic guitar (11%) 6.) Drums (7%) 7.) Keyboard (3%) 8.) Violin (3%) 9.) Cello (2%) 10.) Flute (1%) Pianos rule – okay?

The Guitar Store in Southampton, which caused ripples of amusement throughout the region and the MI world generally with its Fender Super Champ guitar shop front, has gone a step further with its new acoustic instrument store, a couple of doors down from that store – this time with the shop front modelled on a Marshall AS50 acoustic amp. The shop, which can be found in Commercial Road, has a grill-effect finish to the shutters, with the classic Marshall badge and an exact reproduction of the Marshall AS50's faceplate, including a light-up power switch.

Having the classic Super Champ as the front of their Electric Guitar Store, the shop's directors, Jamie and Wes Goatley, knew they would have to match the standard they already set for themselves with their last shop and the Marshall AS50 acoustic amp/shop was born. This time the owners have taken the idea a little further, as the inside is done out to look like an old fashioned guitar shed and porch with a saloon-style counter entrance, vintage guitar memorabilia on the walls, a corrugated roof over the main counter and, of course, a rocking chair.

Roland Space Echo which is not wound, but held loosely in a plastic covered box, to prevent it from becoming tangled, records the input signal and immediately replicates it through a pair of playback heads, the Space Echo is capable of creating incredibly warm, often unpredictable and highly addictive sounds.

Still sought after as an outboard effect, Roland has recently introduced a guitar effects pedal to recreate the sound in a live setting and the long shadow the unit has cast is sure to continue growing as modern players discover its unique abilities. After all, the likes of Jean Michelle Jarre, Pink Floyd and The Verve can't be wrong...