Musical Instrument Professional (MiPro) Issue 102, November 2008 by Intent Media (now Newbay Media Europe)

INCORPORATING

SECTOR SPOTLIGHT STARTER PACKS

I TRADITIONAL I HI-TECH I ROCK I CLASSICAL I EDUCATION I PRINTED MUSIC

ISSUE 102 I NOVEMBER 2008

1833 and all that Martin: 175 years at the top and still giving people what they want

DGC WESTSIDE SABIAN MIA PIANO WAREHOUSE MARINER HERGA FRESHMAN

The new album A Sense of Purpose is out now! www.inflames.com

For more information about the JVM2 Series and other Marshall products contact:

Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK1 1DQ www.marshallamps.com

ISSUE 102 NOVEMBER 2008

IN THIS ISSUE

COVER STORY

SECTOR SPOTLIGHT • STARTER PACKS 31 Christmas is just around the corner and despite the economy, the entry-level staples look set to remain the impulse-buy best sellers in retail’s busiest season

HOW TO STAY ON TOP

Not only has Martin Guitars been around for 175 years, it has remained at the top of the acoustic guitar business and is still a family concern. MI Pro examines an MI phenomenon

NEWS 6 DGC closes, Westside makes splash with Sabian, JHS with Fishman

DISTRIBUTION 10 Mel Bay’s down under, Aer’s Trust, DM Guitars, Sound Tech goes Nord

MIA AWARDS 12 The great and the good applauding with plaudits – it’s all good news

PRS EXPERIENCE 16 Our man in Stevensville gets a front row seat for all that’s new in high-end guitars

RADIO FREQUENCIES 18

MAKING A NOISE 25

Portable PA is enjoying something of a rush as the live music scene goes from strength to strength. What’s in it for you?

RETAIL

Channel 69 could be on the way out. How you can cause some disturbance

MARINER GUITARS 37 Ken Achard is back – again – with a new high-end acoustic

PIANO WAREHOUSE 38 Although pianos are booming, the Kentish Town team is taking no chances

FRESHMAN 44 A new line aimed at taking a successful brand through the stratosphere

NEWS 53 X-Music opens in Dublin, Rotosound drives web interest, Champ shop front

ON LOCATION 57 HERGA MUSIC 46

Walking in the wild west

How to get started in the gift business and move beyond MI

INDIE PROFILE 59 Tiki Drums makes something of a hit

CODA 80 38

The paparazzi’s unique point of view of the MIA awards in London

10 Years soundly insuring the UK Music Industry

PRODUCTS ACCESSORIES 60 RECORDING 63 DRUMS 65 TRADITIONAL 66 PRINT 68

t: 0121-327-1977 f: 0121-327-5139 info@covernotes.co.uk / www.covernotes.co.uk Authorised & Regulated by the Financial Services Authority

miPRO NOVEMBER 2008 3

EDITORIAL

The ‘R’ word

MEMBER

Apparently the general public has borrowed too much. The words ‘pot’, ‘kettle’ and ‘black’ spring immediately to mind.

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s it irony that a few months ago we were concerned over food and petrol prices and our domestic budgets, while the credit crunch crisis murmured on in the background, yet now prices are falling as the global economy stumbles closer and closer to the precipice? Probably not – it’s more a reversal of fortune, really. Here’s another one: for the past three years, UK manufacturing has been constrained by the strength of the pound, which has made exports expensive for buyers abroad, but now, following a dramatic fall in the value of Sterling, nobody is much in the mood for buying stock in fear of over extending those now ignominious lines of credit… Or is that irony? It probably is, especially when we consider that excessive importing has been blamed for a lot of the UK’s difficulties at the moment. Whatever. The thing is, the world is entering a period of unprecedented uncertainty as regards the economy and the truth that few economists and politicians are prepared to admit to is that no-one really knows what will happen next, nor where it will all end. As MI Pro goes to press, the Governor of the Bank of England has finally admitted that recession is upon us, with the Prime Minister following suit a few hours later in Parliament, but all this has done is inspire ‘experts’ to argue on the TV and radio as to exactly how ‘deep’ the recession will be and for how long it will continue. In the ongoing blame game, I have found it very interesting to note that while the banks still stand out as the biggest baddies, there has been something of a campaign in the media (inspired by the banks?) to turn that finger on the general public. Apparently, we have borrowed too much, we have lived beyond our means and we have relied too much on credit. The words ‘pot’, ‘kettle’ and ‘black’ spring immediately to mind. Meanwhile, retail chugs on, with some High Street outlets still asking ‘Crisis? What crisis?’ An interview with the retail magnate, Peter Green, in early October had him following the ‘we talk ourselves into recession’ line and certain that the financial leaders would sort things out. Late October saw the same man, somewhat incredulously it must be said, confirming that these leaders had done no such thing and that recession was now unavoidable. And the bottom line? While the supply chain has been accused of importing too much and the general public of borrowing too much, the result is bound to be that retailers will have less to sell and less money being spent. We have often used these pages to say that imaginative retailing is a good path to successful retailing. Dealers are going to have to be even more imaginative over the next year or so, it would seem.

MI PRO CONTACTS MANAGING EDITOR ANDY BARRETT mipro@intentmedia.co.uk

DESIGNER REBECCA ALMOND rebecca.almond@intentmedia.co.uk

EDITOR AT LARGE GARY COOPER gary@garycooper.biz

DESIGN ASSISTANT CLAIRE BROCKLESBY claire.brocklesby@intentmedia.co.uk

ASSOCIATE EDITOR ROB POWER rob.power@intentmedia.co.uk

CIRCULATION PAUL LITTLE mipro.subscriptions@c-cms.com

STAFF WRITER ROB HUGHES rob.hughes@intentmedia.co.uk

CONSULTANT GRAHAM BUTTERWORTH buttsie@mbmediagroup.co.uk

ADVERTISING MANAGER DARRELL CARTER darrell.carter@intentmedia.co.uk

PUBLISHER DAVE ROBERTS dave.roberts@intentmedia.co.uk

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

MANAGING DIRECTOR STUART DINSEY stuart.dinsey@intentmedia.co.uk

PRODUCTION EXECUTIVE ROSIE MCKEOWN rosie.mckeown@intentmedia.co.uk

Andy Barrett mipro@intentmedia.co.uk

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NEWS

Sabian gets strategic with Westside Glasgow supplier takes on first percussion line for ‘greater coverage’ SABIAN HAS announced that it is to share the distribution of its cymbal products between the established UK distributor, Arbiter Group and Westside Distribution, in an agreement designed to ensure a much greater UK market coverage and to facilitate a wider range of dealer-focused benefits. This means Sabian cymbals and accessories will now also be available to UK dealers from Westside, which has established award-winning success with a select roster of high-end brand names including CF Martin & Co guitars, Mesa Boogie amps, Levy’s straps and Aer acoustic amplification. Though distributing the same catalogue of products, Westside and Arbiter will continue to operate independent of each other. Westside’s director, Phil Hay (pictured right with Sabian’s UKbased senior vice-president, Jackie Houlden) expressed his satisfaction. “As a drummer and someone who has wanted to add percussion to our portfolio, I am delighted Sabian has chosen Westside for this partnership,” he said. “Sabian is a world-class brand with tremendous

Jackie Houlden (seated) and Phil Hay penning the deal

consumer awareness and consistently high demand. I have every confidence Westside will further enhance the UK market status Sabian has achieved with its existing business model.” Houlden added: “Westside has a stellar reputation, and we at Sabian are extremely confident that the strong business acumen, astute brand portfolio management, and strategic approach to business demonstrated by its staff and management will ensure the UK

trade and consumer market will benefit greatly from this new arrangement.” Westside is now in the process of recruiting for its new ‘drum department’ with a call for a drum specialist to work as a representative for the midlands, East Anglia, London, the south east and the south west regions of England, with the initial aim of promoting the Sabian brand in the country. WESTSIDE: 0141 248 4812 ARBITER: 020 8207 7860

Cohen closes DGC Supplier moves away from MI to concentrate on technology businesses DURHAM BASED MI distributor DGC Distribution ceased trading on October 10th, initially leaving the industry in some consternation as to what had happened with the company. The company’s owner Simon Cohen, however, released the following statement on October 20th: “It is with deep regret to confirm that DGC Distribution ceased trading last week after more than 20 years in business. I would like to take this opportunity to thank all our customers, suppliers and staff for their continuing support over so many years. “The decision to close was based on several factors, not least our continued involvement in technology and retailing solutions. I would like to re-assure all customers that Terms Ltd, trading as MI-Store and Guvnor Ltd are both trading strongly. For any further enquiries please contact me at simon@mistore.com, simon@guvnor.com or call me directly on 07971 810045.” DGC began as a guitar school in Durham City, which later became a music shop in the mid-80s, before branching

SIMON COHEN:closed DGC after over 20 years into distribution. It specialised in accessories and guitars, with the primary lines being Guvnor and Ritter. DGC won the DTI National Millennium Awards for Ecommerce in 2000 for its music store portal, guvnor.com. Inclusion in the UK’s Vision 100 list followed. Cohen and his colleagues continue to trade under Terms Ltd, supplying MI specific epos systems and e-commerce solutions. The manufacturing and worldwide distribution of Guvnor Guitars also continues. While the DGC website has been closed down, the ‘closure’ of the Guvnor site was temporary and based on content. The MI Store website (mi-store.com) has continued uninterrupted and the Guvnor site was due for re-launch as MI Pro went to press.

JHS scoops top acoustic brand Fishman switches to Garforth for UK and Northern Ireland distribution JOHN HORNBY Skewes & Co has been appointed as the exclusive UK and Northern Ireland trade distributor for the American manufacturer, Fishman transducers and acoustic amplification. The new deal is effective immediately. “It’s not every day that a class-leading brand such as Fishman, with a 25-year history of technical innovation, becomes available,” commented JHS’ managing director, Dennis Drumm. “We are truly delighted to have been selected to offer the world’s number one brand of pickups, preamps, tone shaping products and amplifiers

6 miPRO NOVEMBER 2008

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 with JHS’s guitar brands.” Larry Fishman (pictured), the founder and president of Fishman Transducers added: “We have similar roots, business histories, and place a high value on the importance of a seamless transition of products from the manufacturer and on to the musician. “Both companies enjoy

reputations for excellent product, customer service and are, therefore, equally fastidious regarding the quality of our business alliances. “As the largest independent distributor of musical instrument products in the UK with a 43 year history, JHS brings a depth and understanding of the UK market that is unparalleled. "We are extremely excited about this new partnership and we are looking forward to working very closely with Dennis and the entire JHS team," he concluded. JHS: 0113 286 6411

Larry Fishman with his new Solo portable array PA

NEWS

Schaller reveals ‘full Monty’ concept German guitar component manufacturer guarantees full range of products at all times through UK distributor STENTOR MUSIC and Schaller Electronic are starting a new business concept for their customers in the UK, which will see the full range of the German manufacturer’s products available at all times. In the past, it has been reported, the availability of Schaller products has been inconsistent. The two companies have stated that all of this is about to change, as a new concept is introduced, initiated by Schaller, which will see sufficient quantities of all products available from stock to allow delivery to retailers, guitarbuilders and consumers within a few days.

After successfully piloting the scheme in Germany and Canada, Schaller will now launch the project in the United Kingdom with its exclusive business partner, Stentor Music. From December 1st, the entire Schaller product range will be continually available to UK dealers. “Stentor has been a Schaller distributor for more than 40 years and we believe that this new arrangement will ensure that all Schaller products are readily and consistently available to retailers and consumers, and through our specialist Touchstone Tonewoods division to builders and repairers.

Yamaha opens new artists centre in London Company’s latest piano facility to serve as hub to classical community in London YAMAHA HAS opened a new artist services facility in London, based at Chappell’s in Wardour Street and joining an expanding global network that began in 1987 in Paris. The new London centre has been staffed with a qualified artist support team, headed by Kumi Liley, a Tokyo born pianist and arts manager. Initially the facility will focus on pianos and will host a wide range of events and activities including lunchtime concerts in association with the major conservatoires for up-coming artists, as well as master classes from visiting international artists. The centre will be the home of some of Yamaha's premium pianos, the S4, S6 and CF. The centre will also work closely with Yamaha Music UK in Milton Keynes keeping the two operations co-ordinated in areas such as marketing, artist relations and educational policies. Yamaha's senior director in the UK, Mike Ketley, said: "The key word here is support; technical, instrumental and most important of all, artist support. The new facility will be fundamental in developing this support and expanding our relationships with the classical music community, here in London particularly and throughout the UK more generally. We are committed to building on the already excellent reputation of Yamaha pianos throughout the world's major cities and developing further our relationships with

Kumi Liley, (seated) with director of artist services, Stanislaw Zielinski established international artists and emerging pianists." Professor Voskressensky of the Tchaikovsky Conservatoire in Moscow was equally enthusiastic. "I have collaborated with Yamaha Piano Artist Services Europe for more than five years,” he said. “They provide young pianists with excellent opportunities to develop their skills and receive professional advice from some of the world's best musicians." Other Yamaha Artist Service centres include New York, Tokyo and Seoul, and function as hubs, providing musicians, teachers, promoters and students access to concert instruments and technical service. PIANO ARTIST CENTRE: 020 7432 4439

“The partnership between Schaller and Stentor will ensure that, for the first time, the level of service will match the quality of the products,” commented Robert Bogin, director of Stentor. “This new sales concept, by which we are now, for the first time in all the years we've been around, able to make all Schaller products immediately available to every customer, means a lasting enhancement to our service – the third branch of our ‘Quality, Innovation and Service’ strategy”, stated Dr Lars Bünning, Schaller Electronic’s managing director, in the company's official press release.

“Schaller’s mission is to make available to its customers, the entire product range,” he continued. “The only way to be confident that this can be achieved is through single distribution partners in every country. “August 2008 was the start of the first model in Germany with the distribution company GEWA. We are now proud to add Stentor to represent Schaller in the UK, a company that has tremendous reach across the whole country with a strong professional sales force and immense business integrity.” STENTOR MUSIC: 01737-240226

Bob Thomas 1938 – 2008 BOB THOMAS, one of the co-founders and driving forces of the Laney Amplification Company, died on October 3rd, following a long illness. Bob Thomas joined the MI industry in 1967, when he helped the young Lyndon Laney, then still a schoolboy, form Laney Amplification to manufacture and sell the valve amplifiers, at the time being made in Laney’s father’s garden shed. Thomas, at the time a well-known local band manager in the West Midlands, had got to know Laney as he was managing his band at the time. With Lyndon Laney concentrating on amplification design and manufacture, Thomas successfully steered the sales and marketing of business for the next 30 years. A colourful character, widely known throughout the MI world, particularly due to the worldwide export links he forged, Thomas finally retired

from the company in 1996. In a brief statement, Lyndon Laney said: “Bob was a founder member of the Laney Amplification company from its inception in 1967, developing its sales and marketing strategy. Bob retired from Laney Amplification in 1996, after 30 continuous years as a vibrant and respected member of the music industry. My family would like to offer its deepest sympathy to his wife Elaine and children Mark, Tracy and Richard.”

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miPRO NOVEMBER 2008 7

NEWS

MIA takes the reins at LIMS Trade association acquires share in the London International Music Show after revelations of big money losses THE MUSIC Industries Association has announced the acquisition of a stake in the ownership of the London International Music Show. Launched this year, and held during four days in June, the show attracted over 20,000 visitors and was widely hailed as a success by exhibitors and visitors alike. Since June, however, it has become clear that despite its critical success it had failed to make a profit for the organiser, MB Events. MI Pro has learned that the MIA now has ambitious plans to capitalise on the 2008 event and to expand it for 2009 and beyond. The MIA will be looking at various retail opportunities as these would certainly add to the relevance in today’s market, said Chief Executive, Paul McManus. Asked what form retail

involvement will take, McManus said that the MIA intended to consult widely with the trade to find the most suitable means of incorporating retail and he asked

It became clear that despite its critical success, the show had failed to make a profit retailers with views to get in touch with the MIA direct, with their suggestions and opinions. This exciting development answers one of the questions about LIMS 2008, where a lack of retail participation was

commented on by many visitors who had been expecting to be able to purchase products. With a thriving retail side drawing even greater numbers, LIMS now seems primed to become a major event. Clive Morton, who will continue to organise the show as event director, said: “I am excited

about the prospect of working side by side with the MIA to make LIMS the best music event in the UK” Jon Gold, the MIA’s president added, “LIMS is a fantastic showcase for the UK music industry and we will work with our partners to make the show the best it can be in encouraging

everyone to take up playing a musical instrument. The MIA will be working hard for the suppliers and retailers to unite the industry around this key event” The 2009 show will be held on June 11th to 14th. Details of the event can be obtained from clare@mia.org.uk. MIA: 01372 750600

Four more from Carl Martin Hiwatt sees Oasis ‘double decker’ THE IMPRESSIVE range from US pedal specialist Carl Martin has gained four newcomers, available in the UK from First Line Distribution. Leading the additions is the Carl Martin Vintage OptoCompressor, possibly the first opto-compressor for guitarists. Carl Martin says: “An optical compressor performs gain reduction control via a light source into a photo sensitive cell – as the light source gets brighter, the photo sensitive cell sends a signal to reduce dynamic range, or what becomes a compressed signal.

Welcome to the Vintage OptoCompressor, an old-school compressor from the days where colouring was an important factor to the sound.” It will sell for a suggested £79.99. With high current consumption, First Line said, though the OptoCompressor will run on 9 Volt batteries, a regulated power supply (£34.99) is recommended. Carl Martin also has the new Vintage DC Drive.

Prices of the Vintage Series Flanger, and the Vintage DC drive will start at £89.99, climbing to £109.99 for certain new models. FIRST LINE: 01626 830336

Southend company backs Britain DAN MACPHERSON of DM Guitars has announced that he has added a third project to his list of businesses, with the opening of The British Guitar Centre (TBGC) at the new premises in Southend-on-Sea where the DM Guitars and Tonetech businesses operate. The idea behind TBGC is to be a dedicated store purely to promote and push high-end British made products.

8 miPRO NOVEMBER 2008

“We have some of the greatest guitar and amp makers in the world based in the UK,” said MacPherson. “It puzzles me why there is no one pushing products from the UK, so I intend to fill that void. I think British industry deserves a boost.” MacPherson said that he thought the UK public would be far more inclined to buy British gear with effort to make them more aware of what is available.

No endorsement, but still good publicity WITH OASIS back riding high in the charts with their Dig Out Your Soul album and following massive international exposure on the band’s recent tour, Hiwatt is basking in the glow of its amps being featured – if not actually endorsed – by Noel Gallagher. Now a new addition to the Hiwatt range is on the way – a Hiwatt combo with the two 12” speakers stacked vertically. “We were contacted by Oasis just before the tour,” said Hiwatt’s Mark Lodge. “Apparently, Gallagher had been trying to find the perfect amp for the tour and

had been going through the ones he owned before deciding what he wanted. He decided on a rare, old Hiwatt with this unusual speaker configuration. There were never many of them made and they asked us to produce two for him, which we did. We’re now going to get it back into production and on the market again, as soon as possible.” Sadly for Hiwatt, Gallagher has a policy of not endorsing products, but the association is likely to be obvious enough, Lodge hoped. HIWATT: 01302 330429

Lines currently earmarked for the showroom include JJ Guitars, Toon Guitars, Burns London, Guyton Guitars and DM’s own brand MacPherson Guitars. The showroom is due to open early in the new year and MacPherson and his partner and sales manager, Dave Wallings, are keen to hear from any UK MI manufacturers interested in adding to TBGC stock range. DM GUITARS: 01702 465930.

Thanks for voting!

Throughout 2008, Yamaha UK has been working tirelessly to promote our business and those of our dealers. We gratefully acknowledge your support in giving us four MIA awards. • Best Large Supplier • Best Acoustic Piano - GB1 Grand • Best Supplier Initiative - MusicQuest • Best Brass - YTR-8335 Xeno Series Trumpet

DISTRIBUTION • NEWS

Mel Bay grabs Aussie pair Japanese Aer Company takes on Sasha Music and All Music for the UK and Europe MEL BAY MUSIC has become the exclusive UK and European distributor of two of Australia’s leading print music catalogues, Sasha Music Publishing and All Music Publishing. As with Mel Bay, Sasha Music and All Music are regarded as innovative and progressive players in the Australian market and are significant independent players in their specific region. Sasha Music, with its striking red elephant logo, is the label for rock and pop titles. Artists published under this brand include Missy Higgins, Silverchair and The Waifs. All Music concentrates on classical and educational titles. Best selling publications include Bruce Rowland’s Time Honoured Hits From The Man From Snowy River, Sonny Chua’s Progressively Graded series in four volumes and Gordon Spearritt’s theory books: Essential Music Theory

Grades 1 to 6 and Fun With The Music Mouse 1 to 3. Recent additions are Larry Sitsky’s Century Piano Collection and Songs That Shaped Australia. “We are delighted that Mel Bay Music is taking on these two catalogues and that they will now be available throughout Europe,” commented Catherine Gerrard, All Music’s executive director of publishing and copyright. “We recognise that these two brands fit very well with an iconic internationally known brand such as Mel Bay and we look forward to a long and fruitful partnership”. “We see this exclusive distribution deal as a very exciting addition. Not only does it complement our current catalogue perfectly, it considerably strengthens our existing lines,” added Chris Statham, managing director of Mel Bay Music. He went on to say: “I know that we are able to

STATHAM: “Looking forward to the challenge” represent, promote and market these catalogues efficiently and effectively within our territory and I am certainly looking forward to the challenge.” Any interested dealers should contact the company directly. MEL BAY: 020 8323 8010.

Two new guitar brands for Ashton as Sparrow nests and Mariner also docks with UK supplier

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Ashton Music has also won the UK and Ireland distribution rights for the new Mariner acoustic guitar range, recently announced by former Peavey Europe MD and founder of Ashton UK, Ken Achard. The agreement was concluded at Ashton headquarters on October 7th: Commenting on the deal Achard said: “There is a lot of synergy between Mariner and Ashton, where Jon has driven the company forward since my initial involvement. Arthur Achard will be centrally involved from both sides. With Ashton managing distribution, I will be able to focus on product development and our international plans.” Gold welcomed Mariner into the Ashton portfolio saying: “This is a perfect fit for us as we develop our catalogue. With Mariner and Sparrow we have two premium brands to sit comfortably above our

BRENDAN MURRAY’S The Trust Network (TTN) has brokered another deal for the German manufacturer, Aer, for an exclusive distribution deal in Japan through the Kikutani Music Co of Nagoya (Aer is distributed in the UK through Westside Distribution). The project required TTN to research Japan for suitable importers and bring discussions to a point where both parties could make mutual decisions about committing to each other for the long-term. “The beauty of our industry is that it still deals with people, their desires and dreams, whether musician or listener,” commented Udo Roesner, Aer’s MD. “As manufacturers, we have the pleasure to support musicians around the world with equipment that enables them to express themselves

and their emotions in a very real way. The beauty about cooperating with TTN is that it knows about all this from the beginning. They work as a catalyst between product, market and people. TTN is also a most critical partner in identifying product value and potential. Last but not least, they take the role of devil’s advocate in order to assist in decision-making.” “Outside of America, Japan is still the world’s biggest export market for music products with around $3 billion in sales, so we are delighted to have been able to perform this service for such a great product as Aer and have such a great company as Kikutani commit to them for the long term,” added Murray. TTN: 01633 441361 WESTSIDE: 0141 248 4813

Sound Tech: go Nord, young man

Guitar lines take off FOLLOWING THE pattern established in North America, where the brand has rapidly become a bestseller, Sparrow Guitars looks like proving to be an equally big hit in the UK, according to Ashton Music’s Jon Gold. Founded just three years ago, Sparrow Guitars are imported ‘bare’ from factories in Asia but dismantled, reassembled with new hardware, fretting and electronics and, most importantly, handpainted in 1950’s hot rod style, using designs by Sparrow’s president, Billy Bones. “There was immediate interest from the trade when we announced that we were to be distributing Sparrow over here and as soon as we had our first consignment, the reaction was incredible. Every one of that shipment was sold within days,” Gold told MI Pro. “The goal is to make a guitar that a kid can afford to play, that looks great and that’s going to sound great.”

German acoustic specialist has deal brokered by TTN in far east

A handpainted Sparrow: aspirational, but affordable

benchmark entry-level Ashton products. Both new brands will be marketed individually through specialist dealerships.” ASHTON: 01780 781630

UK supplier announces exclusive distribution deal for Nord synths in the UK and Ireland SOUND TECHNOLOGY has been appointed as the exclusive distributor of Nord keyboards in the UK and Ireland. The Nord range, which includes the Nord Stage, Nord Electro 2, Nord Wave, Nord Lead 2, Nord Modular G2 and Nord C1 Combo Organ, is hand built in Stockholm, Sweden. Nord has over 25 years of experience in software and hardware design and the company’s instruments are highly regarded worldwide. David Marshall, managing director of Sound Technology, commented: "We are extremely proud to add Nord to our portfolio. The quality and reputation of the brand is exceptional and we look forward to working in partnership with Nord to develop the brand in the market even further." "We'd like to thank everyone who has been loyally supporting the Nord brand,” added Tomas

The highly regarded (and highly attractive) Nord Stage Enochsson, Nord's international sales manager. “We value all of the business from the UK very highly and wish retailers well with future Nord business. We are more than convinced that in our new distributor, Sound Technology, your needs will be served well." Sound Technology's first shipment of Nord is ready for delivery now. SOUND TECHNOLOGY: 01462 480000

Lamba has seen significant growth over the past year, with new directions and markets making a more stable base for the company. Gerry Frost gives the lowdown... Established: 1952 Number of employees: 22, all in one building. Is business up or down on this time last year? Any particular reasons? Business is up on last year by a large, but sustainable percentage, as we have expanded our portfolio with stronger products and a committed sales team. What are your best selling lines? Our core products continue to be the PA, audio and Kamcase lines and after our recent growing success with lasers and LED lighting (particularly the unique starcluster lasers and the LED parbar), we have seen a massive growth this year. Apart from your products, what are your strengths as a distributor? We pride ourselves on customer service, support and maintaining a profitable product range for our customers. We have a committed and dedicated workforce and a brand awareness campaign that is second to none. Do you think it has been a particularly tough year for retailers? Why? 2008 has not been an easy year for any retailer – and not just in the MI or pro audio markets – but most of our

customers have seen that there is business out there if they are willing to work hard and smart to achieve it. Is the internet the biggest challenge facing the industry today? The internet is a challenge that should be viewed as one of the biggest opportunities we have ever been offered. Yes, there are many negatives, due to the breakdown of any sales borders and pricing and margin problems, but the internet is here to stay and we must embrace it and use it as a tool to create sales. In a perfect world, what product lines would you add to your portfolio? Lamba currently focuses on our own product ranges and we will be expanding the lighting, audio and Kamcase ranges throughout 2009. That said, we are a professional distribution company and are always looking at other product brands for our portfolio. They need to be the right products, however, and not simply growing the catalogue for the sake of it. What are your aims for the next year? To continue our current rate of growth, to achieve our company targets and to meet the objectives laid out in our business plans – and importantly to enjoy doing business in the process.

& Deliver

Gerry Frost (MD) and Denis Phoenix (sales director)

Stand

PROFILE • DISTRIBUTION

The complete range of Ultimate Support stands is now available from stock at Yamaha. From the affordable JamStand range to the new Custom Series, you can now get every stand you’ll ever need from a single supplier. Check out the complete range at www.ultimatesupport.com and call the Yamaha Music UK sales desks on 0870 444 5595 to get your free dealer pack and discount vouchers.

CONTACT DETAILS Address: Lamba PLC, Unit 1, Southfields Road, Dunstable, Bedfordshire, LU6 3EJ Phone: 01582 690600 Email: Gerry@lambaplc.com Contact: Gerry Frost, managing director, or Dennis Phoenix, sales director

Yamaha Music UK Ltd. is the UK distributor for Ultimate Support

miPRO NOVEMBER 2008 11

REPORT • MIA AWARDS The MIA’s new president, Jon Gold, making the opening address

Making

The MIA’s annual awards ceremony was bigger and better than ever, which bodes well as the trade association moves on to a new level in its efforts to deliver benefits to its members, whether that is financial, promotional, educational or, at the bottom line, getting more Britons making music. Andy Barrett dusts off his tux… elebration serves two important functions: it simultaneously looks back on achievement and slaps the back of all those who helped, and it serves as a springboard for whatever is to follow. The MIA Awards 2008 fits perfectly into this duality. The presentation of trophies for work done or products appreciated is an obvious outreach to what has been, but the message reminding us of what can still be done or needs to be done in the future finds a perfect platform when an industry gets together to celebrate. This was underlined perfectly this year by the recent appointment of Jon Gold (MD of Ashton Music UK) as the association’s president, whose opening address at the event spent a considerable amount of time talking about the bottom

line for the MI trade (and the MIA’s slogan): making more music makers. “Although many of us, me included, are just failed pop stars with no discernable talent, it doesn’t matter. We enjoy what we do and we all know and believe in the power of music to transform and enrich people’s lives. There are still far too many people out there who want to play or who want to return to playing, but don’t have the means to play – about 15 million of them. Our job is to engage with these people and find ways to bring music into their lives.” Gold went on to both welcome special guests and to explain what these individuals and their associations are doing to engage with the nation’s aspiring musicians. Howard Goodall was there, representing a £40-million government

“Although many of us, me included, are just failed pop stars with no discernable talent, it doesn’t matter. We believe in the power of music to transform and enrich people’s lives.” Jon Gold

campaign to restore singing as a core culture in primary schools. Feargal Sharkey was another special guest, at the event in the name of UK Music, which is rolling out a nationwide scheme (following a successful pilot in Wrexham) for new rehearsal rooms. MIA members are supplying all the equipment for these facilities, which are targeting areas of the country with poor music provision, although UK Music is hoping to go a lot further than that. The aim is to create a cohesive and powerful lobbying voice for the creative industries, bringing together associations that cover the entire of the music industry, from the BPI and MCPS to the MIA. Other VIPs present – all of whom are active in some way in schemes supported or driven by the MIA – included Kim Bayley of the Entertainment Retailers Association, Dick Hallum, the National Music Participation director, whose job involves strengthening and supporting the provision for school children to learn a musical instrument, Richard Mollett from the British Phonographic Industry, MaryAlice Stack of the Arts Council of England,

and Lincoln Abbotts and Chloe Faulkener from Music for Youth. Talking to MI Pro about his appointment as president, Gold was clearly thrilled by the honour. “The association approached me saying they felt I was someone who wasn’t afraid to put his head over the parapets – and I think they’re right,” he says. “I’m not so naïve to think that I can change the world, but I know that I can do something. With the MIA, I can do a lot more. We have great new blood on board now, with Dave Marshall [the new vice-president], Tony White from Bonners and Clive Roberts at Peavey. We are all people who do not like sitting in dusty rooms making vague decisions, so I want us to be active and I want all of us to contribute. We are trying to make a difference.” Gold went on to praise the awards event itself, pointing out that, despite the doom and gloom of the economy now allpervasive, the positive attitude on the night was an inspiration. The winners of the 30 awards handed out on the night was a lot more disparate than on many previous occasions, which Andrew Kemble (right) receives the Best Supplier (Large) award for Yamaha for the second consecutive year

Roland’s Martyn Hopkins (centre) collecting the Best Percussion award for the TD-9K

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MIA AWARDS • REPORT Just about every director and manager currently working for PMT made it to the stage to receive the Best Retailer (Multiple) award

seems to illustrate the diversity now inherent in the musical instrument business, although the big winner on the night was Yamaha, scooping four awards: Best Brass for the YTR-8335 Xeno series trumpet, Best Acoustic Piano for the GB1, Best Supplier Initiative alongside Classic FM Music Makers for Music Quest, and Best Large Supplier for the second year running. A clearly delighted Andrew Kemble spoke of his delight in winning this last award. “This is an enormous accolade for the quality of service, products and marketing initiatives achieved by the Yamaha UK team and we would like to thank the UK music retailers for their support," he said. Best medium supplier was awarded to The Sound Post, while Faber once again won the music publisher of the year award. Other items of note were the NAMM sponsored ‘miscellaneous’ categories, which saw Surrey Strings win the environmental sustainability award for its Re-Play instrument recycling scheme, Drumwright winning the best partnership initiative for its Rock of Ages scheme, and Ted Brewer Violins winning the best export initiative prize (see box). On the retail side of things, the best independent retailer award was given to Anderton’s of Guildford and for the third year in succession, Best Multiple was handed to Terry Hope and Simon Gilson and the PMT chain.

Other retailer prizes were the best retailer initiative, which went to Digital Village for the DV Expo in Clapham and a new award this year, the Take It Away retailer of the year – an award for exceptional business generated through the Arts Council’s Take It Away credit scheme – was presented to the Nottingham Drum and Guitar Centre. A raft of companies came in for two awards, including the publishers, ABRSM and Oxford University Press, Focusrite, for Best Music Software product (the Novation Nocturn) and Best Live Sound for the ISA One, and Roland UK. Roland’s awards for Best Digital Piano (the HP-207) and Best Percussion product for the TD-9K drum kit. “The best percussion award can be won by an acoustic or electronic product, so we're especially pleased that the V-Drums TD-9K took the top spot,” comments Roland UK’s Tim Walter, who went on to praise the achievement of winning the digital piano award in an even tighter competitive market. “The digital piano market is crowded with competition from major manufacturers and own brand imports,” he says. “We're delighted therefore that our flagship model, the HP-207, has been voted as the best digital piano as this validates our constant focus on the three core elements of piano design: sound, touch and appearance – all areas in which the HP-207 excels.”

Ted Brewer OF THE music industries awards virgins this year, Ted Brewer Violins stands out as a tribute to British engineering and dedication to a niche market, where quality and service to a very specific customer base takes huge priority over diversification purely for the (profitable) sake of it. Not to say that Ted Brewer and his company isn’t interested in profits, of course, but the quality must always come first. The Export Initiative Award, sponsored by the Frankfurt Musikmesse, comes as a result of Ted Brewer violins exhibiting at this year’s trade event and attracting a lot of attention with the show organiser. The initiative award goes not purely to export initiatives, but also recognises achievemnt in innovation – and it is here that Ted Brewer has won through with the Vivo 2 electric violin. The Vivo 2 uses a monococque frame composed of advanced polymers and an ebony fingerboard and chin rest, with a carbon fibre bridge and aluminium tailpiece. Grover tuners work with Brewer’s proprietary microprocessor controlled piezo pickup for a very distinctive sound. Violinists find lots of advantages in the Vivo 2. The onboard microprocessor memorises settings applied to the four volume and tone touch buttons, even when the PP3 battery is removed. As well as a quarter-inch jack socket, a headphone socket makes practice more

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flexible and with its amplifier, gives an onstage monitoring source. Ted Brewer has been designing and making violins since 1993, constantly developing designs and experimenting with new technologies and features. He produces around 25 handmade instruments each year, and the Vivo 2 marks a departure into more readily, widely available violins. “We are thrilled to have won this award which recognises what we believe to be an exceptional instrument,” commented Brewer on the night. “It has just confirmed what we already knew, that our Vivo2 Electric Violin is extremely innovative and we intend to go on producing more and more cutting edge products.” 01522 525161

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REPORT • MIA AWARDS Anderton’s collected the nt) Best Retailer (Independe

The Winners CLASSICAL (sponsored by Classic FM) Best Brass: YTR-8335 Xeno series trumpet Yamaha Music UK Best Bowed: Student II violin Stentor Music

Graeme Mathieson (Fender, right) and Mick Taylor (Guitarist)

Richard King (left) accepted the Best Music Publisher award for Faber

Best Percussion Product (sponsored by Rhythm): TD-9 Roland UK

Best Classical Publication: Beethoven: 35 Piano Sonatas edited by Professor Barry Cooper ABRSM (Publishing)

Best Guitar Effect/Accessories (sponsored by Total Guitar): POD X3 Live Line 6 UK

Best Acoustic Piano: GB1 Yamaha Music UK

Best Amplifier (sponsored by Guitar Techniques): Artisan 30 Blackstar Amplification

MUSIC PUBLISHING Innovation in Printed Music Publishing (sponsored by Sibelius): Musidoku – The Musical Sudoku by Antony Kearns Stainer & Bell Best Educational Publication (sponsored by Sibelius): String Time Joggers by David & Kathy Blackwell Oxford University Press Best Pop Publication (sponsored by GFK): Popular Voiceworks by Charles Beale & Steve Milloy Oxford University Press Retailers’ Award for Distinction in Printed Music Publishing (sponsored by GFK): Roger Gale ABRSM (Publishing) MISCELANEOUS Best Environmental/Sustainability (sponsored by NAMM): Re-Play Surrey Strings Best Partnership Initiative (sponsored by NAMM): Rock of Ages Drumwright Best Export Innovation (sponsored by Messe Frankfurt): Ted Brewer Violins CONTEMPORARY Innovation Award (sponsored by Music Radar): Celemony Melodyne Direct Note Access Arbiter Group

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Best Live Sound (sponsored by Future Music): ISA One Focusrite Audio Engineering

Best Woodwind: Trevor James Horn Revolution II Alto Saxophone Worldwind Music

Best Digital Piano: HP-207 Roland UK

Brooke (centre) and Chris Wright (right) won Best Partnership Initiative for the Rock of Ages proje ct

Best Music Software (sponsored by Computer Music): Novation Nocturn Focusrite Audio Engineering

Best Electric Guitar (sponsored by Guitarist): Fender Classic Player Baja Telecaster Fender GBI SUPPLIERS Printed Music Publisher of the Year (sponsored by Allianz): Faber Music Best Supplier Initiative (sponsored by Allianz): MusicQuest by Classic FM Music Makers and Yamaha Music UK Best Supplier (medium) (sponsored by HSBC): The Sound Post Best Supplier (large) (sponsored by HSBC): Yamaha Music UK RETAILERS Printed Music Retailer of the Year (sponsored by Music Publishers Association): Lynne Ackerman Ackerman Music Take it Away Retailer of the Year (sponsored by Arts Council of England): Nottingham Drum and Guitar Centre Best Retailer Initiative (sponsored by Arts Council of England): DV Expo (Clapham) Digital Village Best Specialist Retailer (sponsored by SGM-FX): Wembley Drum Centre Best Retailer (independent) (sponsored by Musicguard): Anderton’s Music Company Best Retailer (multiple) (sponsored by Musicguard): Professional Music Technology

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EVENT REVIEW • PRS EXPERIENCE

Preachin’ to the

converted?

Dave Burrluck heads out to PRS Guitars’ second annual Experience at the Stevensville HQ to soak up the atmosphere…

e’ve created a monster,” says Paul Reed Smith when I finally get to pull him away from his busy interview/seminar/ clinic schedule that occupies two full days of his time at the Experience PRS event. In fact the event, for invited guests only, started at his house on the Thursday evening when he threw a lavish party with entertainment from none other than Ricky Skaggs, his guitarist Cody Kilby, and Tony McManus (who if you don’t know you should definitely check out). Not for the first time in the next coming days, Guitarist’s editor, Mick Taylor, and I would be humbled by displays of virtuoso pickin’. It’s the second year PRS has staged its Experience – this year there were more attendees, more seminars and clinics to attend, two evening shows and even a performance by up-and-coming Brit rockers Caimbo who, if nothing else, proved that PRS guitars aren’t just played by doctors and dentists. It’s a trade-only event (with invited artists, press and friends, of course); PRS’ worldwide distributors invite their key dealers (dealers can also invite some of their best customers). We’re fed, watered and entertained. What’s in it for PRS? On day one of the Experience dealers were invited to purchase non-ordered stock and place orders on the new models launched at the event. “We wrote approximately $4 million worth of business at the open house,” explains PRS’ Peter Wolf a few days after the event. “This includes stock sales (we could have sold way more had we had more stock guitars), new product launches and Private Stock orders. I'm very happy with these numbers, especially in the current economical context.” Very happy seems like an understatement, as Wolf reckoned: “The whole thing cost us $250k – around the figure of our usual NAMM party,” which has been binned in the last two years in favour of the Experience. You can see why. And then there’s the goodwill factor. No one I spoke to had anything else but praise for the informal atmosphere that pervaded the event. Certainly the Guitarist readers we took with us in a Guitarist/

“W

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Event: Experience PRS Venue: PRS Factory, Stevensville, USA Date: September 19th-20th 2008 Visitor numbers: 1,600 approx. Verdict: PRS’ own trade show mixed hard business with plenty of fun in terms of artist concerts and meet-and-greets, plus factory tours that really got behind the product. Over-shadowed by PRS’ nearly finished new factory, the event launched plenty of new products that strongly hinted at the company’s future intentions.

This year there were more attendees, more seminars and clinics to attend, two evening shows and a performance by Caimbo.

Headline Music promotion we ran earlier this year were walking around in a daze. “I thought it was going to be good, but I didn’t realise it’d be this good,” said one – a feeling echoed by everyone. But even for the more experienced PRS acolytes (myself included) there was plenty to discuss, primarily PRS’s entry into the acoustic and amplifier markets. We can leave the fine details until NAMM

2009 when both ranges will be properly launched, but both lines will be made inhouse on the production line (though don’t expect either to be cheap in price or quality). More controversially, PRS has launched a brand within a brand: Chesapeake, designed – both electric and acoustic – by PRS’ head of Private Stock & R&D Joe Knaggs. While Joe’s acoustic design goes for a more traditionally braced ‘pre-war’ tonality (as opposed to the PRS acoustic, designed by Paul and up-and-coming luthier Steve Fisher, which offers a ‘new’ tonality), his Severn and Chop Tank electrics clearly hint at the desire by PRS to break into the six-a-side headstock/single-coil market. “He’s done an outrageous job,” says Paul Reed Smith of Joe Knaggs. “People are liking the Chesapeake acoustics and the electrics. He’s a guitar maker. He’s either going to do it here or somewhere else. We might as well let him do it here, right?” But over-shadowing the Experience was PRS’ new factory that’ll provide four times more floor space. When you consider that the current space is approx 20,000 sq ft and PRS builds 70-75 guitars a day, it illustrates the vast potential not only for more electric guitars, but also the acoustics and amps that the monolithic new factory will bring. Chesapeake might only be available through the custom-order Private Stock programme at the moment, but who knows what the future holds. 2010 will be PRS’ 25th year as a production company. By then these new lines will be properly up and running and their true impact will be much clearer – let’s hope it’s a time for celebration.

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SHOW PREVIEW • MUSIC LIVE

Live for the music

The NEC’s Music Live show is upon us once again, and despite all manner of shake ups and show downs, the event is appealing to wider audiences than ever – including the artists… Hank Marvin signing for fans at last year’s show

s MI Pro goes to press, the final tweaks are being put to this year’s Music Live show by Jason Hunt (the show manager) and his team at Clarion NEC and this year – although not, it has to be said, through any particular choice – has been a very different affair for the organiser. In the past, the Sound Control sponsorship of the retail aspect of the show has meant that negotiations have taken place between the two parties concerned, but this year, with PMT, Reverb and the collective that is The Firm buying consortium all coming in as retail sponsors, the important retail section of the show has become something of an experiment. “It has been a bit bumpy at times, but now everything is in place, I think it has gone a lot better than I had expected,” said a relieved Hunt. “Obviously, dealing with Sound Control alone was easier and while there is some experience of dealing with the show among the partners, particularly PMT, this has been a pretty steep learning curve for all of us. In the end, the retailers’ desire to make it work has paid off.” Among the benefits of having such a wide variety of retailers is the increase in brands available to the visitors. Hunt estimates that something like 25 to 30 more names will be on the retail stands this year. Rumours have abounded concerning the appearance (or not) of some major manufacturers and suppliers, all of which had calmed considerably by the end of October, with pretty much every name one would expect to be at the show confirmed in some form or another. Of the big names, the major news is that Gibson will be on board under its own banner for the first time this year, creating the mouth-watering situation of having Gibson and Fender exhibiting ‘against’ each other for the first time in the UK for many years. Fender, of course, is now a regular at the show, but Gibson, having released itself

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Event: Music Live 2008 Venue: NEC, Birmingham Date: 7th to 9th November Exhibitors: 146 Visitors (pre-registration): 9,000 (projected total over 16,000) Prediction: A completely new retail partnership with no fewer than three retailers (including the independent buying consortium, The Firm) means more will be on offer than ever before for the end users attending. With more artrist involvement than ever, too, this one looks set to break all records. from Rosetti earlier this year, is intending to make something of a splash. The Gibson ‘tour bus’, which appears at events around the world, will be at the UK show and open for visitors at set times throughout, as well as a focus for artists to relax and speak to the media. Joe Bonamasa is big news for the show, too, as his commitment to not only perform, but to run a UK pilot of his ‘Blues in Schools’ scheme, which in the US sees the guitarist taking blues clinics and appreciation to secondary schools throughout the country. Bonamasa will be holding this seminar on the Education Day (Friday) and blues CDs will be handed out to kids at the show. Interestingly, Bonamasa is attending through his own agents at the show (although as an official Gibson endorser, his presence in and around the tour bus ties him in there) and this gives increased credence to the show when such a current artist is willing to get involved to such a degree under his own steam. “I’m really pleased with the way things have turned out this year,” concluded Hunt. “Everything considered, including the cross-promotion with the Gigbeth festival for the third year, it has gone really well. The show is slightly bigger again this year and ticket sales are up – for me, this is the most important thing, of course – but with the economic climate as it is, there are going to be more people than ever looking for a bargain at the show. This is going to make everybody happy.” www.musiclive.co.uk

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NEWS ANALYSIS • CHANNEL 69

Crossing the

channel

The latest round of negotiations with Ofcom seem to be falling heavily in favour of the mobile and broadcast companies, to the extent that the largely radio mic friendly channel 69 is now earmarked for sale. Those buying (and selling) radio microphone and IEM systems could well find an unwanted built-in obsolescence. Gary Cooper tunes in to the latest news... any MI retailers have timebombs ticking away on their shelves – timebombs that could cost them lost sales and angry customers – and the moment the devices are set to go off is rapidly approaching. According to some, it could happen in just three years’ time. The cause of the problem is compleximacated and boringly convoluted – which is probably why not many have bothered to take it seriously. But according to those who have, the threat is real and it may already be too late to avert it. Recent years have seen a sharp rise in sales of affordable wireless microphone and instrument systems operating on channel 69. It has been good business, but it is threatened by serious disruption – and that threat isn’t confined to cheap Chinese knocks-offs. It is every bit as real to products sourced from the most reputable international manufacturers. At its baldest, it means a wireless microphone system you sell a customer today, might prove to be unusable in three years time. And if that sounds like a recipe for customers demanding their money back, then that’s because it very possibly could happen. The cause of the problem is the government’s decision to hand to Ofcom the responsibility of raising as much money as possible by licensing access to the airwaves. Ofcom might not like seeing it put that way, but that is the essence of what has been going on behind the scenes for the past few years. Formed in 2003, one of Ofcom’s major tasks is to manage the UK’s switch from analog to digital and to sell-off any frequencies released to the highest bidder. So far so good, but due to the proliferation of high-tech devices wanting to use slices of the very limited bandwidth available, the small, relatively powerless music industry looks like being squeezed out by the demands of international behemoths like mobile phone and computing companies. They can afford to pay much more for the bandwidth. And, of course, it isn’t just retailers and musicians who are likely to suffer. Manufacturers are deeply concerned, as are

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The small, relatively powerless music industry looks like being squeezed out by the demands of behemoths like phone and computing companies.

Left – Paul McManus; right – John Steven; far right – even the Edinburgh Fringe is at risk broadcasters who use channel 69 for programme making, entertainment companies, audio hirers – the effects of being forced out of channel 69 could be profound. One expert even predicts it could mean major changes will have to be made to the Edinburgh festival as we know it today. In the background, largely unseen, a small band of companies likely to be affected by this development has formed an organisation to fight the entertainment industry’s corner. Called BEIRG, it stands for the British Entertainment Industry Radio Group and its members include several of the large microphone companies (notable among them, Shure, Sennhesier, Audio Technica and AKG) plus an assortment of professional hire businesses such as Better Sound, Hand Held Audio and Terry Tew Sound and Light, along with major entertainment and broadcasting industry bodies, including English National Opera and Cameron MacIntosh. It should, on the face of it, be a formidable body to argue the case for the continued use of channel

69. But the opposition includes companies that could buy and sell the music industry with the spare change it finds down the back of the corporate sofa. Negotiations between Ofcom and the interested parties have been under way for over two years, with BEIRG having formed a steering committee of specialists to argue the industry’s case, which includes Alan March (Sennheiser), Duncan Bell (Autograph), Ron Bonner (PLASA) and John Steven, now running his own PR company, but until recently the director of marketing for Sennheiser UK.

It is an argument the committee fears they are in danger of losing. “People need to understand that despite previous assurances to the contrary, as a result of recent developments in Europe, Ofcom now want to move us out of channel 69,” states John Steven. “This is going to affect a lot of people around the industry, from the guys who play in pub bands, to broadcasters. For example, Sky News make a lot of use of channel 69 for news gathering, and it is also widely used by location sound recordists – this is a big area, it’s not just the MI industry. WWW.MI-PRO.CO.UK

CHANNEL 69 • NEWS ANALYSIS

But the big problem is that until a firm decision is taken by Ofcom, the industry remains in limbo. Manufacturers can’t design and build new equipment to take account of whatever it is they decide on and nobody can actually say definitively: ‘Well, if you are using equipment that works on channel 69, come such and such a day you won’t be allowed to use it any longer.’” Meanwhile, if the word ‘compensation’ comes to mind, currently the short answer is ‘forget it’, although this is just one of the many issues that BEIRG are actively discussing with Ofcom. No compensation was offered to the thousands of early Freeview box owners earlier this year, when a largely unannounced ‘update’ rendered their devices obsolete overnight and, Steven says, anyone using a licence-free unlicenced wireless mic system is similarly unlikely to squeeze a brass farthing out of Ofcom. Indeed, even those systems sold which require licences have for some years come with a health warning from JFMG that the frequencies on which they operate may not be available indefinitely. “The important thing for MI Pro readers is that they need to be aware that this is coming,” Steven says. “If they have

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Sir George Martin and Andrew Mackinley presented to the House of Commons on behalf of BEIRG anything to say, they really need to get in touch with Ofcom and tell them what this is going to do to their business.” The MIA has been in contact with what has been going on over the past few years, and chief executive Paul McManus says: ‘We’re obviously concerned that Ofcom want to move us out of channel 69 –

particularly as this seems to be a change in position from what Ofcom had previously stated was going to happen with channel 69. We have said to PLASA and our members like Shure and Sennheiser that we stand ready to help in any way possible.” Does McManus think there is a danger that MI retailers selling systems with a

finite lifespan could actually be liable to claims from customers when the cut-off happens? “That is my worry. Nobody can buy an analog television in Comet or Dixons without knowing that it will be obsolete before long and I think the television industry has communicated that very well. My worry is that MI retailers, through no fault of their own, are selling products that will have just a few years of life left in them. Because Ofcom hasn’t made up its mind about this, we haven’t been able to promote this information to the customers.” Both McManus and Steven pinpoint the real problem here - that Ofcom, with its endless committees and ‘consultations’ that seem to have become the hallmark of government, while claiming no decision has yet been made, is actually on a charted course. And the ship is due to dock sometime in 2012. What happens then is, at present, anyone’s guess. BEIRG: 07951 050367 WWW.BEIRG.ORG.UK MIA: 01372 750600, WWW.MIA.ORG.UK OFCOM: 020 7981 3000 WWW.OFCOM.ORG.UK

miPRO NOVEMBER 2008 19

COVER FEATURE • MARTIN

What people

want ou don’t need to be a historian to appreciate the role CF Martin has played, not just in the history of the musical instrument business, but in shaping popular music itself. As the company, still headed by a family member, Chris Martin IV, celebrates its 175th anniversary this year, it’s worth pausing to reflect on not just the role it played in the development of the acoustic guitar – but what that instrument did to help create contemporary music. In 1833, the year the first CF Martin arrived from Germany, the United States was still a young, frontier country. Poor people arrived in the east and spread westwards, taking whatever possessions they had with them – including their musical instruments. This is how those two icons from the campfire scene of every cowboy movie – the harmonica and the acoustic guitar – came to permeate almost every facet of American contemporary music and formed the shape of western popular music. Jazz, blues, country, rock n roll – where would they be without the guitar and where would the guitar be without the influence of Martin? This matters because when Martin celebrates 175 years of making fine instruments, it is also celebrating its role in helping shape modern music. Which set the minds in Nazareth, Pennsylvania a puzzle when they saw the date approaching. How do you celebrate an event as significant as this? “It dawned on us in 2007 that we’d better start making preparations for the anniversary,” says Chris Martin. “Particularly with the anniversary guitar models, we had to design them, get the prototypes made, get them to the Anaheim show, take the orders and start to fulfil them. One of the most interesting things was coming up with the illustration we’ve used. My cousin Robert is a commercial artist and he came in to see me with the picture of CF senior we’ve been using. I liked it okay, but everyone here was ‘Oh, my gosh – that’s really well done’ and were really enthusiastic about

As the Martin Guitar Company celebrates an astonishing 175 years in the MI trade, Chris Martin IV tells Gary Cooper that it boils down to keeping things simple…

20 miPRO NOVEMBER 2008

Jazz, blues, country, rock n roll – where would they be without the guitar and where would the guitar be without the influence of Martin? using it, which is why it has been on the Dreadnoughts we sold to the dealers, on an LXM we sell in the gift shop to people who take the tour, and why we’ve put it on posters, mugs, buttons, the website finding that was serendipitous.” Products aside, for a moment (and some of this year’s celebratory models have been stunning), 175 years deserves celebrating in style. “We always have a dealer dinner at the Anaheim show and his year we did it around the 175th anniversary, but with an Elvis impersonator, because we’re reintroducing the Elvis model – that was a riot,” he laughs. “It’s gone on from there as

we’ve done a lot of things here at the factory. Our international dealers have visited, our wholesalers, all the dealers east of the Mississippi, then all the dealers west of the Mississippi, then a celebration for the staff at a local restored movie theatre – it’s been such a constant celebration that I’m almost tired of it.” A final touch is that Martin’s Dick Boke managed to find the exact day that CF Martin senior landed in Manhattan (it was November 6th) and this month Chris Martin and other representatives will be unveiling a plaque on the modern building that today stands on the site of

96 Hudson St, where the story began. For Chris Martin, the fact that his business is here at all is a relief – and he admits it came far closer to not being so than some may realise. “I was here for the 150th and that was a pretty grim time. It was 1983, the acoustic guitar business was in the tank and no-one knew where the bottom was or even if it would recover. I remember distinctly going to a trade show with the gentleman that was helping run the

MARTIN • COVER FEATURE

company then, Hugh Bloom, who had taken over after my father retired – I was vice-president then. We had a little party at the show and we had a cake to celebrate the 150th anniversary. Well, there’s a picture that was taken of Hugh and I with the cake and if you could have put little bubbles above our heads, one of the bubbles would have said ‘Thank God nobody in this room knows we’re on the verge of bankruptcy.’” That Martin didn’t go under but, in fact, stormed ahead to great success is a matter of record, but having weathered such awful times gave Chris Martin an old head on very young shoulders when he assumed leadership of the family firm, not long after. Experience that is relevant in the current financial maelstrom. “The economic situation right now is not adversely affecting us yet, but we’re certainly aware of it. Every year we go through a very extensive process of planning for the following year and I make an hour long Powerpoint presentation about what I think the state of our business will be. This year I looked back 25 years and then forward 25 years. It’s not that we can plan what will be in 25 years, but the chances are that we are still going to be in business. Despite the daily ups and downs of the stock market, if we just remind ourselves that as long as the guitar is still an instrument that human beings want to play and we do what we are best at, we should be able to survive and hopefully prosper.” And such optimism has an application for retailers. “What we’ve found in the States, is that the dealers we’re working with that made the decision to concentrate on certain products, not every product, are doing fine. They’ve said, ‘I’m going to be known as the guy who specialises in highend Martin

The Anniversary models, launched at NAMM this year: immediately unique – immediately Martin

“I hate to say this, but what we need is younger people who want to come into the acoustic guitar business.”

products’ and they stock them, service them and treat the customers with the respect they deserve – they’re doing well. “We have several categories of dealer – starting with the Marquis, high-end independent dealers who are thriving. Then we’ve got the Super Dealers – Sam Ash, Guitar Center and we’re starting to do business with Best Buy. But it’s the Standard dealers who are struggling, because they’re trying to be everything to everybody. If you’ve got a Guitar Center nearby, they are going to be a bigger version of that, so how can you compete? The independent who says he isn’t going to carry everything, who goes into a Guitar Center, sees where he can’t compete and stays away from that, as well as seeing where he can do better he’s the one who will do well.” Whatever he does, no retailer can be unaware that the acoustic guitar market is clearly over-saturated. While this might not affect a brand like Martin, does he ever look at the proliferation of brands and wonder how long it can be sustained? “That is a factor that even the Marquis dealers have to make a decision about. How many high-end brands do they carry? We've got some who try to concentrate on all of them and some who

focus on a few and we do better with the latter. But I have to tell you that I’m wondering is who the next Bob Taylor is. Who’s the next Jean L’arrivee? Who’s the next Bill Collings? That’s what we need (and I hate to say this) younger people who want to come in. Competition has been tremendously healthy for the market. The consumer is getting a better guitar as a result of it, but we’re all getting older. Jean has kids in his business, but Bob and Kurt don’t, Bill doesn’t, Richard Hoover (Santa Cruz) doesn’t. I’ve got Claire, but she’s only just turned four. I’m hoping to see some of the ‘Generation Xers’ get into the business.” It isn’t immediately obvious what Chris Martin feels he would gain from having hungry youngsters snapping at his company’s heels, because Martin is a far sharper operation today than it was, say, 30 years ago. Back then, the traditional chunky Martin necks, beloved of the Bluegrass boys, were an open goal for Bob Taylor, whose instruments immediately found favour with players more used to Strats and Les Pauls. But today Martin is innovating again and paying close attention to the market. His opinions of new companies and his competitors makes for interesting reading.

miPRO NOVEMBER 2008 21

COVER FEATURE • MARTIN

22 miPRO NOVEMBER 2008

This is reflected in the USA and is where Martin really comes into its strength. “I wouldn’t be surprised if there is a shake-out. There could be some companies that aren’t well capitalised, that are hanging on by the skin of their teeth and we could well hear that so and so was sold, or closed down, before long.” Manufacturers? Distributors? Retailers? “Who knows? You never know until you know. You know how it is, someone tells you everything is wonderful and the next you get a fax that tells you you are now a creditor. I’m not trying to be arrogant but, so far, we have outlived every one of our competitors – there are some that are still living, but we’ll see when Claire takes over, whether they are still around.” Asked if there was anything in particular on his mind at the moment, Martin returned to the theme that has occupied him for many years: the shortage of the materials the guitar business depends on. “It is a problem and it comes and goes. Right now we can get some types of mahogany, but not others. One of our colleagues just got back from Madagascar and the government there is extremely concerned about the value of the exotic timber and how it should be harvested. He went to one of our fingerboard and bridge suppliers and the guy said he had a very significant supply of blanks, but he couldn’t ship them because the government had put a hold on them. This was wood they’d already

“In a dynamic market there are generally two very formidable competitors, battling it out, trying to be king of the hill and that’s the relationship with Taylor.” processed, it was ready to go, but they weren’t being allowed to ship it. That’s what it’s like – once they become aware there are problems, their reaction can be to put a stop to everything.” The problem is by no means confined to exotic woods. Rumour has it that sitka spruce is under threat. Martin reveals that it is an old problem. “This goes back to World War II, when the US government gave the Native Alaskans large amounts of land. Then they said ‘Oh, and by the way, have we got a deal for you. The Japanese are rebuilding their houses and they want to use sitka spruce, so not only will we give you the wood, we’ll give you a business’. So they gave every Alaskan their share, but not newly-born Alaskans, so only that generation gets its cheques each year. “Greenpeace went up there, took a look around and said ‘what about the next generation?’ and the answer was they didn’t care, because they weren’t getting a

share. The rule has finally been changed and now they know if they keep clearcutting, they could run out. Greenpeace is trying to talk them into slowing down to save that wood.” Vital though this may be for the next 25 years, nothing should detract from what is a genuinely impressive celebration – 175 years, not just spent making the finest acoustic guitars. It’s a journalistic cliché to ask someone how it feels, but we asked anyway. “People have come up to me and said ‘Chris, this is very special in this day and age, that your family business has been around this long and has kept its reputation and is making a product that your ancestors would be proud of. That reminds me how important it is to maintain that and it’s kind of all we have – but it seems to be enough. If we try to make great guitars, people say that’s exactly what we want from you.’ And who could argue with that?

The Martin DX 175th Anniversary model with the CF Martin Senior portrait

“Bob Taylor’s business used to bug me – not Bob, but his business. They had the advantage of not having felt the downturn in the late 70s and early 80s and Bob capitalised on being a very efficient manufacturer. He moved away from draw knives very quickly. Then I was in an airport one day and picked up this book The 26 Immutable Laws of Marketing and I’m on the plane, reading the book and I get to the chapter titled ‘If there’s a Coke there’s a Pepsi’ and it was one of those ‘aha’ moments. As the book said, in a dynamic market there are generally two very formidable competitors, battling it out trying to be king of the hill and that’s the relationship.’ It should be said at this point that one of the particularly nice things about the acoustic guitar business is the personal respect that appears to exist between the individuals involved. Talk to Jean L’arrivee, Bill Collings, Chris Martin, Bob Taylor and the other big names and, however hard they fight for sales, there is a clear, almost quaint, personal regard for one another. It must be a wood thing. But while competition may, as the MG slogan used to insist ‘improve the breed’, one curious facet of the acoustic world is the way the past 12 months have seen so much of it flow into the hands on one company: Fender. When it swallowed Kaman, it resulted in brand F distributing (and in some cases actually owning) brands including Guild, Tacoma, Ovation, Takamine, Taylor and Fender itself. “It’s big business. I get at least one call a week from someone who wants to do for me what they did for Fender. They’d come in with a lot of cash, create liquidity for the owner, they’d allow me to stay on, and they would then sit on the board and drive this business to be much more aggressive in terms of growth. But once you do that, you have to keep the behemoth ever more ‘behemothy’, because if the merry-go-round ever stops, and if the market looks at you one day and says ‘Hey guys, you aren’t a growth company any more?’ you’ve got problems.” Clearly, Martin isn’t tempted by the callers and he has good reason. His father’s experience with expanding Martin in the past was unhappy to say the least. But he is rarely tempted, despite having said in the past that he is often called by smaller companies looking for a protective wing under Martin ownership. “I get advised to consider it but I think to myself, without being arrogant, that we have the best brand in the world, so anything else I bought would be secondary to that and distract us from managing that brand. That’s why we dropped Sigma – it was a distraction.” Word on the UK street is that in a time of recession, customers become increasingly conservative and are less likely to risk their money on an unknown or even lesser known brand.

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PORTABLE PA • SECTOR SPOTLIGHT

Taking a

stand

More giggers than ever before, more performing licences than ever before: there has never been a better time to stock performance public address systems. And the quality has never been so good, says Andy Barrett...

ive years on from the introduction of the licensing laws in England and Wales, and despite all of the hollering of ‘foul’ from many parts of the music industry, it is now pretty clear that there are more small venues that cater for live music than ever in the UK. And it isn’t simply the youth culture, hungry to attain the bubble that is fame, however remote that might be, nor even the mid-life crises of cash-rich professionals turning their rusty hands to their newly purchased PRSs, Fenders and Gibsons. There are also the burgeoning numbers of folk and country players, as well as mobile DJs and karaoke outfits. While all of this has an obvious effect on instrument sales, it also means that there has never been a better time to make sure you have what these people hanker after: the need to be heard. No wonder the portable PA market is veritably bursting at the seams with kit for any budget. The drawbacks for retail are many, but a rummage among some pretty small, general stores will reveal that there are a lot of dealers out there willing to make the investment of money, time and space needed to stock a worthwhile selection of systems. It’s a retail heaven for punter and dealer alike.

The first problem for the PA salesman is the sheer range of kit available. There should be someone on the shop floor familiar with what’s on sale – possibly even a gigger that uses it – but ideally a specialist sound engineering type, who can bring knowledge and experience to the shop floor. Mixing and matching (for example) a Mackie or an Allen & Heath mixer with Wharfedale or EV speakers, a good sub and some suitable outboard processing, is where the serious gigging band should be directed and PA specialists will have a lot of variations for punters to A/B test. In the round up that follows, there will be a lot of these individual ‘component’ products, but the muso just starting out on a gigging career may prefer the whole package in a box, in which case the range of kit available is pretty wide, from the simplest Fender Passport 80, through the sophisticated new Fishman Solo Amp performance system or the Bose L1 to one stop ‘packages’ such as the HK Lucas or LD Systems’ curiously monikered Dave systems. Space and time, therefore, are crucial to the PA dealer, but the expense is also an issue, and PA systems do not tend to fall into the impulse buy categories. Stocking a brand will invariably mean more than one

item, but an initial investment, and a good working relationship with your supplier should keep topping up stocks at a manageable level. More people are looking to get their music playing in front of an audience than ever before, which means that PA sales are better than ever – and that means yet another revenue source is there to be tapped.

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SECTOR SPOTLIGHT • PORTABLE PA

PEAVEY “EVERY MUSICIAN I talked to said, ‘I wish someone would build good guitars, amps and PA systems at a fair and reasonable price.’” The words are Hartley Peavey’s, explaining the philosophy that led him to found his company in 1965. In 1968 his first PA system, the PA-3, broke new ground for quality at an affordable price, and firmly established Peavey as a major name in portable PA. Forty years later, Peavey still trumpets ‘fair and reasonable price’ as its guiding principle, but can also lay fair claim to being an innovator – typically of real world benefits that translate into selling points for MI stores. Punters, sadly, can’t always be relied upon to read the manual before applying a load to a speaker, and need to be protected from themselves. So the Messenger UL series, Peavey’s top-of-the-range MI line, comes with the proprietary Sound Guard protection, to prevent unthinking users from blowing the delicate HF driver. (This is also available separately as a retrofit option for some other ranges.) The UL series runs from

JHS “WHERE DID you hide the other speakers?” Owners of HK Audio’s 400 Watt RMS Lucas Smart are accustomed to such questions. Never before has such power come in such a petite package. Customers looking for a compact, high-performance system that one person can carry and set up, look no further. Powered by a 250-Watt digital amp, Smart’s ten-inch subwoofer driver has proved its merits in high-end touring systems, engineered as it is to throw a wide, uniform pattern. When the company says the two 80-Watt satellites offer studioquality audio, they aren’t over-egging. The Kustom Profile System Two is the follow-up to the original Profile System One (logically), with more power, larger speakers and a bevy of flexible new features. It packs 300-Watts of total output power with a stereo signal path running through two speaker cabinets, each containing two Kustom special design eight-inch speakers and a neodymium compression driver.

“Where did you hide the other speakers?” Owners of HK Audio’s 400 Watt RMS Lucas Smart are used to questions like this. Never before has such a powerful sound come in such a petite package. single 12-inch and 15-inch tops through the twin 15-inch full range cab to a choice of 15-inch and 18-inch subs, using Peavey’s US-made Black Widow woofers and offers the MI customer equivalent quality to Peavey’s large format pro systems. The PR series – powered and unpowered 12s and 15s, plus a 15-inch sub – is a popular choice. Clarity and reliability come in a lightweight package, with neodymium magnets and polypropylene enclosures. The PV series is popular with bands and offers trapezoidal full range speakers, a sub and wedges start from £109. For smaller gigs, the £435 Escort provides an all-in-one solution: it folds down into a 67lb hatchback-friendly package (with wheels), as well as storage space for the included PVi mic, cables and stands.

The Profile Two powered mixer has five channels, each with balanced XLR and 1/4inch combination inputs. The fifth channel reproduces stereo signals and also has a built-in instrument-ready preamp that eliminates the need for direct boxes or external preamps. All channels also have their own monitor volume controls and stereo panning controls. 16 digital effects are courtesy of a new 24-bit digital processor. New to the Profile is the Double Take vocal effect, which effectively doubles the sound of a single vocalist, allowing for a much more defined and stronger vocal line. Unlike many other attempts to do this, Kustom has nailed this effect with startling realism. The Profile System Two fits into the supplied Roller Bag and retails at £799.00.

Fender’s PD-250 is the Passport line’s flagship model and has a powerful sound

ADAM HALL ONE OF THE success stories of the past year has undoubtedly been LD Systems, a brand launched by Adam Hall that continues to make strong inroads into both the pro and the MI markets. Of note in this section are the exceptionally smooth sounding (as far as audio is concerned) Dave systems – with the recent launch of the Dave 15, the range now has three systems, with the 12 and 10 having forged the path. The Dave 15+ is the ideal active sound system for performers looking for a step up to larger pubs and clubs. This set has been optimised for small bands in need of a powerful but small and mobile plug and play sound system. It consists of an active 15inch subwoofer and two, two-way (eightinch/one-inch) satellites. Combined with a simple LD mixer – for example, the LD LAX 12D 12-channel model, which has a great price (under £250) – the system has an easy, warm sound, it’s easy to use and is equally easy on the eye. The fact that Dave comes with a trolley and ties means that the portability factor is covered, as well. The Dave 10 and 12 systems are essentially the same, but with a little less ‘oomph’, although one loss is another gain, as the more compact systems are lighter and pack together more tightly, but the sound quality remains among the best you can find at such prices. Really worth serious consideration next time you stock up.

ALLEN & HEATH MOVING AWAY from the ‘one-stop-shop’ solutions, Cornwall’s very own mixer maker is always a great place to look for those mix n match packages and the flavour of the month for many reasons is the ZED FX series. In addition to the DuoPre mic pre-amps and MusiQ eq section which are common to the whole ZED range, the ZED FX has 16 unique effects, designed by A&H’s DSP team. Quickly enter the delay time or dial-in the amount of reverb on the lead vocal and the user is pretty much ready to go. The FXs have ‘one-stop’ navigation and editing and take away the fear factor that many technophobe musos have, making the mixers about as easy as any effects pedals with features arranged to be logical and instantly recognisable at a dark gig. The Zed FX range currently comprises of the ZED-12FX and the 22FX. Between them they offer a solution for any small group or singer songwriter needing up to 16 mono inputs and three stereo inputs. Each mono channel has an insert point, allowing in-line effects such as compressors to be added to the signal chain, just like A&H’s large format mixers. Another excellent, multi-purpose mixer is the PA12 mixer, which has been designed with all the tools needed to run a standard stereo PA system. These entry level consoles make an ideal live mixer for club performers, school systems, conference rooms and travelling musicians. With quality in mind, it is worth noting that the PA12 has the same individual vertical circuit boards, nutted pots and solid copper buss interconnection as the pro level ML series consoles. YAMAHA OVER THE LAST two years the Yamaha Stagepas family of portable PA systems has evolved into a full line-up of four different models which now cover almost all aspects of mobile audio mixing, amplification and reproduction. The original, award-winning Yamaha Stagepas-300 has become a top-seller for music retailers and has been the backbone

26 miPRO NOVEMBER 2008

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SPOTLIGHT • PORTABLE PA

Stock a careful selection of PA systems and bring in some juicy extra revenue of thousands of mobile performances. The concept of Stagepas-300 was to create a simple, one-stop solution for the type of user who does not want to know about such technical things as ‘impedance’ and ‘polarity’. This ‘keep it simple dna’ is still apparent in the latest evolutions of Stagepas. The new Stagepas-150M and Stagepas250M are still incredibly fast to setup and easily transported but are now even simpler mono units. This makes them extremely versatile whether as a drummer side-fill to a Silent violin setup or from a keyboard combo amp to a school theatre. The current line-up of Stagepas consists of the following models with the numbers representing the system’s Wattage. The Stagepas-500 has a removable tenchannel mixer and amp section with four phantom powered mic inputs and a pair of 10”, 2-way passive speakers. The 300 has an eight channel mixer and eight-inch speakers. FENDER SAY ‘FENDER’ and one doesn’t tend to think of PA systems, but the Arizona guitar giant has obviously thought things through. The Fender badge on a product will always raise interest with electric axemen, so the Passport is well worth some consideration. The Passport PD-250 is the flagship model of the Passport product line, featuring as it does a six-channel mixer, 250 Watts of stereo power and specialised DSA speaker design. The PD-250 provides powerful and full sound in a portable and easy-to-use design. If it’s a coffee shop performance or for a company event, the PD-250 is great in any situation where quality sound is needed. The company touts this system as ‘perfect’ for rooms that can hold from 300 to 500 people in size. SHURE DISTRIBUTION UK TO COINCIDE with its 40th anniversary year, QSC Audio Products introduced the GX series amplifiers at this year’s ProLight+Sound show in Frankfurt, taking aim at the needs of musicians, DJs and

28 miPRO NOVEMBER 2008

performers of all description. Consisting of two models outfitted with feature sets and power ratings designed to meet the requirements of popular passive loudspeakers, the GX Series is not only affordable but also highly reliable. At eight Ohms, the GX3 and GX5 are rated at 300 and 500 Watts respectively, offering the continuous power capacity needed for a majority of common passive loudspeakers in use today. With roughly twice the continuous power capacity required by the top-selling non-powered loudspeakers on the market, the GX Series is the best answer to the question ‘what power amp do I need?’ Both GX amplifiers are equipped with all the input and output connectors needed for compatibility with virtually any source, loudspeaker or wiring scheme. The amps feature QSC’s own linear toroidal power supplies, which provide thermal stability and efficiency, and a Class B output topology that, we are assured, squeezes every Watt available from electrical circuits. The designers at QSC figured that very few potential GX users needed bridged operation or an extremely high output capacity at two Ohms. By eliminating these capabilities and building the amps primarily for use with four- and eight-Ohm power, the GX Series ultimately emerged with significant cost and size reductions, while still remaining fully-protected into all loads. SOUND TECHNOLOGY WITH ITS NEW Letchworth hat on, the Harman Pro ranges have unprecedented access to the UK’s MI market and will soon be making a hefty impact. The EON 500 series has three models: the EON 515 and 510 full-range speakers and the 518S subwoofer. The 515 and 510 are two-way powered systems with mic/line inputs, as well as selectable system eq, giving users a loudness-type control and the ability to roll off the LF for maximum performance with a subwoofer or, usefully for those bigger gigs, when used as a floor monitor.

The JRX system is a more affordable collection with two mid/high speakers and two subwoofers, offering a dizzying 1,000 Watts from the JRX115 trapezoidal, 15-inch two-way speaker. Of course, the JBLs are not much use without a mixer, so Soundcraft, too, is happy to cater to the small time gigger with the hugely successful Gigrac systems. Launched to some acclaim in January 2006, the Gigrac family of powered mixers for gigging bands and presentation systems, dubbed ‘The Box that Rocks’, ranges from a 300-Watt system to 1,000 Watts. The 1000 has three-band eq, two seven-band graphic eqs and ten preset digital effects. Although the largest of the three, the 1000 is still just 8.75 inches (or 5U) and is an incredibly easy system to use. DB TECHNOLOGIES DB HAS LONG been established as something of an A to Z of speaker systems (with a good helping of wireless mics and IEMs thrown in for good measure) but it is still at the budget end that the brand really comes into its own. The popular Opera series of active speakers consists of the Opera 100, 200 and 400 – all of them two-way, polypropylene enclosed set-ups, ranging from 90 Watts to 450 Watts. The sturdiness of these speakers makes them ideal for the rough and tumble of regular small pub gigs and the sound is worthy of the best up and comers available on the market today.

DB’s Basic line is another budget collection worthy of a good long look and following the same design and power output as the Opera line, but at an even more affordable price. SR TECHNOLOGY MAINTAINING a significant hold on the portable PA market is SR Technology’s Big Cat range – and more particularly the Pocket 750 and 1500 systems. SR touts the Pocket 1500 as the ‘perfect solution for high quality high output PA’, with low weight and all cabling for an ultra-fast setup. The basic 1500 system is expandable through a second passive subwoofer to create the Pocket 2100. The smaller brother, the 750 has an onboard mixer which can be used both inside the sub or remotely if required. A two-piece, padded case set is also available for the 750. Three excellent models, the Jam 90, 150 and 400, are the first choice for many performers looking for great audio. Designed to reproduce every dynamic and nuance of the acoustic guitar, the Jam series is equally adept when used with pretty much any acoustic instrument or electronic sound source that requires a totally balanced full range response. All models have digital effects and studio quality eq, together with XLR, Jack and Phono inputs for flexibility.

CONTACTS PEAVEY ..................................................................................01536 461234 JHS ..........................................................................................0113 286 5381 ADAM HALL ............................................................................01702 613922 ALLEN & HEATH ....................................................................01326 372070 YAMAHA ................................................................................01908 366700 FENDER ...................................................................................01342 331700 SHURE DISTRIBUTION UK ..................................................01992 703058 SOUND TECHNOLOGY .........................................................01462 480000 DB TECHNOLOGIES ....................................................+49 220 3925 3740 SR TECHNOLOGY ..................................................................01406 365291

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DEALERSHIPS AVAILABLE How Indie dealerships work… 1. You choose any 8 guitars from the range, any price point. 2. 4 of the 8 are supplied as free issue guitars and 4 are invoiced, you choose. 3. We only invoice free issue guitars after they are sold by you. Pay 30 days later. 4. You choose free issue replacement guitars and we send them free of charge. 5. You replace your purchased guitars only after you sell them. 6. We will exchange any guitars that do not sell, no need to discount as nothing sticks! You can share in the success of the fastest growing guitar brand in Europe… …with the confidence that all indie guitars are unique and non competitive to any other brand. There is no catch… We simply believe in working with you to help sell great guitars. You can visit the showroom to view our guitars or we will bring them to you…

‘’HAND PAINTED PURE ROCK AND ROLL”

NOW AVAILABLE IN THE UK

Contact your area sales manager Arthur Achard (South, Wales, Northern Ireland, Ireland) Tel - 07734 816799 Email - Arthur@ashtonmusic.co.uk Craig Wolverton (Midland, North) Tel - 07733 320288 Email - craig@ashtonmusic.co.uk

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CONTACT OUR SALES TEAM NOW FOR MORE INFORMATION Sparrow Guitars, Unit 19, Kings Cliffe Industrial Estate, Peterborough, PE6 7DB Tel: 01780 781631 Email: james@ashtonmusic.co.uk

STARTER PACKS • SECTOR SPOTLIGHT

Under

starter’s orders… Making the life of the confused first time buyer that bit more palatable, starter packs also make a big impression at Christmas time. Rob Power takes a look at what to keep an eye out for this year… ny musician can remember the first trembling steps taken into their local music emporium, and the nervous purchase of that all-important first instrument. Apart from the sheer terror of the occasion, there’s also the complete confusion that often accompanies any initial purchase. For those sweaty-palmed younglings wishing to take the long road to musical acceptability, it can be pretty tough knowing what else you’ll need alongside the instrument itself – accessories are many and bewildering, cases are required, amplification, all sorts of straps and trussed stands and cleaning cloths – and it can be a pretty daunting task. Which is where the starter pack comes in. Kits designed to get those newbies going with minimal fuss and expenditure, they can also earn a pretty penny for the canny retailer. Here’s a selection of what’s currently on offer…

FENDER THE CHAPS at Fender have got plenty to offer here, primarily thanks to the everpopular Squier range. The Affinity Strat Special features the Squier guitar, the 15-Watt, two-channel Fender Frontman 15G amplifier (which includes a handy auxiliary input and headphone jack), stereo headphones, instructional DVD, chromatic tuner, strap, gig bag, lead and a few picks for good measure. The full package in terms of what every aspiring Hendrix will be looking for in his stocking, and certainly a costeffective way of ticking all the boxes without leaving out any of the vitals. Similar spec bass and acoustic packs are also available (featuring a Squier Precision and CD60 respectively), while another Strat pack, which includes the highly versatile G-Dec Junior and its built-in backing tracks and effects, is another excellent option.

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MEL BAY THE PRINT specialist has, as you might imagine, a pretty good grasp on the needs and wants of players just starting out, and has start-up solutions to encompass a range of instruments. Its Children’s Guitar Starter Pack includes a chord chart, Easiest Guitar Song Book, a pack of light gauge strings, some picks and a Children’s Guitar Method Volume 1 book and CD. Similar packs for the electric guitar and bass confirm what a lot of us already knew about Mel Bay – that where it counts, it knows exactly what the consumer is after, and can consistently deliver. JHS AS YOU might expect, JHS is another one with bundles to offer in the starter pack market, and the ever-popular Encore brand, a stable of the beginners sector, has updated the popular EG Blaster Packs to now include a graffiti-styled Facelift re-usable guitar body overlay worth £19.99, which has been customdesigned for Encore. Aside from the guitar itself, the Encore E6, and the Facelift

extras, the pack has also got products cherry-picked from across JHS’ extensive ranges, including the BB Blaster ten-Watt combo amp, GYC guitar lead, Kinsman guitar stand, Quik Tune tuner, Guitar Tech strap, Encore strings, plectrum, tutorial DVD and a listing of tutors. All in all, a pretty exhaustive package. Other options include the 7/8 bodied E5 and 3/4 bodied E375 electrics, along with a range of Encore Acoustic and SemiAcoustic Starter Packs, plus Encore's Classical Guitar Starter Packs. ADAM HALL BRINGING something perhaps slightly out of the ordinary to this part of the market, Adam Hall has a pair of small PA packs for

For those sweatypalmed younglings wishing to take the long road to musical acceptability, it can be pretty tough knowing what you’ll need alongside the main instrument.

Starter packs can bring in a few extra pounds for clever retailers

miPRO NOVEMBER 2008 31

SECTOR SPOTLIGHT • STARTER PACKS

those starting out in the wonderful world that is small venue sound. Both packs, by East Midlands Karaoke, have already proved successful and could be well worth a look in. The first pack features a LDP102A moulded ten-inch with tweeter, sixchannel mixer, speaker stand and mike stand, while pack number two boasts an extra two tracks on the mixer, making it ideal for karaoke in small venues.

Christmas is the perfect time to sell starter packs, as parents and relatives of new musicians look to get them a relevant all-in-one gift

EMD EMD HAS a huge amount to contribute to this area of the market, covering as it does such a wide range of product. To start off with, its Stagg S300 electric guitar package includes guitar, strap, pitch pipe, guitar bag, spare strings and a tutorial CDROM featuring 20 lessons, a guitar tuner and a whole lot more besides. A similar pack is also around for the bass, which includes the BC300 Fusion bass guitar, strap, pitch pip, gig bag and string set. Perhaps the best thing about EMD’s packages are their value for money, offering excellent instruments for beginners at an easily affordable price for Christmas. MARSHALL TWO KITS are currently on shelves from this UK amp manufacturer, with the emphasis obviously placed on quality amplification rather than instrumentation. The Rockbox, designed for anyone from beginners to intermediate players, contains the MG15DFX, a cracking little twin channel amplifier with built-in digital effects. Also containing the nowobligatory tutorial DVD, MT-1 tuner, guitar cable, Marshall strings and a Marshall strap, it’s all here, with the reassuring Marshall logo all over the place making beginners feel like they’re in the club. The second pack on offer from Marshall is the Rockkit, which is designed as a complete starter kit and includes a guitar as well as an MG15 CDR, gigbag, cable, stings, strap, picks and tuner. Again, everything required to make more noise than most parents thought was possible. WARWICK PURVEYORS of all things bassy and rock-oriented, Warwick has a good choice in starter packs for the firsttime bassist looking for something that is going to look, feel and sound good while being sufficiently different from the pack to be interesting. The Rockbass Black Hawk package includes the bass itself, a powerful and eye catching brute of a bass, a Blue Cab 30 combo bass amplifier, gig bag, 6m cable,

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RockStrap strap, stand, and a Warwick 25th anniversary baseball cap thrown in for good measure. Although perhaps a touch pricier than most other starter packs, this is a quality option that will last a long time and basically (excuse the pun) sound excellent straight out of the box, notwithstanding the player, obviously. ASHTON THERE ARE a good number of wellbranded, eye-catching kits from Ashton that contain everything needed in a simple format that is welcoming to the

For those about to rock, preferably all in black, perhaps with a bit of intimidating make up on, ESP has the perfect starter pack, in dark tones, with all the right metal heroes on the box. newcomer. A huge part of Ashton’s business, and steady sellers all year round, the variety of its starter packs is impressive and this is definitely something that Ashton does well. Take for example the FG48 pack: a slimline guitar, more suited to girls thanks to its size, it includes strap, bag, picks, DVD and strings, and is

available in suitably feminine colours such as pink and lilac sparkle. Classical packs, available in ¼, ½, ¾ and full size versions in six different colours are a huge seller, very popular thanks to the quality of the instruments and huge array of colours – a big factor with any first instrument. SELECTRON FOR THOSE about to rock, preferably all in black, perhaps with a bit of intimidating make up on, ESP has the perfect starter pack, all in dark tones and with all the right metal heroes on the box. A choice of SG, Strat and, well, what can only be described as ‘angular’ shapes is available, with an ESP ten-Watt amp, padded gig-bag, tuner, cable, strap and picks thrown in for good measure. A similarly dark and dangerous bass pack is available, and both of these are sure to appeal to the kids who simply can’t have their kit in anything other than regulation black. EPIPHONE GIBSON’S budget brand is a popular choice amongst both beginners and those whose pockets don’t run deep enough for the real thing. The DR-90 acoustic pack features the tidy DR-90 dreadnaught, alongside all the peripherals needed to get stuck in straight away. An electro-acoustic option is available with the PR4E, which

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SECTOR SPOTLIGHT • STARTER PACKS

features the guitar itself alongside a Studio Acoustic 15c amplifier, as well as a strap, cord, DVD and gig bag. INTERMUSIC FOCUSING on the brass and woodwind side of things, Intermusic has recently updated its popular Bentley starter packages for alto sax, flute, clarinet, trumpet, cornet and trombone. With the packs including a four colour outer carton, heavy instrument stand, music stand, tutor book and cleaning kit, they are hugely popular and very solid sellers. Additionally, all instruments are checked and blown in, giving their new owners one less thing to worry about.

tab/notation sheets to print out and MP3 backing tracks of all the songs. Acoustically, check out the F310 pack, featuring the long-time staple of the entry-level acoustic market, or the classical C40. Electric options are also available in the form of the ERG121 guitar or ERB070 bass packs. EMC AS YOU might expect from one of the best selling brands out there, Tanglewood has plenty to offer with its starter pack selection. The FST32 electric guitar pack includes the FST32 itself (in a choice of colours ranging from antique sunburst through to pink), alongside a gig bag,

Starter packs are a straightforward sell, getting everything that is required to the customer in the simplest way possible, with no complicated explanations or add-on sales pitches required. YAMAHA ENTRY-LEVEL packs remain a huge part of Yamaha’s guitar business, and the company has kept focused on providing customers with a certain level of quality – starter guitars which aren’t necessarily simply the cheapest instruments on offer in a box, in other words. This means that Yamaha’s packs are kept stocked with the same quality of instrument, built in Yamaha’s own factories and not by third parties, that the rest of their guitar lines consist of. All Yamaha guitar packs ship with full colour printed retail boxes, Yamaha practise amps (for electric and bass models), Yamaha YT100 automatic tuners, strap, strings, picks and Yamaha’s own Instant Guitar tuition DVD – specially produced by Yamaha and Music Sales – which is designed to get people playing quickly, taking players from the first stages of picking up the guitar to some advanced songs featuring contemporary artists like U2, Travis, Coldplay and The Stereophonics. Backing up the tuition are PDF

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Tanglewood branded start, lead, plectrums, set of headphones, DVD tutorial, accessories pouch and, the cream on the cake, a Hiwatt Spitfire amplifier. A similar bass pack comes complete with Tanglewood Rebel bass and Hiwatt Hurricane amplifier.

around £113, it’s easy to see why they are so popular – clearly a cheaper route than buying all the bits and pieces required individually, and all handily wrapped up in a clean and easy box, this is a much safer option for customers unused to the ins and outs of the musical world. But there is still a lot of work to be done in this area by MI retailers, who it would seem are missing the punch – mass merchandisers, the Argos and Tescos of this world, seem to dominate the cheaper end of the market, and so are snapping up around half the sales. Whilst with the more expensive side of things, the business is being done in MI stores, there

is lots of room for manoeuvre here and money waiting to be made. Starter packs may not look as good on the shop floor, and can take up a lot of space, but if they’re not out there, then a trick is definitely being missed. They are a straightforward sell, getting everything that is required to the customer in the simplest way possible, with no complicated explanations or drawn out add-on sales pitches required. As Christmas gets closer, you can bet that there will be plenty of anxious parents looking to quickly pick up the works for some musically minded offspring – make sure you don’t miss out.

CONTACTS Fender ...........................................................................................................01342 331700 Mel Bay ........................................................................................................020 8323 8010 JHS ................................................................................................................0113 286 5381 Adam Hall ....................................................................................................01702 613922 EMD ...............................................................................................................01293 862612 Marshall .........................................................................................................01908 375411 Warwick ......................................................................................................0161 839 0666 Ashton ..........................................................................................................01780 781630 Selectron ......................................................................................................01795 419460 Epiphone.......................................................................................................0116 275 2954 Intermusic ....................................................................................................01202 696963 Yamaha .........................................................................................................01908 366700 EMC ................................................................................................................01937 841122

Without a doubt, the starter packs market is chock full of excellent options for first timers looking for the whole kit and caboodle in one go. It’s a pretty big market as well. According to analysts GfK, and taking the electric guitar starter pack sector alone for the year ending August 2008, there were 92,000 electric starter packs sold in the UK across both MI specialists and the dreaded mass merchandisers, representing a whopping 36 per cent of total electric guitar sales for the period. It’s a bigger chunk of the market than many may recognise – value sales of £10.5 million represent a 15 per cent share of total value sales in the electric market. With the average price falling at

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MARINER • COMPANY PROFILE

Smooth seas?

No-one knows better than Ken Achard how to set up an MI operation – since the 1970s he has brought more varieties to Europe than Heinz. Now with the high-end Mariner guitar brand, he is going back to his roots and relishing the chance to steer it towards success, however rough the forecast might be. Gary Cooper takes a view from the crow’s nest… hey say you can’t keep a good man down. Well, you certainly can’t keep him in retirement, as veteran MI figure Ken Achard proves this month by making his second return from retirement, this time to launch his Mariner range of acoustic guitars. Achard has played a major role in British MI history. In the 1970s he brought both Peavey and Ernie Ball to these shores and went on to turn Peavey into a major force across Europe. When he retired, in 2002, there was general surprise that someone who still seemed so in touch could actually give it all up and indeed he didn’t, because he was later persuaded out of retirement on a short-term agreement, to launch Ashton UK. That duly done and handed over to Jon Gold and Roger Seekings, Achard promptly retired again. Then, restless and with a sense that he had built business and brands for other people, yet not left a mark of his own, his thoughts turned to his great passion – the guitar. Achard isn’t just an MI businessman – he is also a noted historian and collector of vintage guitars and he has brought that love and knowledge together

Ken Achard believes his Mariner guitars are different enough to succeed

to found Mariner - which promises to be anything but ‘yet another acoustic guitar range’. “This is an industry where you’re either in it for five minutes or forever – and I’ve been in it forever,” Achard laughs, when asked why he seems unable to make the break. “I was lucky after I retired from Peavey to have the chance to write Hartley’s biography and then Peter Hayward collared me to help him establish Ashton in Europe. After a couple of years doing that, I thought that was it, but I found it very hard to retire. Then, as I watched Jon and Roger building Ashton and with my son, Arthur, working for them, I found myself almost more connected than ever.”

“Everything I’ve done, whether selling over the counter or managing Peavey’s European operations, I’ve seen through retailers’ eyes.” But isn’t the acoustic guitar market already hugely overcrowded? “Well, I agree, but only in certain parts of the market. Obviously, the entry-level is crowded, but that didn’t interest me as a guitar fanatic. What did occur to me, though, was that as a guitar historian and having been deeply involved in the vintage thing in the sixties and seventies, I realised there were lots of really interesting people designing guitars in

the past whose ideas would be nice to incorporate, along with some of my own. That inevitably leads you to a premium brand and I think we identified an area of the market that perhaps isn't as well-served – the upper-mid premium range.” The key to making Mariner work was finding a specialist luthier in Korea, a man with a small hand-crafting facility, who had 48 years of experience in making guitars, Achard says. But however good Mariner guitars are, Achard still has to establish the brand – which could be difficult in such a busy market. What is his plan? “Reviews, endorsements and more. I guess my discipline all through my career has been as a marketer. It’s a challenge to build a brand, but I find that really exciting.” For Mariner to succeed, Achard has to establish a clear difference between it and rival brands and it’s clear from exploring the three ranges that he has taken leaves out of the books of some of the people he met and worked with in the past, like Al Dronge, the founder of Guild, and Sam Koontz of Harptone and Standell. While the range will have the inevitable Dreadnoughts, expect real differences in some of the models, which should give them a genuine USP. While these names and design hat tips might not mean much to those more at home when number-crunching the discounts, Achard feels there are sufficient retailers who will get the point to give Mariner a good chance. “My absolute history was as a retailer – and a small, independent retailer at that. Everything I’ve ever done, whether selling over the counter, or managing Peavey’s European operations, I’ve always tried to see things through retailers’ eyes. The independent retailer is stronger than people say. Independents survive – the specialist music store is alive and well and I think Mariner will have a lot of appeal to them.” And the appointment of Ashton to distribute the new brand? The synergy with the Sparrow electric guitars explains itself, as does the fact that Achard’s son will be on the team selling Mariner - so was it an inevitable choice? ‘Well, maybe, but seeing the way Jon and Roger have built the business, I can’t think of anybody else in the industry who could do better justice to what I’m trying to achieve.’ MARINER: 01780 411201 ASHTON MUSIC: 01780 781630 WWW.MARINERGUITARS.COM

miPRO NOVEMBER 2008 37

COMPANY PROFILE • PIANO WAREHOUSE

Double

braced

n the bustle of Kentish Town, where the organic bistros make way for the art deco warehouses and office space, sits the central operation of the Piano Warehouse. It’s an impressive set up: 6,000 square feet of warehousing and showroom, which is supplemented by the 4,000 square foot showroom in Surbiton, with the whole show run by the long-standing triumvirate of Howard Martyn (who heads up distribution), Martin Weedon (retail boss) and Mike Neill (finance director). The three of them sport big smiles and a relaxed demeanour and the reason becomes clear immediately. “Business is really good at the moment,” beams Martyn. “We had a slow spring, but things have been doing well and September’s figures are up 15 per cent on the year.” A fact confirmed by Weedon: “Retail is up by the same figure.” The team at Piano Warehouse is nothing, however, if not realistic. With the doommongers in the media making the most of the ineptitudes of the world’s banks, one would think that the collapse of civilisation is just around the corner. The bosses of the Piano Warehouse are not counting any chickens just at the moment. “We have survived two big recessions since we started, so we have an idea of what to expect,” explains Weedon. “Despite the success this year, we are braced for a

With figures showing excellent growth right up to the end of September, the team at Piano Warehouse is enjoying the current boom in acoustic pianos – but with the doom and gloom in the news, they explain to Andy Barrett that they are taking nothing for granted…

Although the golden era of the piano is long gone, Martyn and Weedon still see it as a prestige purchase. downturn, but we have our fingers crossed, too. If things dip, it will be a case of ordering less from suppliers and making sure the overheads are appropriate to the climate.” “There are 13 of us working here in Kentish Town,” adds Martyn. “When the last recession happened in the early 90s, we had 25 people working here. We had to trim that down to eight or nine – that was dire. I think we are better prepared to cope with any bad news now.” Piano Warehouse has existed since 1976, when Neill inherited half a dozen second-

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The Piano Warehouse team, left to right: Howard Martyn, Mike Neill and Martin Weedon hand pianos. He and Martyn were sharing a house at the time, so five went into the basement, one into the hall, and an ad went into the paper. Each time a piano sold, another was pulled up into the hall and on it went. “By the time we sold the last one, we realised we could be on to something,” recalls Martyn. Learning the technical side of the business on the hoof, the two young entrepreneurs enlisted the help of Weedon, who was running his own export business, and by the 80s, the team was importing. “We moved quickly from second hand to new, and then distribution and import,” describes Weedon. “The first pianos we imported were Tokai and it was quite a learning curve. They were great pianos and we made some significant inroads, but the brand never really took off.” The next venture was far more successful as a chance meeting at a NAMM show led to a relationship with Young Chang that continues today. Riding the boom that South Korea enjoyed in the 1980s, Piano Warehouse was able to establish itself as a major supplier of entry level pianos. Then in 1994, it was the turn of the Chinese and the re-emergence of the Steinmeyer brand. “In fact, the price hasn’t changed in the last ten years,” points out Martyn – although that may be about to change as the credit crunch continues to bite. Since then, it has been a sober tale of steady growth.

One of the most remarkable facets of the company is how it has kept a successful retail business running, together with one of the country’s best piano distribution operations. “We keep the two completely separate,” explains Martyn. “I sell to Martin [Weedon] on the same terms as I sell to anyone else.” “We wouldn’t still be here as a distributor if Howard gave me preferential treatment,” adds Weedon. “Obviously my retail business has a good relationship with the distribution arm, but I don’t get any discounts that others don’t get. We couldn’t do that and expect the dealers to stay on board.” Piano Warehouse claims around 85 dealers in its network, and while it is open to any size of operation, whether a small shop with two pianos on the floor or a megastore, the company protects its dealers’ geographical zone jealously. Although the golden era of the piano (in the UK about 100 years ago) is long gone,

Martyn and Weedon still see the piano as a prestige purchase. These days it is not an instrument that will sit in the ‘best room’ in the house for use once a week. Now it is an instrument for playing and learning. “The government has got involved, making money available for purchases and teaching, and better teaching methods mean that more kids are playing now than ever before,” says Weedon. “The piano is still the third most expensive purchase a family will make during their life, after the house and the car, so it does maintain a lot of prestige – and there are still those rich enough to buy one just to have it, whether they can play or not.” And as long as people continue wanting to buy pianos, Piano Warehouse will be on hand to make sure they get one. PIANO WAREHOUSE: 020 7267 9229 WWW.PIANOWAREHOUSE.BIZ

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17 reasons why the MIA is good for business his is the first of a new regular monthly update from the UK’s trade association. It wants to use this feature to keep you updated on what it is doing on behalf of its members and the wider industry. The 350 member companies are made up of retailers, manufacturers, distributors, wholesalers and allied trade companies. In short, if you are involved in MI, the MIA is here for you. All the MIA’s energies are directed towards ‘Making More Musicians’ in a variety of ways:

1) Public and trade shows such as the London International Music Show (LIMS). 2) Partnership schemes such as the Take it Away, partnered with Arts Council England. 3) Working with the Department for Children to ensure the provision of a musical education

for children (and the recent £40 million we have secured for schools to purchase new, quality instruments).

8) Collating industry statistics that map the sales and volume trends at instrument level (see our new relationship with GFK).

4) Working with the Department for Culture and industry partners to create more opportunities for people to play an instrument (such as the £500,000 roll out of the Rehearsal Room Initiative).

9) Supporting like-minded organisations, such as our 35year support for Music for Youth and our ten-year partnership with The National Rock and Pop Festival.

5) Launching direct initiatives to encourage music making such as Weekend Warriors, the MIA Learn to Play stand and the MIA Get Alive! campaign.

10) Launching a charity for our industry, Music for All, that puts all money raised towards helping people to play instruments (www.musicforall.org.uk).

6) Working with the media to promote the ‘good news’ story about playing instruments (such as our recent press concerning Oasis and Take it Away).

We spend time helping you sell more, save money or protect your business. All members have access to a wide range of benefits including:

7) Working with like-minded international partners such as NAMM (which has supported a number of MIA initiatives).

1) Business helplines (legal, tax, employment, health and safety). 2) Discounted exhibition rates.

3) Discounted insurance rates for your business. 4) Discounted debit and credit card rates. 5) Discounted foreign currency exchange rates. 6) Discounted advertising (Yellow Pages, Thompson, etc).

7) Free industry stats report. Interested? Please give us a call on 01372 750600 or visit the website www.mia.org.uk.

Preferential electronic card processing terms for members of the Music Industries Association Make the most of the connections you already have As a member of the Music Industries Association, HSBC Merchant Services is pleased to offer you preferential rates for your card processing. For example, if your average credit card transactions are £101 or more and your annual credit card turnover is between £100,001 and £250,000 we will only charge you 1.26% for your credit card transactions. Call us today to find out how much better off you could be with our preferential rates.

Call 0800 731 8921* Click www.hsbc.co.uk/business Important notes Issued by HSBC Merchant Services. Terms and conditions apply. HSBC Merchant Services reserves the right not to open a card processing facility. This offer is not available with any other card processing offer and is subject to our card processing terms and conditions. This offer may be withdrawn at any time. Theses rates are correct as at 1 October 2008 and may be subject to individual negotiation where the total annual Commercial/Business/ Purchasing/International card acceptance is equal to or greater than 15% of the total annual card turnover. * Textphone 1800 10800 0283 516. Lines are open 9am to 5pm Monday to Friday (excluding Public Holidays). To help us continually improve our service and in the interest of security. We may monitor and/or record your communications with us.

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COMPANY PROFILE • FRESHMAN

A breath of

fresh air here are few companies that have made a name for themselves as quickly and with as much style as Freshman. Already famed across the industry thanks to great quality guitars, as a clutch of glowing reviews will confirm, not to mention some high profile endorsements, this is a forward looking UK-based outfit that is most certainly going places. “Freshman is still a very young brand – it’s only four and a half years old,” says its founder and driving force behind the brand, Sean Kelly. “What we have found is that quality always shines through, and that has been the goal right from the beginning. The fact that we’re direct to factory, that we don’t go through any middle-men or agents, and that we source all the materials ourselves and completely control everything has really made an enormous difference.” By first ensuring that Freshman guitars have the sound, playability and feel to match any high-end US brand, and then keeping the price affordable and the returns for retail high, Kelly has forced his company into the consciousness of the wider industry. All of this has come from the straightforward basic principles that the company was founded on. “It’s very easy to go and get a brand these days – there’s a new brand every week coming out of China I’m sure, and everybody sees that. The path we chose to go down was to completely design and source everything ourselves, and we’re now starting to get the benefits of that. Customers are very happy with the consistency and reliability we can offer, and most importantly quality and profitablility, which you don’t tend to see.” In line with its determination to provide the right product for its dealers at the right time, the new Apollo range looks set to turn even more heads in Freshman’s direction. “After listening to what our dealers have been looking for, we have released a fantastic mid-priced product called the Apollo, which is brand new and being launched this month,” confirms Kelly. “They look fantastic, and they’re really high spec, but sub-£350.

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“Really – every customer we have shown them to has been completely blown away with them. They have the looks of instruments twice the price, and I know it’s a cliché but everyone that has seen these has rated them as £700 or £800 guitars. I’ve achieved what I wanted to achieve.” The Apollo range echoes the company’s commitment to putting the right products on dealers’ walls that will sell through even when times are tough. “With the economic climate as it is, we’re basically trying to introduce a bit of eye candy that will entice customers to buy. With a Freshman, they know they’re getting a quality product that sounds fantastic, so that’s the Apollo collection. We’ve teamed up with Fishman and have loaded it up with the Ion system – we’re the first in Europe with this system – and yet again we’re trying to push the boundaries a bit.” The new range will be backed up by an extensive advertising campaign across print media, as well as a rash of reviews and competitions planned in the run up to Christmas. “This is a more grown up

Since its launch in 2002, Freshman has steadily built a reputation for quality home-grown instruments. Rob Power takes a look at what’s next for the Scottish firebrand… approach with regards to promoting the product,” adds Kelly. “It’s all being done in-house – we have our own PR department – and we expect to be able to push the product on and help sell it through, and that’s what people want with the year we’ve had. If we can help in any way to sell guitars, then that’s what we’re all in this for.” Working hand in hand with dealers to provide products that not only tick all the right boxes in terms of tone, features, quality and price, Freshman has gone a long way in distinguishing itself from its competitors. “We’re still growing as a company and we still have new customers coming to us,” concludes Kelly. “I think people are intrigued by us. We don’t profess to be all things to all people, we are a guitar company these days. “This year we’ve seen a growth, and that has been down to the expansion of the product range. Also, it’s as if we’ve turned a corner, and people understand what the brand is about. There’s an understanding there on the end users’ account as well, and there is brand awareness, which again goes back to the quality aspect. People know what they are buying when they pick up a Freshman guitar.” WWW.FRESHMANGUITARS.CO.UK Freshman’s new range of Apollo guitars look to turn heads at a low price

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COMPANY PROFILE • HERGA

The gift

of music Making its name in an area often overlooked by MI retailers, Herga Music knows just how profitable the gifts sector can be. Rob Power looks the gift horse in the mouth… ased in North West London, Herga Music has been steadfastly growing its musical gifts empire since the late 80s, when founder Irene McGregor first realised there was money to be made with the smaller things in life. “We opened in 1986 as a retail shop, which is still functioning in Wealdstone near Harrow,” says McGregor. “It was 1987 when we first started getting interested in giftware. It developed from buying giftware for our own shop and finding that there was a good market for it. So, we decided to set up the giftware side of the business, which now supplies retailers, including music shops, gift shops, concert halls and museums.” From the kernel of a simple idea, Herga has expanded both its outlook and its product ranges, capturing a valuable niche in the market that has proved hugely popular with retailers across the UK. “The range of products has expanded,”

continues McGregor. “In the early days it was t-shirts, sweatshirts and a few percussion items, and we now have a diverse catalogue. We have a catalogue of 44 pages worth of product, plus supplements that we issue from time to time whilst we’re waiting to update. We’ve just issued a supplement with more than 50 new products – since the London International Music Show we’ve launched probably 100 new products. “It’s certainly been a busy year. LIMS was a great shop front for us, as it allowed people to handle the goods and see them rather than just looking at a picture. We did in fact attract a lot of new customers at LIMS, and the stand on the public day was like a honey pot.” A successful showing at LIMS, and the obvious appeal of the products on show certainly went some way to opening up the eyes of MI retail to just how valuable a few simple gifts on the counter could

Stocking a selection of gifts is a good way to encourage impulse buys

46 miPRO NOVEMBER 2008

prove to be. “I think that if people have a love of music, they love to see things that represent that interest,” adds McGregor. “Whether it’s a miniature clock of a guitar, a music box globe with a saxophone in it, a wall clock or a pencil with a guitar on it, it simply creates an interest, and people like to take them for themselves or as presents.

“If people love music, they love to see things that represent that interest, whether it’s a music box globe or a wall clock.” “We do get a reaction from some MI retailers that they don’t have room, but you only need a small area at the point of sale. Additionally, many of these items are impulse buys – you don’t need to have a showcase full of giftware. I think many retailers have started with a selection, and then realised the potential of selling the giftware products and increased the number of lines they’re holding.” In an industry dominated by rock and roll clichés and a preponderance of far from individual products, the obvious eyecatching appeal of a gifts selection sprinkled around a shop could prove an easy and direct way of

making a bit extra of those margins, especially when times are as tight as they are at the moment. “We have customers who have told us that having giftware in their window has pulled people into their shop, which is obviously important in the current economic climate,” says McGregor. “Rather than have people walk past a shop, particularly as we’re coming up to a time when people are looking for gifts, if you’ve got something in the window to attract them in, then of course it can lead to other purchases which is important.” Thanks to the constant sourcing of new products by Herga and a commitment to not allow the catalogue to become stale, there are plenty of imaginative and affordable gift choices that could happily sit on the counter of any number of retailers looking for an extra something. “It’s a diverse range, trying to cater for all tastes and all pockets, so there are gifts there from 50p up to £30 or £40,” confirms McGregor. “The orders are starting to pile in for Christmas now and stock is flying out. Coming up to Christmas you get people that are specifically looking for nice gifts, so they might go for the music box globes, or wall clocks, that sort of thing. There’s a lot of diversity, and we’ve found that’s the best way. Everybody knows their own customers and knows the type of product that may sell for them if they’re a bit dubious, and then they can branch out when they see the reaction.” With the festive season rapidly approaching, and times as tight as they are, there can be no doubt that this is the moment to make the most of the increased footfall. Perhaps one way of doing that is to make the best of that gift selection. HERGA: 020 8861 1590

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PERSONNEL

Publisher’s new Future Woodwind & Brass Department Sheehans are currently looking for an experienced salesperson to take primary responsibility for woodwind and brass sales. The successful applicant will be expected: G

G G

to maintain the highest standards of customer service to be a highly motivated and skilled salesperson to possess in depth product knowledge of all woodwind and brass instruments to be proactive in helping develop and expand the department to have good communication and admin skills to be computer literate

Interested applicants should apply by post or email to noel@sheehans.com with a full CV.

Sheehans Music Services Ltd 58a London Rd Leicester, LE2 0QD

Raderecht leaves musical instrument group as key personnel move between divisions at consumer publishing house FUTURE, the special-interest media group, has announced a number of changes within its senior publishing team, with new bosses for its automotive, musicmaking and sports portfolios. Following the departure of Automotive group publisher Paul Sloggett for personal reasons, the moves see some of the most experienced members of Future’s publishing team bringing their skills to bear in new parts of the business. Richard Schofield leaves the Sports group to replace Sloggett as group publisher of Automotive, with a mandate to develop the group’s print and events business and research the group’s new online opportunities. Schofield successfully led Future’s entry into cycling online – launching the BikeRadar Network. His previous experience in the auto sector includes time as head of marketing for Emap’s automotive division. Katherine Raderecht becomes the group publisher for Sports after a number of years at the helm of Future’s musicmaking portfolio, which most recently saw the successful launch of Future’s latest online network, MusicRadar.

Katherine Raderecht (pictured with Jon Gold at the MIA awards) is moving to Future’s Sports division

As well as the continued development of BikeRadar, Raderecht’s appointment will help deliver an accelerated expansion of the group’s events activity. The former publishing development director, Mia Walter, returns from maternity leave to become publishing director of the music making portfolio. A Future veteran of 12 years, Walter also brings experience from her time as head of publishing in many of Future’s sectors, such as games and entertainment. FUTURE PUBLISHING: 01225 442244

Percussion Product Specialist Westside Distribution requires a motivated, knowledgeable and confident percussion specialist to join their team in the southern half of the UK. The successful candidate will be a self-starter, having the flexibility to travel on a regular basis to music dealers across the Midlands and East Anglia, Wales and the South-West, London and the South / South East. The role will involve supporting our network of drum-specialist and general music dealers. The candidate will be expected to promote and enhance the SABIAN cymbal brand within the dealers’ stores, as well as developing SABIAN sales throughout the territory. Anyone with relevant percussion-focused experience will be considered for this position. Please send current C.V to andy.gillespie@westsidedistribution.com. Alternatively, you can post your CV to Andy Gillespie at: Westside Distribution Unit C, 139 Lancefield Street Glasgow, G3 8HZ Tel: 0141 248 4812 Fax: 0141 248 4813

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PROFILE

I WOKE UP THIS MORNING JULIAN WARD UK Guitar Product Manager and European Guitar Marketing Co-ordinator, Yamaha

In his new role covering Europe, Julian Ward’s days are increasingly busy with tasks that include emailing Japan, organising events, dealing with customer queries and sorting out stock issues y alarm goes off at 5:30am and the first job on the way to the shower is to put the coffee machine on ready for a very strong, short espresso. I check my emails before leaving, and I’m out of the house by 7am. On the way to work I listen to the Today programme on Radio 4 every morning, unless I have to learn a song for a gig (I play in a function band). When I get into the office, at around 8:30am, I’ve got a clear half hour before most other people arrive and a good chance to set up my day, check where we’re at and update my to-do list. There are bits of my role which are the same most days but other elements that can be totally different – the first job is always to fire up our sales and stock reporting programs and see where we are against our targets, what we shipped the day before and what’s changed in terms of key product stock and dealer order statuses. This will flag up any issues with stock or logistics and, if there is anything needing attention, it generally becomes the first line on the to-do list. Next up I’ll check my emails and attend to anything that Japan needs. We are in constant communication with our head office about everything to do with the product – issues from day-to-day logistics to long-term R&D all get covered – and it’s important to get things sorted early in my day to minimise the delay between emails because of the time difference. Anything for the US can wait until later as they’re asleep for most of our day. Customer enquiries and product-related things for our regional managers naturally land on the guitar marketing desk too, so those things are shared out between myself and Alex, my assistant. When I’m something like up to speed with the immediate issues, it’s on to the bigger picture stuff, and what that’s made up of can vary hugely. Today’s to-do list includes a load of work around some dealer support and promotional activities we’re running over the next few weeks – finalising what we’re going to take to a show next weekend, organising the stock list, starting to plan stand dressing and talking to Mark Kirkland, our artist relations manager, about the finer details of some artist appearances for Music Live, working on the final

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PR for a show with Antonio Forcione in Manchester, planning the wider PR for a similar event in November, talking to our web development guys about an online competition we want to run following Billy Sheehan’s clinics last week and working with our PR agency to draft a press release about the new Facelift transfers for Pacifica – I was in Croydon last week doing a photo shoot with Rick Parfitt to go with the release, so it’s ready to go when the copy’s approved. With my new pan-European role, looking after some elements of marketing for the whole of the EU, there are

I need to write what will turn out to be a long email to our product development guys in Japan following some R&D meetings we had about product that’s a couple of years away. often a few things to deal with for our offices outside of the UK – today I’m working with our ad agency, The Bridge, to get some UK adverts together to send over to them to localise into German for Yamaha Benelux. If I get to it, I need to write what will turn out to be a long email to our product development guys in Japan following some R&D meetings we had one or two weeks ago about product that’s a couple of years away yet. There are a few totally un-glamorous things too. Today’s is the fact that VAT for the Republic of Ireland is going up by 0.5 per cent later this year so I’ve been working on the figures for that. Tonight’s a bit of a special case, because I have a gig (my band gigs every week, but only very rarely on weeknights) so I’ll be out of here at 5:30pm and on the road, but I normally leave the office between 6pm and 6:30pm and finish the working day off with a quick check of the email when I get in at around 8:00pm. miPRO NOVEMBER 2008 49

DAVE BURRLUCK

Dave Burrluck is the Gear Reviews Editor of Guitarist magazine. Guitarist, the UK’s leading magazine for serious players, is published by Future Publishing – 01225 442244

The real world? Dave Burrluck has allegedly been working on his travels – but it all sounds like a bit of a skive to us… t’s been a bit of a quiet year for jetsetting so it was with a jaunty step that I set off to Heathrow’s Terminal 5 to hop on a flight to Baltimore for Experience PRS, along with a gaggle of our readers, UK dealers and Guitarist editor Mick Taylor. Aside from reporting for this esteemed organ and, of course, Guitarist, I really didn’t have a great deal to do. No sooner had we checked in we were off to a party chez Paul Reed Smith. Mr and Mrs Smith are excellent hosts and while our readers were wandering around, I headed for the beer tent – always a good place to network. I was soon chatting to Howard Leese, Heart guitarist and Paul Roger’s USA sideman for the past decade. A very nice chap but you can go off people, can’t you? Not only does he own the first guitar that Paul made with a maple top, which is certainly worth a bob or two, I asked him what he used for the Free-heavy Paul Rogers gig? “Oh, my 1958 ‘burst, of course.” Of course. In numerous conversations over the weekend with all sorts of US and UK dealers, not to mention our dear readers, I came to realise that a) judging by the number of high-end PRS and other-brand guitars they own they must all be stinking rich, and b) I’m not. Ho hum. I began to think I was the only person suffering from the credit crunch. Back in Blighty it was off to Abbey Road studios for another round of looking at very expensive guitars courtesy of a Fender, Gretsch and Jackson Custom Shop dealer sale and general big up. Again, aside from having to decide which guitars we’d shoot

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Press trips galore for Dave Burrluck mean lots of beer, lots of chit chat and lots of guitars for our Guitarist calendar, I had bugger all to do apart from soak up the atmosphere of Studio 2, tinkle on the ‘Lady Madonna’ Steinway, strum some more guitars that I couldn’t afford and drink some more beer. Fender’s Neil Whitcher introduced me to two of my favourite guitarists: Morrissey’s Boz Boorer and ex-Pulp, now solo artist Richard Hawley, who’d just done a short set of his own tunes played on a rather fine £9k White Falcon relic. Hawley has quite a lot to talk about. He was obviously very close to his late father, a steel worker (if I remember correctly) in

his hometown of Sheffield – a place that plays a central role in Richard’s songwriting. His father was a musician and played the clubs and bars of Sheffield after a long day at the works. He played with quite a few of the old bluesmen too. He took Big Bill Broonzy on a pub crawl in Sheffield at a time when black faces were hardly common. Apparently, Bill whipped out his guitar and sang for his ale and was well liked. If you haven’t caught Richard Hawley’s CDs I suggest you do. Nice chap. A few more days later I’m at the Albert Hall, again with my editor and Guitarist

contributor Jamie Crompton to catch Seasick Steve – Guitarist’s October 2008 cover star. This ex-hobo, now we understand well into his sixth decade, has wowed audiences with his, if not unique, certainly heart-felt scratchy blues, and is on a short sell-out UK tour. While nearly two hours of pretty much the same song might be stretching it for us hard-worn hacks, the entire place gave Steve a standing ovation at the end of the gig. I stagger into the night with my head full of thoughts. In the past days I’ve met a few rock stars, seen and played a lot of very, very expensive guitars, and watched some great guitar players – but the one that’s topped the lot is a 60-something year-old ex-hobo. His second album is going to be big, he’s played Glastonbury and he’s sold out the Albert Hall not that long after being ‘discovered’ by Jools Holland. But he’s not playing a posh PRS or a Custom Shop Grestch and he’s not widdling up and down his fretboard either. Instead Steve plys his craft on a varied collection of shit or very shit guitars – his fabled Trance Wonder has just three strings – through a cheap Roland Cube, a set-up you or I could purchase for less than the price of bird inlays and gold hardware options on a PRS. Best we don’t tell our customers or our readers that they don’t need all this high ticket gear we try and flog ‘em to be successful, they just need to get out there, be a bit different and entertain. Hey, and I’ve found a guitar that I want and can afford. I could even open a store: Vintage & Shit Guitars. At least I’d have one customer. WWW.MI-PRO.CO.UK

Applications invited Take it away is an Arts Council England initiative designed to encourage greater participation in music across all sections of the community by providing interest free loans to individuals for the purchase of musical instruments. The scheme is run in partnership with The Musical Instrument Finance Company and is currently operated through a network of 196 musical instrument retailers across England. Retailers wishing to apply for membership of the scheme in the next financial year (commencing April 2009) are now invited to apply to Arts Council England. Applications are currently open to retailers of musical instruments based in England only. Further information including full details of the criteria for membership can be obtained by contacting Lucy Jamieson on 020 7973 6452 or by emailing lucy.jamieson@artscouncil.org.uk The deadline for receipt of completed applications is 5.00pm Friday 28 November 2008 after which no further applications will be considered for participation in the scheme during 2009/10. Please note that the application process is open once a year and weâ&#x20AC;&#x2122;re unable to accept applications after the closing date. To request an application pack please email takeitaway@artscouncil.org.uk, telephone 020 7973 6452, or write to Take it away scheme, Arts Council England, 14 Great Peter Street, London SW1P 3NQ. Take it away is operated by ArtCo Trading Ltd, a wholly owned subsidiary of Arts Council England and a limited liability company registered in England & Wales under No. 2758433. Registered address: Arts Council England, North East, Central Square, Forth Street, Newcastle upon Tyne, NE1 3PJ.

RETAIL NEWS, OPINION, DATA

NEWS

LOCATION REPORT The wild west is covered this month... The wild west of London, that is

INDIE PROFILE Rotosound introduces ‘iconic’ method for website; Southampton’s Champ amp store

Tiki Drums in Hove – it’s all about a love of everything to do with drums

Ireland’s Generation X Dublin sees grand opening of the biggest MI store in Ireland’s history as long-held plan comes quickly to fruition he weekend of October 11th and 12th saw Dublin rocking to the opening of the Irish-owned, Irish-run X-Music, the biggest music equipment superstore Ireland has ever seen. Covering three floors and over 20,000 square feet – and that’s just the sales floor – Nigel Kinmonth and Gerry Forde have had the idea in the back of their head for several years, but the plan came to fruit in a very short space of time. Kinmonth explained: “Gerry and I had been talking about this idea for years, but it’s only evolved over the last seven

“Customers don’t want a shop with just competitive prices and they’ll avoid a shop that’s expensive. They want super service” Gerry Forde months, it’s incredible the support we’ve had and how hard everyone has worked on this project. I had been in a frustrating position with my store in the city centre, for years. I desperately needed to expand, but it’s all so prohibited by space and city rates, which kept it all out of reach.” It was Forde who came up with the prime site, situated in the Red Cow Retail Centre in Ballymount, just 15 minutes from Dublin city centre and, with the M50 on the door step for access to the rest of Ireland, Kinmonth saw it as a perfect spot. “As we started from scratch, we were able to build the premises to our own specifications, too, from the car park to the sound proof rooms,” he added.

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An impressive range of guitars draped the walls of the guitar hall, with a stage rigged for clinics and celebrity signings, which will also be an incentive to re-visit the store, returning customers will also be rewarded with an X-Card membership, offering discounts and invitations to exclusive events. “To us, the customer is king and they’re going to get what they have been asking after for a long time: a massive music superstore with great staff and internet pricing,” expounded Forde. “That’s the message that’s been coming through to Nigel and me over the past couple of years. We’ve had so much support from all the brand names, they’re all here, including the state of the art Roland Planet, the Fender Superstore, a vast range of Gibson models and superb models from Peavey and Cort, the list goes on and on.” In a tough economic climate, any store needs to have innovative ideas, and XMusic is no exception. “We know that the retail margins of the past are not happening now,” explained Forde. “There’s the instability within the big stores trying to make ten per cent profit and the smaller stores trying to make up to 40 per cent, it can’t work. Millions of euros are taken out of Ireland every year by internet sales, so we are going to compete with them and offer the best deals. “People here are loyal to Ireland, I want to see that amount of money staying in this country, and we have dedicated one per cent of our turnover to charities, to be donated under the banner Charity WorX.” Forde also sees X-Music breaking barriers with its website, but the store prices will be the same as on the net. “I’ve spent so much time this week talking to players who can’t believe they will get internet prices, we can do that, there’s no need to go abroad.”

Gerry Forde (left) and Nigel Kinmonth at X-Music’s opening in October

The partners will keep the small shop in the city as a satellite to the superstore, with accessories and access to buy online from the website, plus refreshments, all serving the city ‘dinner time trade’ that can’t stray too far from the workplace.

“Customers don’t want a crummy shop with competitive prices and they’ll certainly avoid a good shop that’s expensive, they want super service, super prices and the superstore experience that X-Music is offering,” concluded Forde.

miPRO NOVEMBER 2008 53

RETAIL • NEWS

Iconic request from iconic brand Rotosound calls for updated details for more user friendly method to drive further traffic to retailers’ sites BRITISH guitar string manufacturer Rotosound has requested that all UK and Ireland dealers update their relevant information on its website in a bid to drive more customers to their individual stores and websites. To do this, retailers should check their existing details at: www.rotosound.com/ukdealers and email Rotosound’s chairman, Jason How, with any updates that they would like to see on the site. The company also has plans to introduce an ‘icon’ system next to retailer accounts to enable it to direct customer enquiries to their stores by showing the range of Rotosound products they stock. This will allow the end users to determine whether a dealer stocks the particular type of strings required. There will be three icons shown – one for bass guitar, one for electric guitar and one for acoustic guitar.

How noted: “As I always say, 'the devil is in the detail', so every small improvement to drive sales and make it easier for the customer to buy a product means more profit for our dealers. Thank you for your continued support.” ROTOSOUND: 01732 450838

Southampton’s new Champ shop front

Daily support for MI MIA strikes deal with Independent’s monthly music mag

South-coast retailer finds novel way to amplify footfall WITH ONE of the coolest MI shopfronts yet devised, Southampton gained a new guitar specialist in October, following the move of The Guitar Store to the city’s centrally placed Commercial Road. “We have something that makes us stand out from the crowd: we've designed the shop front to look like a Fender Super Champ,” said Jamie Goatley, the store’s director and luthier. Goatley explained how he had the idea when he saw a shop front designed to look like a Wurlitzer jukebox.

“The idea stuck with me,” he went on. “First we had to apply for permission from Fender, then my brother, who works with fibre glass mouldings, made the knobs. We had to find a graffiti artist to paint the ‘front cloth’ and the badge. It has taken time, but the end result is pretty special, we think. We get people coming into the shop just to say how great they think it looks.” An elaborate method of increasing footfall, but obviously an effective one. THE GUITAR STORE: 023 8033 9668

THE MIA has established an agreement with the Independent newspaper to feature advertorials in the publication’s monthly music magazine. The pages give suppliers the chance to feature instruments or ranges of instruments and/or the services they provide for a fee of less than £900. The initial issue came out on October 3rd with a dedicated page on guitars and another double page spread on drums, with Yamaha, Roland and JHS featuring articles (among others). There is room for retailers, too, with Chris Wright’s Drumwright store also featuring.

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“This is exactly what the industry needs to be doing more of,” commented Paul McManus, the MIA’s CEO. “The magazine reaches A, B and C social groups and more beyond that. We have had a tremendous response from the public calling the offices and asking about various promotions that we organise.” The agreement with the paper is an informal one, which means that as long as the advertisers come on board and the subject is agreed upon, there is no limit as to what can be run. The next issue is due in November. MIA: 01372 750600

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Fr o m t h e c o m p a n y t h a t g a v e t h e w o r l d t h e a w a r d w i n n i n g D M X S t a r C l u s t e r 3 D L a s e r. . .

LOCATION REPORT • RETAIL

WEST LONDON

Stadium sounds Romanticised home of the Clash and Wembley Stadium, London’s west wing has long been a musical hotbed, with one young Who springing from the area, as well as at least one Rolling Stone. With that in mind, MI Pro takes a step into the wild west to see what’s on offer… PETER COOK’S GUITAR WORLD – HANWELL

WEMBLEY DRUM / GUITAR CENTRE – WEMBLEY

A NAME that is famed throughout the country, Peter Cook’s has a reputation that far outweighs the underwhelming shopfront it has clung on to since seemingly about 1972. Hidden away on a residential road, it’s certainly an odd place for a guitar shop, although it does make you feel you’ve completed some sort of sacred pilgrimage when you finally arrive. Situated in Hanwell, the shop itself is remarkably small, and with not too much on the walls – the odd prize Gibson, a couple of beautiful looking Fender relics, but not an awful lot else. The reason Peter Cook’s has remained a favourite among the capital’s guitarslinging elite is not because of the shop itself or indeed the stock on the walls, but because of what they have tidied away in some darkened stock room. A list as long as your arm of fresh new Gibsons from across the range, a huge stock, as well as a large number of other brands. While the chaps in the shop itself are friendly enough, on the fourth back and forth run between stock room and shop they can begin to lose patience, not their fault I’m sure but perhaps a new system is needed. On the surface then, Peter Cook’s is not quite the guitar Mecca it is made out to be, like some sort of musical iceberg, most of its impact and a lot of its magic lies beneath the surface.

ALTHOUGH the location of the centre is a complete pain – hidden away as it is in the trading estate tucked in behind Wembley Stadium – once you arrive it is more than worth the trip. For a start, unless the shop has a sudden rush of dozens of visitors, there is adequate parking – but then nothing short of an Alladin’s cave awaits. The drum centre is a sticksman’s wet dream; a recent re-fit and expansion means this is probably the biggest store of its type in town, meaning it can stock a huge array of brands, and masses of accessories and any other noise making material you might care to think of. Everything is clean, shiny, open to the public and there to be hit hard, with practice rooms set aside for electronic kits and curious alcoves stuffed full of shakers and tambourines willing you to buy, buy, and buy some more. Upstairs is the guitar centre, and although it is not as instantly impressive as the drum section (clearly the beating heart of the shop) it has plenty to offer, with two well stocked amplifier test rooms for bass and electric, a good range of price on both electrics and acoustics, and an adjoining PA centre. Well worth the visit.

DIGITAL VILLAGE – ACTON

OUT IN zone six’s suburbs, this is a great shop reaping the rewards of being the only music shop for a good few miles around. Clean and tidy, with exceptionally knowledgeable and friendly staff, the emphasis is on the guitar here. A good choice of electrics ranging from £100 Squiers up to £1,500 Carvins is the main draw, while a smaller acoustic room at the back also works as something of a crowd puller. The rear room, containing a sort of mixed percussion collection caters for the rest of the crowd that visit here – with some nice PA products thrown in, but this is really one for the six stringers and it is a first class local music centre.

A PRIME location 50 yards from Acton underground station, this is a great little store and a good example of what Digital Village does well. Clean, full of interesting recording gear to get your hands on, not to mention synthesisers and electric drum kits, all well kept and there to be used, this is a great environment to shop in. Incredibly friendly staff, more than happy to discuss the ins and out of everything from home recording to classic NWA albums make for a welcoming environment and a window stuffed to the gills with tempting goodies is enough to make any passing muso simply have to stop in and have a look. WWW.MI-PRO.CO.UK

For those willing to search, the back streets and industrial estates of west London have a lot to offer the MI punter

PRO MUSIC INTERNATIONAL – ICKENHAM

NOVEMBER 2008 miPRO 57

INDIE PROFILE â&#x20AC;˘ RETAIL

TIKI DRUMS HOVE

Is business up or down compared to last year? Itâ&#x20AC;&#x2122;s on the up â&#x20AC;&#x201C; seeing as we were only established this year. Do you advertise locally? No, but we advertise nationally in Rhythm and Drummer. We first of all want to establish ourselves there before advertising locally. Do you have a web presence? Yes. Itâ&#x20AC;&#x2122;s performing very well for us. What is your main strength? Drum building and drum components for the UK and European drum building market. Providing drumming hardware, and allowing and encouraging people to make their own drums.

talking to your customers things can change. Customers can help you out a lot. What is the biggest challenge facing you today? Competitors who are able to invest in large amounts of stock and undercut the smaller guys. With Thomann coming into the market, there are a lot of retailers very frightened by companies with that sort of power. They can muscle in and squeeze the small guys out. Given the power, what one thing would you change about the industry?

What is the most important lesson youâ&#x20AC;&#x2122;ve learned during your time in the business? Listen to your customers. You have your own idea about how things should be done, but once you start

Because weâ&#x20AC;&#x2122;re quite a unique drum company, the big boys can really destroy the smaller companies through pricing and at the moment, thatâ&#x20AC;&#x2122;s what they are doing. Iâ&#x20AC;&#x2122;d change the sense of community â&#x20AC;&#x201C; I think thereâ&#x20AC;&#x2122;s an opportunity for drum companies to work together. We competes on price, rather than offering different lines and working together. What keeps you in the MI business? Itâ&#x20AC;&#x2122;s the love of drums. I couldnâ&#x20AC;&#x2122;t be in this business if I didnâ&#x20AC;&#x2122;t love drums, whether itâ&#x20AC;&#x2122;s teaching, playing or manufacturing, thatâ&#x20AC;&#x2122;s what it comes down to.

FACTS & FIGURES Address: 18a Arthur Street, Hove, BN3 5FD Telephone: 01273 733910 Owner: Preston and Lowry Marno Established: 2008 Employees: 2 Best selling lines: Keller drum shells, tempus drums

Who sells* more reference monitors than anyone else in the USA? 4PVSDF .* 4BMFT5SBL

Read all about the M-Audio monitor story at:

PRESTON MARNO: Never happier than when in his workshop â&#x20AC;&#x201C; making drums, of course

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www.maudio.co.uk/number1

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NEW PRODUCTS BASS & GUITAR G ACCESSORIES G DRUMS G RECORDING G PRINT

ACCESSORIES • NEW PRODUCTS PLANET WAVES UNIVERSAL II CHROMATIC TUNER £17.70

GOLDEN GATE FIBREGLASS MANDOLIN CASE £99.95

They say: The new design is sleek and futuristic with bold, easy-to-read display graphics and offers precision tuning. For: Musicians Range: Planet Waves accessories Spec: Chromatic or manual tuning modes, built-in condenser microphone, 1/4” input, LCD display, battery powered (supplied). From: Summerfield 0191 414 9000

They say: This case is ideal for the most heavy duty usage of the travelling muso. For: Mandolin players Range: Golden Gate cases Spec: Fibreglass construction, plush liner, fits f-hole and most A-hole mandolins. In black, red & white. From: Gremlin 01903 203044

RANDY STRAPS STRAPS FROM £30

PLANET WAVES METRONOME TUNER £34.99 They say: The essential all-in-one practice tool. For: Musicians Range: Planet Waves accessories Spec: Chromatic metre style tuner with metronome, LCD screen, 1/4” input, built in condenser mic, adjustable tempo, beats, time division variations, battery powered. From: Summerfield 0191 414 9000

OVATION IDEA PREAMP £199.99 They say: A revolutionary new system with MP3 technology for onboard recording and playback. For: Ovation players Range: New Ovation product Spec: Three-band active eq, retrofit for OP and VIP preamps, 128MB (100 minutes) memory, records from pickup, mic or both, line in for backing track, playback tempo adjust. Idea guitar: £449.99. From: Fender 01342 331700

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Heavy duty protection (above) for that most delicate of instruments

SNAP JACK MAGNUM SERIES MAGNETIC LINK CABLE £39.99 They say: Everybody’s done the old ‘trip over’ at one time or another... For: Musicians Range: Snap Jack Spec: Magnetically connected jack plug, jack sleeve slides over detachable piece, nylon tangle-free protective braided wrap, heavy metal imagery on jack sleeve (wings, skull, chick or iron cross). From: JHS 0113 286 5381

They say: Bespoke guitar straps, where only your imagination is the limitation. For: Guitarists, bassists, fretted instrument players Range: New line Spec: Bespoke straps manufactured to customer’s specifications, Phat 'n Comfy stuffing (3mm or 6mm), any material from leather to sting ray skin, optional pockets. Four ranges: Studio (from £30), Complete Creations (from £100), Mix n Match (from £200), Extreme (up to £500). From: Randy Straps 01440 785243

REMO BLACK SUEDE HEADS FROM £11.20 They say: A unique suede texturing process for the popular Ebony series. For: Drummers Range: Remo Ebony heads Spec: Available for Ambassador and Emperor weights. Ambassador with single-ply textured Ebony 10mm film. Emperor with two-ply 7.5mm film. From: Arbiter 020 8207 7860

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RECORDING & HI TECH • NEW PRODUCTS

KORG M50 MUSIC WORKSTATION £899.99/£1,499.99 They say: New workstation offers the latest and best sounds in highly affordable and portable packages. For: Synth & keyboard players Range: Korg workstations Spec: Extended Definition Synthesis sound engine, three-stage velocity-switched stereo piano, 256MB PCM data in 608 programs, 48 drum kits, low-aliasing oscillators. From: Korg 01908 857100

FOSTEX PM0.4 STUDIO MONITOR £135 They say: Superior sound quality with an affordable price tag. For: Studios Range: Fostex monitors Spec: Custom 4” woofer and UFLC 0.65” soft dome tweeter, bi-amp drive with 18W each for LF & HF, two-way bass-reflex, independent L&R amps, magnetically shielded, gloss black or white front baffle. From: SCV 020 8418 0778

M-AUDIO PROFIRE 610 AUDIO INTERFACE £309 They say: For those who need a compact unit with advanced functionality and pristine audio quality. For: Computer studios, DJs Range: M-Audio interfaces Spec: 24/192 audio quality, two Octane preamp, analog & digital I/Os, DSP mixer for multiple, independent monitor mixes, 7.1 surround mix capable, Firewire bus or external power supply. From: M-Audio 01753 659590

PEARLMAN CHURCH MICROPHONE £POA They say: Discerning engineers rejoice – Pearlman Microphones is launching its Church mic. For: Studios Range: Pearlman mics Spec: Faithful repro of classic Stanley Church mic, authentic Triad transformer, Neumann M7 (or optional K47) capsule, hand selected GE five-star 6072 dual triode (12AY7) vacuum tube, handmade power supply, custom Mogami/Neutrik cable. From: ES Pro Audio +49 8419 315 2723

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ESI M8U XL MIDI INTERFACE £599 They say: Shows the real meaning of Plug n Play as the installation could not be simpler. For: Computer musicians Range: ESI interfaces Spec: 19" 1U HE chassis, eight MIDI I/O, 128 MIDI channels, USB connection, MIDI activity indicators per port, compatible with all operating systems. From: Time+Space 01837 55200

KORG M3 XPANDED £1,949.99/£2,699.99 They say: Korg’s most far-reaching enhancement ever for a keyboard workstation. For: Synth & keyboard players Range: Korg workstations Spec: Korg Karma technology, 640MB new sounds, 384MB of free sample expansion, 160 new programs, 32 new combinations (total 1,215 and 416 combinations), three sample expansion libraries, expanded sequencer mode. From: Korg 01908 857100

FOSTEX UR-2 USB AND SD CARD RECORDER £599 They say: Flexibly adapt to a wide variety of playback requirements. For: Stage, studio, installation Range: Fostex recorders Spec: Two SD card slots, USB host connector for alternate record/playback between media, stereo or mono WAV recording to SD card and USB storage device, 88/96 sample quality, ‘chain play’ and ‘memory play’, 99 cue points. From: SCV 020 8418 0778

NOVEMBER 2008 miPRO 63

DRUMS & PERCUSSION • NEW PRODUCTS PAISTE TWENTY CYMBALS POA They say: Supplement an innovative line with more choice for your palette. For: Drummers, percussionists Range: Paiste Twenty series Spec: Hand-made, B20 alloy cymbals. New models include 12”, 14”, 15” and 16” hi-hats, 8” and 12” splashes, 8”, 10”, 12” and 14" mini chinas, 16” thin, 17" thin, 18" thin, 19" and 20" crashes. From: Korg 01908 857100

AHEAD BAMSTIX, ROCKSTIX & TIPSTIX RANGES POA

PERFORMANCE PERCUSSION PP900E ELECTRONIC KIT £399

They say: More power, less effort, 50% less shock than wooden sticks. For: Drummers, percussionists Range: Ahead sticks & mallets Spec: Bamstix heavy & light models, ali handle, bamboo rods. Rockstix heavy & light models, fibre rods with ali handles. Tipstix as Rockstix, but hitensile plastic tip. Switch mallet Ahead 5A stick with mallet head at butt end (for timpani/cymbal work). From: BR Distribution 01207 282806

They say: All the added benefits of electronics. For: Drummers Range: New PP Drum product Spec: Four drum pads, kick drum and pedal, two cymbal pads, with hi-hat cymbal pad and control pedal. Module with 215 voices, and 20 preset kit sounds, MIDI out. From: JHS 0113 286 5381

HQ PERCUSSION REAL FEEL BASS DRUM PRACTICE PAD £55.19

Combining visual appeal with innovative tone, Paiste’s Twenty cymbal range grows (below)

They say: Designed with the drummeron-the-go in mind. For: Drummers Range: HQ drum aids Spec: For single & double pedals, folds flat, foam rubber beater pad, metal construction, double chain link swivel. From: Summerfield 0191 414 9000

YAMAHA DTXTREME III £2,289

From entry-level (above) to high-end (below) electronic is the way to go

They say: Takes digital drum design and technology to a new extreme. For: Drummers Range: Yamaha DTX drums Spec: MOTIF XS synth sound engine, 12” snare pad (three zones), hi-hat pad, two cymbal pads, three tom pads with three zones – head & two rims – (Special version with three cymbals & four toms). From: Yamaha 01908 366700

NATAL CLASSIC TIMBALES £259

ISTANBUL AZURE CYMBALS POA They say: Designed to offer drummers of all styles a cleaner, more focused alternative to traditional Turkish cymbal sounds. For: Drummers, percussionists Range: Istanbul Agop Custom range Spec: Range comprises 14" medium heavy/heavy bottom hi hats, 16 & 18" clear lathed, light hammered crashes and 20 & 22" pronounced lathed outer, tight lathed inner rides. From: BR Distribution 01207 282806

They say: Exceptionally robust, a powerful Latin sound, reinforcing the Natal reputation for quality. For: Percussionists Range: Natal Latin percussion Spec: Pair 13” and 14” drums, handhammered ‘black nickel’ finish, diecast rims, chrome plated adjustable stand with cowbell post and cowbell. All with Aquarian heads. From: MSC 01562 827666

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

VISIT WWW.MIKEDOLBEAR.COM FOR MORE DETAILS. WWW.MI-PRO.CO.UK

miPRO NOVEMBER 2008 65

NEW PRODUCTS • TRADITIONAL

TANGLEWOOD COVE CREEK TMAS MANDOLIN £199

The four (or eight) string boom continues with still more offerings from Antonio Carvalho, Samick and Tanglewood

They say: A pro mandolin at an accessible price. For: Mandolin and fretted instrument players Range: Tanglewood mandos Spec: Teardrop style mandolin, mahogany top, back, sides, neck and headstock. From: Tanglewood 01937 841122

TANGLEWOOD UNION TB24DLXG BANJO FROM £159

ANTONIO CARVALHO MANDOLIN £199 They say: Outstanding workmanship making for an amazing sound – all at an unbelievable price. For: Mandolin players Range: Antonio Carvalho mandolins Spec: Solid spruce top, pear shaped body, curved fingerboard, hand-built, Portuguese style. From: Gremlin 01903 203044

BENTLEY BRASS & WOODWIND PACKS FROM £71.96 They say: New and improved from the highly successful packages, now re-branded ‘Bentley’. For: Brass & woodwind students Range: Bentley starter packs Spec: Package contains instrument (alto sax, flute, clarinet, trumpet, cornet or trombone), instrument stand in bag, music stand in bag, tutor book, cleaning kit. All instruments checked/blown in Poole before delivery. From: Intermusic 01202 696963

SAMICK UKULELE FROM £24 They say: Samick is known and respected in the folk world. These are serious instruments, not stocking fillers. For: Fretted instrument players Range: Samick folk instruments Spec: UK 60: ‘Concert’ model, solid Mindi, geared tuners (£24.00). UK 70B: ‘Baritone’ model, solid spruce top with solid rosewood back & sides, Grover tuners (£48.00). From: Intermusic 01202 696963

DIXON BRASS HIGH D WHISTLE £55 They say: The brass means this whistle boasts a warm and mellow tone. For: Whistle players Range: Dixon whistles and flutes Spec: High D whistle with solid brass body, brass tuning slide, tunable plastic head. From: Gremlin 01903 203044

66 miPRO NOVEMBER 2008

They say: The Tanglewood philosophy in the folk market, giving consumers even more for their money. For: Banjo and fretted instrument players Range: Tanglewood banjos Spec: Bluerass style banjo, switching to mahogany high gloss cosmetic, rolled brass tone ring, geared 5th tuner, Planetary tuning pegs. From: Tanglewood 01937 841122

STAGG EVA SILENT VIOLIN SET £197.34 They say: Dispelling any doubts about taking the plunge to buy that electric violin. For: Violinists Range: Stagg violins Spec: Solid lacquered maple body, two-band eq, volume control, internal headphone out, 1/4” jack, soft case with straps, bow, rosin, headphones, 9V battery, hard case. Available in black, metallic blue and metallic red. From: EMD 01293 862612

One less thing to worry about. 0ERFORMING CAN BE STRESSFUL !NYONE WHO S BEEN THERE KNOWS .OTHING ADDS TO THE STRESS FACTOR MORE THAN ONSTAGE TUNING DIFl CULTIES ESPECIALLY IN AN INTIMATE ACOUSTIC SETTING WHERE A PERFORMER CAN FEEL VERY NAKED INDEED &OR AN EASY REMEDY 3TAGG S NEW #45 CLIP TUNER IS HERE ! SMALL BATTERY OPERATED DIGITAL TUNER THAT YOU JUST CLIP ON TO THE HEADSTOCK OF YOUR INSTRUMENT 4HE EASY TO READ BACKLIT INTERFACE AND HIGH ACCURACY TUNING RATIO PROVIDE QUICK AND CONVENIENT TUNE UPS .O MORE SQUINTING ON A DARKENED STAGE AT A DISTANT PEDAL TUNER .O MORE UNCOMFORTABLE PAUSES 7E VE EVEN INCLUDED A PICK HOLDER

www.staggmusic.com

NEW PRODUCTS • PRINT

BOOK OF THE MONTH Artist: Various Blues/Guitar/Harmonica/Bass Starter Kit Series: Mel Bay Starter Kits Target: Guitar, bass, harmonic Comment: There is a slight irony in the fact that thinking outside the box here has resulted in a series of books and accessories (or in the case of the harmonica, an actual instrument) packaged up in a box and given the tongue-in-cheek title of ‘starter kit’. But why not? Included with the Electric Guitar pack are a beginner’s book, two chord and scale charts, a free pack of strings and some plectrums, making it an ideal pack to go along with the slightly grander starter pack with the guitar and amp in it.

There is also a starter pack for youngsters wanting to get to grips with a guitar, but the show stealer is arguably the most genuine – the harmonica starter pack. With a key of C harmonica included, as well as a tutor book, two smaller scales and solos booklets and a CD, this is all the aspirant needs to get started. While not exactly new to the market, this being the ‘last chance before Christmas’ issue of MI Pro, we thought it a good opportunity to get these excellent impulse buys in front of your eyes before the last minute rush into Christmas. MEL BAY: 020 8323 8010

POPULAR

Artist: Missy Higgins On a Clear Night Target: PVG Comment: Continuing Mel Bay’s Aussie theme this month, another All Music book, featuring Melbourne’s favourite daughter of the moment, with her personalised style combining little girl lost vocals with street savvy lyrics. As the name catches on, this could well be a book that picks up. Otherwise, an excellent choice for the performer looking for something a little bit different. MEL BAY: 020 8323 8010

Artist: Silverchair Young Modern Target: PVG Comment: A first from Mel Bay – certainly in the UK – a pop book (from All Music Publishing). The band is Silverchair and this is the Australian band’s first album since 2002. Previously slotting more into the grunge category, this latest offering suffers a bit from an identity crisis, containing nods to the Seattle sound, while bringing in rock ballads and an overall more subdued ambience. The title track races along, but the others are comparatively sedate. MEL BAY: 020 8323 8010

Artist: Various Queens of Country Sheet Music

Artist: Various Kings of Country Sheet Music

Target: PVG Comment: A sort of expanded version of the ‘Superstars’ volume, but containing only the women. A slightly presumptious title, as many of the names most of us would consider ‘queens’ of the genre are not here, presumably for copyright reasons. All the same, 34 songs, the oldest of which goes back to 1991, so a lot of fresh material to get to grips with. FABER (ALFRED): 01279 828900

Target: PVG Comment: The second selection of country delights, this time focusing on the brooding, macho, ten-gallon-hat-topped lump of pride that is the male country singer. Full of southern emotion and morals, this book again belies its title by featuring only the newest stars of the genre (although there is a cameo from Huey Lewis). All the same, fans are going to love it. FABER (ALFRED): 01279 828900

Artist: Various (Gerlitz arr) Golden Oldies Series: Schott Piano Lounge Target: Piano Comment: While the selection of 16 songs might seem a little odd to some (essentially 1960s soft pop) the over-45s of a certain taste with a piano in the living room are going to love this book. Carsten Gerlitz’s arrangements are sophisticated, without being overly complex, and capture the essence of these numbers well. Lyrics and chord names are included, as is a demo CD. The Piano Lounge series is eight strong now and becoming a worthy collection. SCHOTT: 020 7534 0744

68 miPRO NOVEMBER 2008

EDUCATION Author: Helen MacGregor (with Catherine Birt) Singing Phonics Target: Pre-school Comment: A collection of songs designed to support the earliest steps in phonics and the teaching thereof. The idea is to ‘play and learn’ with the system based on the new phonics programme from the Primary National Strategy. The book comes with a backing CD and photocopiable resources, and each song or chant comes with games and extended activities. A&C BLACK: 020 7758 0200

WWW.MI-PRO.CO.UK

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NEW PRODUCTS • PRINT

Artist: Various Songs that Shaped Australia

Artist: Ioannis Anastassakis 60 Tapping Licks for Rock & Metal Guitar

Target: PVG Comment: Not at first sight an education book, but given that this product is appearing on the ABRSM singing syllabus, it seemed like the best place to put it. From the nation’s national anthem (Advance Australia Fair), through the once popular Botany Bay to the eternal Waltzing Matilda, 13 songs in all cover the cultural phenomenon that is Australia. Word is the advance orders on this one are pretty phenomenal. MEL BAY: 020 8323 8010

Author: Karl Coryat Guerrilla Home Recording Target: Project studio aspirants Series: Music Pro Guides Comment: This is the second edition of what is possibly the most long-winded sub-titled book ever: How to Get Great Sound from Any Studio (no matter how weird or cheap your gear is). And that pretty much sums up the book’s content. The angle is that other ‘how to record’ books and equipment manufacturers want you to spend lots of money for the best equipment, but to learn your craft, work with what you have. Sounds good – although don’t think you won’t need to buy anything – or develop an ear. HAL LEONARD (MUSIC SALES): 01284 702600

Author: Various (Rideout/Fortner/Gallant – ed) The Best of the ‘80s Target: Keyboard, general Comment: Not so much anything to do with the music as a compilation of interviews with key keyboard players from the 1980s, their instruments and their techniques, all courtesy of Keyboard magazine. An impressive selection of subjects, from Vince Clark to Frank Zappa, via Peter Gabriel and Herbie Hancock, the book is as much a tribute to the ‘classic’ era of electro-pop and the golden age of the electronic keyboard as anything you are likely to find. Well worth a look. HAL LEONARD (MUSIC SALES): 01284 702600

Artist: Christopher Hussey Choices/Needs, Wants, Rights

Artist: Paul harris Improve Your Sightreading Series: Improve Your Sight-reading Target: Piano Comment: One of those ‘does what it says on the tin’ series, with Harris producing eight books (one for each grade) each furthering the student’s ability to perform that most essential of functions. With the ABRSM sight-reading syllabus recently revised and due for implementation in January 2009, these workbooks are available now to give learners that wee head start. FABER: 01279 828900

Artist: Suzy Davies Respect/Moving On Series: Citizenship Songsheets Target: Key Stage 2 Comment: And another two songs from the Citizenship series, again carefully written, again with all the add ons necessary to take the musical process into a wide variety of areas in the KS2 curriculum. With the series’ dedicated website at acblack.com/songsheets containing a variety of downloadable materials, the ‘push’ of a song as the inspiration for a host of activities puts music in a strong position in the classroom once again. A&C BLACK: 020 7758 0200

70 miPRO NOVEMBER 2008

Series: Mel Bay Guitar University Target: Guitar Comment: Niche techniques often find their way into print too late to be cool. Tapping techniques are very 80s heavy metal, but that is not to say that they must remain there. As rock stars have toned down their haircuts since the 80s, perhaps they might sneak a well placed second hand riff in, too. MEL BAY: 020 8323 8010

Series: Citizenship Songsheets Target: Key Stage 2 Comment: Two additions to the crosscurricular Citizenship Songsheets series that combine song and tuned and untuned percussion ativities with any number of classroom tasks, whether for history, geography, science or citizenship lessons. The pieces are written to be politically correct, while avoiding clichés. The song ‘cards’ come with photocopiable lyrics and a CD with demo tracks and backing. A&C BLACK: 020 7758 0200

Author: David Franz Producing in the Home Studio with Pro Tools Target: Musicians, producers Comment: As stark an introduction to the danger of software ‘how to’ books, no sooner had this hefty tome arrived, than Digidesign announced Pro Tools v8 – this book was written for v7. Despite that, it is a worthy delve into all things Pro Tools, aimed primarily at those diving into the world’s foremost audio production programme. The revised version eight issue will probably be along soon. HAL LEONARD (MUSIC SALES): 01284 702600

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MI MARKETPLACE

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SUPPLIER SPOTLIGHT

MARKETPLACE INDEX

Eco-friendly reeds lead the way... eeds Australia (RA), distributed in the UK by David and Louise Leed of Leed Representation, has been marketed in all major countries of the world for some 20 years. Now under the management and overall control of Peter Handsworth, a well-known Australian and international clarinetist and music educator, the company is beginning to see some exciting changes. Notably, it has been renamed Razzco. Originally known as a 'boutique brand', Razzco’s range of Vintage, Vintage XL and Studio Plus reeds, mouthpieces and mouthpiece cushions has expanded exponentially over the years. The brand is used by well-known classic and jazz players – Alan Hacker and Tony Coe are but two examples of artists who enjoy using Razzco products. And many other converts are on the horizon. A further pro-style clarinet offering named Passion came to the market earlier this year. This reed has been developed with all players in mind, with a new cut on a tapering body based on the popular Vintage XL, changing the shape of the back on a thick butt employing older

internodal cane. Finished with a file cut, it produces a crisp lean focused sound throughout the range. From the end of November, a new reed called Razz will be available from Leed Representation, with recommended retail prices at approximately £8.50 (Clart box 10) £9.50 (Alto box 5) and £10.50 (Tenor box 5) in strengths 1.5 to 3.5. It’s economic, but as sound as all Razzco products, and made on the same machines by the same people. All RA cane from South Australia is organically grown - no bleaches or other chemical fertilisers or processes are employed. It’s a truly 'green' product two years in the growing, with a minimum of two to three more years of maturation in the fresh air that’s unique to that area of Australia. If you are interested in stocking any of these products, please contact: David and Louise Leed Leed Representation PO Box 33 Emsworth PO10 8YS Phone: 01243 378050 Fax: 01243 378057 Email: davidleed@eprimus.co.uk

CLASSIFIEDS: MINIMUM 12 MONTHS - ONE ANNUAL CHARGE QUARTER PAGE £1,295 WWW.MI-PRO.CO.UK

miPRO NOVEMBER 2008 71

ABROAD REPRESENTATION

ACCESSORIES & GIFTWARE

AMPLIFICATION

CLASSICAL GUITARS

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

72 miPRO NOVEMBER 2008

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DISTRIBUTION

miPRO NOVEMBER 2008 73

MI MARKETPLACE DISTRIBUTION

DISTRIBUTION

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ETHNIC AND FOLK

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74 miPRO NOVEMBER 2008

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MI MARKETPLACE GUITAR PARTS

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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.

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miPRO NOVEMBER 2008 75

MI MARKETPLACE INSURANCE BUSINESS

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76 miPRO NOVEMBER 2008

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MI MARKETPLACE OCARINAS

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

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E S t. L O NDON S

7H E13

www.morleypianos.com PERCUSSION AND DRUMS

MSC ONLINE www.musicshipping.co.uk

Extensive Product Information Secure Dealer Only Section Public & DEALER Forums Online Ordering

THE MUSIC SHIPPING CO.

Drum and Percussion Accesories

NEXT DAY DELIVERY

01562 827666 sales@musicshipping.co.uk www.musicshipping.co.uk WWW.MI-PRO.CO.UK

miPRO NOVEMBER 2008 77

MI MARKETPLACE PROMOTIONAL MERCHANDISE

REPAIRS

www.focusmerchandise.co.uk

WHOLESALERS

WIND INSTRUMENTS

TOP 10 BEST SELLERS NASHVILLE ACOUSTIC GUITARS . . . . . . . . . . . . £50.00 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £27.50 trade ex vat NASHVILLE ELECTRIC GUITARS . . . . . . . . . . . . . £99.95 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £54.97 trade ex vat ARK HEAVY DUTY MUSIC STAND. . . . . . . . . . . . . . £18.50 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £10.18 trade ex vat DOLMETSCH DESCANT RECORDER . . . . . . . . . . . . . £6.99 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £3.84 trade ex vat STEINHOFF 108B UPRIGHT PIANO . . . . . . . . . . £1795.00 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £987.25 trade ex vat RAVEN STUDENT TRUMPET OUTFIT . . . . . . . . . £140.00 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £77 trade ex vat NASHVILLE ELECTRO ACOUSTIC BASS . . . . . . . £125.00 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £68.75 trade ex vat STERN VIOLIN OUTFIT. . . . . . . . . . . . . . . . . . . . . . £75.00 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £41.25 trade ex vat MAXTONE BONGOS . . . . . . . . . . . . . . . . . . . . . . . . . £29.95 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £16.47 trade ex vat NASHVILLE 5 STRING BANJO . . . . . . . . . . . . . . . £99.95 retail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £54.97 trade ex vat

78 miPRO NOVEMBER 2008

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MI MARKETPLACE ADVERTISERS INDEX

Adam Hall ...........................19,51,52

HSBC .............................................40

S.Johnson .......................................3

Allen & Heath ..............................24

Indie Guitar Company................29

Selectron ......................................33

Anglo Spanish Guitar Co.............5

JHS .................................................15

Aria...................................................5

Korg ...............................................25

Artco Trading................................51

Lamba ...........................................56

Sheehans .....................................48 Sheridans .....................................62 Sound Tech......................................1 TEAC .............................................48

Ashton...........................................30

Lesuiretec.....................................47 Ted Brewer ....................................14

Audio Technica............................83

M Audio .....................................4,59

Big Cat...........................................29

Marshall Amplification.................2

Warwick ........................................58

DB Technologies .........................67

MB Media......................................64

Westside..........................13,17,27,48

Edoru ..............................................61

Mel Bay ...................................42,43

Yamaha ........................................9,11

EMD................................................67

Messe Frankfurt ..........................79

Fender ...........................................35

Namm ............................................36

Freestyle .......................................39

Peavey...........................................55

Future Publishing ........................41

Piano Warehouse .......................45

Herga..............................................51

Retail Up ......................................... 5

House Music ................................49

Roland...........................................84

The Sound Post...........................23

TO ADVERTISE CALL

DARRELL CARTER ON 01992 535647

International Exhibition for Musical Instruments and Services ɻਝ ɐࣵ ਝ჌ᅥኂࢄᙴผ

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Shanghai New International Expo Centre, China

live for the music • over 40,000 distributors, dealers, retailers and musicians from 91 countries • over 1,100 exhibitors showing a broad product mix of both western and traditional Chinese instruments • set against the backdrop of one of the world’s most exciting and rapidly-developing music product markets

For information, visit www.musikmesse.com Or email music@hongkong.messefrankfurt.com

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miPRO NOVEMBER 2008 79

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

MIA AWARDS 2008 NOVEMBER 2002 COVER STAR: : In MI Pro’s biggest ever issue (132 pages) Synergy Distribution. Alan Greensall and Pete Brown reveal how their ‘warehouseless’ distribution model works, bringing to the fore the idea that a lot of major brands simply had no coverage in the UK due to the overloaded portfolios of traditional distributors. NEWS: Arbiter takes on the distribution of Jackson and Charvel (after Fender buys Jackson) and takes on Akai following the demise of the UK’s AMIC operation. The US MI chain, Mars, goes under – Guitar Center scoops the remains, Jeremy Silver promoted to CEO of Sibelius. FEATURES: MIA conference and awards, focus on the keyboard market, starter packs, Yamaha Expo report, Levy’s Leathers. PRODUCTS: Maverick Dtox guitars, ESP Devil Girl guitar, Laney TT50 head, Ashdown After Eight mini combo, Fender Mustang re-issue, Numark TT-X1 turntable, Pioneer CDJ-800 CD player, HK Audio Lucas XT active portable PA, Phonic Powerpod 2280, Korg D1200, Petroc IV Klassik grand piano. NUMBER ONE SINGLES: Kelly Rowland, Dilemma; DJ Sammy & Yanou featuring Do, Heaven; Westlife, Unbreakable; Christina Aguilera, Dirrty. NUMBER ONE ALBUMS: Foo Fighters, One By One; David Gray, A New Day At Midnight; Blue, One Love; Robbie Williams, Escapology.

80 miPRO NOVEMBER 2008

There was a lot of love in the air at the MIA awards on October 14th, with the great and the good from our industry enjoying the best of the past year. Clockwise from above: Simon Gilson of PMT and Ken Achard, now running the Mariner guitars brand, clearly enjoying each other’s companies. Feargal Sharkey shocks Betty Heywood, but Bill Bruford doesn’t miss a beat. What these two don’t know about music publishing isn’t worth knowing: Mel Bay’s Chris Statham and Chappell’s JohnMaclean. Neil Whitcher of Fender bids fond adieu to Future’s Katherine Raderecht – at what could be her last MI bash. Claire Dove of Future and Martyn Hopkins of Roland UK are smiles all round.

SEND YOUR PICTURES TO CODA@INTENTMEDIA.CO.UK WWW.MI-PRO.CO.UK

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AND MORE... Thumbs up from the Shure Distribution UK team, with Paul Cognale, Dennis Harburn, Digital Village’s joint deputy MD Ray Edwards, MI Pro’s favourite Shure man Mike Gibson and Dolphin Music’s Jason Tavaria. Amplified friendship from Peavey’s MD, Clive Roberts, House Music’s Barry Moorhouse, Clive’s partner, Vicky and Damon Waller of Orange. (Far left)Ever the standard of charm and courtesy, Tanya and Noel Sheehan of Sheehan’s Music in Leicester. And representing the biggest names in sheet music in the US and Europe, Larry Morton of Hal Leonard and Chris Butler of Music Sales.

MI ICON entral to the sound of the biggest band the world had ever seen, photographed thousands of times, replicated to this day and still only associated with one player, there are few instruments that are as truly worthy of the ‘icon’ tag as the Hofner 500/1. With the Beatles still knocking back the prellies and kicking out the jams for the denizens of Hamburg’s red light district, the departure of sometime bass-player and artist Stuart Sutcliffe led to Paul McCartney taking up the bass. Looking for an instrument that was cheap, distinctive and wouldn’t look completely ridiculous played lefthanded, McCartney stumbled across the 500/1 and knew he had found what he was looking for. Lightweight and with an immensely playable neck that would later inform the melodic free-flowing playing of its owner, the 500/1 was hollow bodied with a warm tone that has come to be instantly familiar to Beatlemaniacs the world over. Utilised throughout his career both with the Beatles and after, the 500/1 has spawned a thousand imitators

Hofner 500/1 from many manufacturers, including a recent Chinese made re-issue from Hofner themselves, but none have successfully captured the spirit of the original. Examples of early 60s 500/1s can now expect to sell for huge amounts, which considering it was purchased by McCartney for its low cost while the boys earned next to nothing in Hamburg is both ironic and indicative of just how much the industry has grown and changed. While many others have played imitations, the 500/1 will always be the Beatle bass; featuring in the group’s first appearances in print and on television, McCartney’s 500/1 was replaced several times, with the original Hamburg bought model getting one last airing in the video for Revolution in 1968, while McCartney also used his signature instrument at the famous rooftop gig atop Apple’s HQ in 1969.

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miPRO NOVEMBER 2008 81

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MI SPACE

BLACK TIE ONLY

Neil Whitcher Company / Job Title: Fender Marketing Manager GBI Years in the industry: Nine First single bought: Axel F by Harold Faltermeyer – the Beverly Hills Cop theme tune.

Keeping up appearances at the MIA awards on this page are (award winning) Roland’s Tim Walter and John Booth, flanking John Da Costa of Digital Village. More winners top right with The Sound Post’s Jan Williams and Diane Lappage flanking Dianne Bancroft and Ted Brewer. Right: Ashton’s John Moore (unrecognisable without his West Brom shirt), brand manager James Dove and Peavey’s Andy Rust.

S E IK SOUNDAGLLA SVEGAS

Favourite album: Revolver by the Beatles. Or Everybody Knows This Is Nowhere by Neil Young.

justified With the debut album out, the hype lodic and thousands flocking to see the me ders, ten noise-mongering of the Scottish con to avoid Glasvegas, this is a band that is hard been at the moment. Here’s what they’ve spending their pocket money on…

Currently listening to: Puzzle by Biffy Clyro and Only By The Night by Kings of Leon. Favourite musician: Is Hendrix too obvious? I think I’ll go for Paul McCartney. And Simon Neil from Biffy.

James Allen (vocals/guitar) Fender Jazzmaster (or Telecaster depending on mood) Big Muff fuzz Pro Co Rat distortion Boss compressor Vox AC30 and Vox cab

What instruments do you play? Funnily enough I play guitar and some keys as well. Are you in a band? Yes, I’m in three. I play with singer songwriter Lisa Lindley-Jones, which is kind of folk with an edge, another female singer songwriter called Lisa Vain, and an all-out rock band called Bad Machine.

SUBSCRIPTIONS MI Pro has a monthly circulation of well over 6,000. It is distributed to all MI retailers and industry professionals plus carefully selected pro audio executives and resellers.

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miPRO is published 12 times a year by Intent Media ~ Saxon House, 6A St. Andrew Street, Hertford, Herts SG14 1JA, UK

To order your subscription: call: 01580 883848 or email: mipro.subscriptions@c-cms.com. Please note that this is a controlled circulation title and subscription criteria will be strictly adhered to.

82 miPRO NOVEMBER 2008

Rob Allen (guitar) Burns Marquee Line 6 DL4 Boss CH-1

miPRO is a member of the PPA © Intent Media 2008 No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Printed by The Manson Group, AL3 6PZ

ISSN 1750-4198 Enquiries to Mi Pro, Intent Media, Saxon House 6a St. Andrew Street, Hertford SG14 1JA. Tel: 01992 535646 (Editorial) Tel: 01992 535647 (Advertising) Fax: 01992 535648

Boss BD-2 Boss TU-2 Behringer delay Paul Donoghue (bass) Rickenbacker 4003 Ampeg SVT Zoom B2 Bass Caroline McKay (drums) Pearl Export kit, Zildjian cymbals

NEXT MONTH A global brand reveals its UK strategy, sector spotlights on studio monitors and boutique electric guitars, Music Live report and... The build up to NAMM begins. EDITORIAL: ANDY BARRETT mipro@intentmedia.co.uk ADVERTISING: DARRELL CARTER darrell.carter@intentmedia.co.uk WWW.MI-PRO.CO.UK

Fill your boots... ...with Audio-Technicaâ&#x20AC;&#x2122;s Christmas offers. At Audio-Technica, we know the credit crunch is hitting our retailers hard, so weâ&#x20AC;&#x2122;ve designed some Christmas offers to help fight back. Throughout November, many of our best AT2020

selling products such as the already affordable AT2020 studio mic and the award winning M50 studio headphones will be substantially discounted so you can enjoy a marginrich Christmas. To take advantage of these offers, simply call our UK sales office on 0113 277 1441 or visit www.audio-technica.com/xmas

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Thank You Best Percussion Product: V-Drums TD-9K

Best Digital Piano: HP-207

Thanks to everyone who voted the V-Drums TD-9K and HP-207 Digital Piano the best products in their class at this yearâ&#x20AC;&#x2122;s MIA awards. Link to video demos of our latest products at www.roland.co.uk/media

w w w.roland.co.uk