Mi Pro Issue 107 April 2009 by Intent Media (now Newbay Media Europe)

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INCORPORATING

SECTOR SPOTLIGHT BASS GUITARS TRADITIONAL HI-TECH ROCK CLASSICAL EDUCATION PRINTED MUSIC

ISSUE 107 APRIL 2009 WWW.MI-PRO.CO.UK Biffy Clyro more than endorses Peavey gear

Love

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Peav ey en dors es th e val ue of belie f LIMS BMF MUSIKMESSE TANGLEWOOD ASHTON AMP HEADS KMI

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Innovation, functionality and tone â&#x20AC;&#x201C; just a few words that help sum up the brand new range of solid-state MG amplifiers from Marshall. Combining years of experience in analogue amplification with cutting-edge digital technology has resulted in the creation of an all-encompassing amplifier series, ideal for the beginner and gigging pro alike. Specially voiced digital effects, intuitive footswitching technology and four adjustable and storable channels are just a few of the features to be found in the new MG range. From a punchy 10 Watt combo through to an effects-laden, soul-pounding 100 Watt head, this series has it all.

To find out more about the MG range contact: Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK1 1DQ or visit the official Marshall website: www.marshallamps.com

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ISSUE 107 APRIL 2009

COVER STORY

SECTOR SPOTLIGHT • BASSES 30 At whatever level and whatever price, the bass guitar maintains a healthy percentage of sales, regardless of trends

PEAVEY’S REP

Dave Hunt recounts how his company came up with a new UK sales strategy – and then went about implementing it – for one of the world’s leading brands

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

NEWS 6 Rob Williams, Studiomaster, LIMS, British Music Experience

DISTRIBUTION 10

Kane and KMI, Aria, St Blues, 2Twenty2 and JHS profiled

NEWS 51 PIANO NEWS 12 8

Piano Logistics shifts 652 Steinways, New Weber and Steinmayer models

Christopher Norton workshop in Liverpool, Eric Clapton pops into Pet Sounds

INDIE PROFILE 54 DRUM NEWS 15 LIMS roster announced, Meinl Festival

Salop Music Centre gives us the lowdown on business in Shropshire

NEWS ANALYSIS 16 A look back at BMF 1968 and how companies survive

MUSIKMESSE 19 41

The best and most eye-catching of preshow announcements

PRODUCTS BASS & GUITAR 58 BACKLINE 59 DRUMS 60 PRINT 62

TANGLEWOOD 34 Rosewood Reserve finds a profitable niche in troubled times

ASHTON MUSIC 36 How does one go about marketing a brand such as Sparrow?

SECTOR SPOTLIGHT 41 36

Guitar heads: the professional looking customer magnets

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Kam LED Parbar ad 3 MI Pro.qxp:Layout 1

See Kam at Frankfurt

Musikmesse ProLight+Sound 1- 4 April 2009 Hall 5.0 / Stand C11

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Complete portable lighting system Ideal for all performers from live bands to DJs Sound controllable with built-in programs Stand-alone operation for solo performance 512 DMX compatible / 15 DMX channels Each lamp has 108 x 10mm RGB LEDs Individual tilt and swivel for each lamp LED lamps are only 43mm in depth T-bar incorporates built-in controller Stand height reaches up to 240cm Whole kit weighs in at only 23Kg Sets up in less that 3 minutes! Includes padded rig bag 4 pedal foot controller Stand and stand bag

“The effects are literally dazzling, with a very effective selection of lighting effects available from 11 separate of preset internal programs that can be selected via the built-in control panel” PlayMusic

“The Parbar is the complete set-up... A genuine all-in-one solution, the Parbar simply screams convenience” iDJ Mag

“The LEDs far outstrip standard light bulbs and will boost your presentation” Tim Slater

“The Parbar is a great way to illuminate your band or show without costing a bomb. Damn near essential, we say” Pickup

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EDITORIAL

Moving on

MEMBER

This month’s edition really is a snapshot of the MI industry in the spring of 2009

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

MOBILE.MI-PRO.CO.UK MI PRO CONTACTS MANAGING EDITOR ANDY BARRETT mipro@intentmedia.co.uk

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

n 1968 the Frankfurt Musikmesse just about managed to fill the Rotunda entrance building to the exhibition centre and the BMF managed one and a half floors of the Russell Hotel in London. My, how things change. On page 19 you will see the second four-page preview for this year’s Frankfurt show – and even this has only been sufficient to cover a mere smattering of what will be on offer within the vastness of the modern Musikmesse. As for the BMF, well, we call it LIMS now and it is not just the name that is different. Four distinct consumer shows cover thousands of square feet in London’s Excel Centre, with a VIP trade element and now, from this year, a dedicated MI retail ‘village’. On page 16 you will see what a diminiutive gathering the BMF was in 1968 – and you will probably be surprised to see just how many of the companies that exhibited back then will be showing off their wares at LIMS in June. Companies come and go, which, as I mused last month, can be rather sad, but the month of March has seen two passings of a much sadder nature. On page 6 you will see the obituary of Rob Williams, the co-founder of Dolphin Music, which was compiled with the help of Dolphin and Williams’ family. The second, the death of Shure Distribution’s Dennis Harburn, came just as MI Pro was going to press. While Williams was still, despite his success, a relative newcomer to the business, the impact he clearly had can be seen on the MI Pro website from the stream of best wishes and condolences that have been posted there. Harburn has been involved in MI and audio for well over 30 years and was known and admired widely and the effect of his death is already being keenly felt, just as the news is beginning to spread. The team here at MI Pro would like to extend its heartfelt wishes to all family, friends and colleagues affected by the loss of these two fine characters. Our business is poorer without them. Life has to go on, however, for the young and old, newcomers and stalwarts, and this issue of MI Pro contains them all. From a profile of one of the longest-lasting, JHS, (page 11), to a marketing overview of a couple of the newest, Sparrow Guitars and Ashton Music (page 36) and everything in between in the Musikmesse preview and the sector spotlights (pages 30 and 41), this month’s edition really is an insightful snapshot of the industry as it is in spring 2009.

Andy Barrett mipro@intentmedia.co.uk

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NEWS

Studiomaster backed by Soundking Chinese audio giant invests in UK expansion as studio equipment supplier seeks dealers throughout the British Isles STUDIOMASTER IS expanding its UK operation, having re-launched in the UK under the trading name Studioking in the spring of last year. Still based in Leighton Buzzard, Bedfordshire, Studiomaster is now operating out of larger premises and, off the back of some major investment from the Chinese

The MI electronics and pro audio manufacturer, which has a history dating back to 1976, has undergone significant internal restructuring, with all manufacturing moved to the Soundking facility in China. This will give access to over 2,000 production, design, sales and marketing personnel including over 100 technical engineers to

comprises marketing manager Patrick Almond, R&D manager Paul Belcher, logistics manager Gary Fitzsimmons, international sales manager KM Malik and UK sales manager Garry Taylor. "We have enjoyed a very positive start to the new year,” explained general manager Jack Zhang. “All of us at Studiomaster are dedicated to the growth of the company and are maintaining strong relationships with our current dealers. “Considering the current climate we are amazed at the level of business we are currently experiencing.” Studiomaster is exhibiting at this year’s Frankfurt trade show, Prolight + Sound and will be found in Hall 4.1 on stand B60. STUDIOMASTER: 01525 217111

“We have enjoyed a very positive start to the year and we are dedicated to the growth of the company.” Jack Zhang manufacturing giant, Soundking, has reported a strong start to 2009 with continuing growth across all areas of sales. The company is now keen to speak to any prospective new customers in order to plug some of the geographical gaps in the country and achieve a more comprehensive spread for its domestic retail network.

support the UK R&D headquarters, which will continue to maintain Studiomasters’s uncompromising standards of quality. The company now carries all current products in stock, with further stocks arriving on a regular basis. Studiomaster’s five-man dedicated management team

Rob Williams 1979 - 2009 ONE OF THE country’s leading young businessmen and the cofounder of Dolphin Music Rob Williams fell to his death while on a snowboarding trip in Verbier, Switzerland, on March 2nd. The tragedy occurred as Williams and his Dolphin business partner Jason Tavaria became separated from their group in blizzard conditions. An extended search and rescue operation was soon underway, with a twenty-man team tracking down Tavaria. Williams’ body was recovered by the team at around 11pm at the base of a steep mountain face, down which he is believed to have slipped due to the weather conditions. Born in Hemel Hempstead in 1979, he attended Beaumont School before taking up studies at Liverpool University. It was while at Liverpool that Williams

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set up Dolphin Music with his best friend Tavaria and soon saw the company grow from a student loan-funded, homebased start-up to one of the biggest names in the UK’s musical instruments industry. Twice named in the Sunday Times Fast Track 100 and with a clutch of bricks and mortar stores to back up its enormous online offering, Dolphin was ranked as Britain’s 11th fastest growing company in 2007, testament to the hard work and dedication of both Williams and Tavaria. Williams was also named the Young Director of the Year in 2008 by the Institute of Directors. A huge supporter of entrepreneurial schemes for young people, Williams was also involved in the government’s Make Your Mark initiative, for which he had been an ambassador since 2006.

A statement from Williams’ family said: “Rob was our pride and joy. He was quiet and unassuming. He always had good things to say about everyone. He had many

excellent qualities, among them a natural business acumen. “Dolphin Music was his life. He devoted many waking hours to developing the company, making it what it is today.

“Words cannot describe the feeling of loss. Rob was a rock and a consistent force in all of our lives. He was a world of knowledge and information due to his well-read nature and inquisitive personality. “He was a man of few but well thought-out and intellectual words. His humility, charm, intelligence and friendliness made him the person he was and will be the reason he will never be forgotten. While storming the business world, Rob still managed to be a great friend, brother and son.” Dolphin director Tavaria added: “He was my lifelong best friend. He can’t be replaced.” A tribute website has been set up for messages of condolence at robwilliams.org.uk. His funeral was held on March 19th at St Albans Abbey.

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NEWS

Trade registration for LIMS now open Exclusive online service up and running for show as VIP status is confirmed for MI retailers and educators THE ORGANISER of the London International Music Show (LIMS) has announced the launch of a dedicated website for the trade and education community and now invites all those eligible to register and attend the UK’s biggest MI show. The website registration page (which can be found at lims09registration.com) features simple forms to be filled out, one each for trade and educators, and all applications will be submitted to the organizer, with passes issued nearer to the show. The organiser has asked everyone to note that the education form is for teachers and for student groups visiting the show and a fee of £5 per student will be charged. The show will open on June 11th at London’s Excel exhibition centre to an exclusive day for

trade, educators and VIPs, giving those visitors a prior viewing of the 200-plus exhibitors before the general public is allowed in from the June 12th until the end of the show.

Even after the public days have begun, the show will have an exclusive trade lounge in the quieter acoustic area for meetings and trade representatives will have special

Denis Wick expands Brass accessories specialist moves for increased production

entrances to allow them immediate access to the show at all times. “The London International Music Show embraces the entire music making industry and will

have many features, new product launches, celebrities, seminars, conferences and trade meetings,” commented the show’s press officer, David Phillips. “This is an unmissable opportunity to gain hundreds of innovative ideas for your business and meet and do business with European and International companies anxious to launch products into the UK.” Following the trade day, June 12th will focus on a programme of activities for students, run by Music For Youth. Exhibitors will be able to download the exhibitor’s manual from the site in a move to be more environmentally friendly. News updates will be posted on the official LIMS website and on this website. MI Pro is the official and exclusive trade media partner for the show. LIMS09REGISTRATION.COM

BEIRG doubts Ofcom promise Lobby’s steering committee responds sceptically to consultation document

At work at the new Denis Wick facility DENIS WICK PRODUCTS, the manufacturer of quality brass instrument accessories, has moved to new premises in Hamworthy, near Poole in Dorset, to accommodate the company’s growth, following impressive business over the past three years. The new factory comprises a manufacturing area, a finishing

shop where the mutes and mouthpieces are checked and packaged, a warehouse, offices and a testing room. The company’s director, Stephen Wick, is clearly very pleased with the step up. “This move represents our belief that we will not only sustain, but grow our market share in the years to come,” he said.

“Last year our sales grew by 15 per cent in the USA and we have seen similar growth in other areas, so this extra capacity will help us keep up with a steadliy increasing demand.” The new contact details are Denis Wick Products, Unit 19 Dawkins Road, Hamworthy, Poole, BH15 4JY. DENIS WICK: 01202 665100

THE British Entertainment Industry Radio Group (BEIRG) steering group, which has been lobbying Ofcom with regard to winning a fair deal for the programme making and special events (PMSE) sector from the Digital Dividend Review (DDR) and a fair deal for PMSE, has released a statement in response to department’s recent consultation document. In the official response, the committee pointed out that the consultation made no final decisions, pointing out that Ofcom frequently changes its mind on issues surrounding DDR. Channel 69, for example, was awarded to PMSE only to be taken away again due to its financial potential harmonised across Europe for two-way mobile use. “Ofcom has said it will provide a funding package, but this would still need agreement from the Treasury,”

read the statement. “If any funding is made available there are likely to be strict criteria to limit the amount claimed, who can claim and for what it might be claimed for. Ofcom’s estimate for the amount of compensation for PMSE is just £18 million to replace some £100m worth of equipment in use today.” At this stage it is not known exactly where PMSE will be moved to. The full extent of the proposals will not be known until 2010. The work BEIRG has done in fighting the radio mic’s corner cannot be underestimated, but the group is keen to emphasise that the lobby is expensive and funds are needed as well as more members for its cause. Ofcom expects to publish a statement on this issue in summer 2009 and auction the UK's digital dividend in 2010. BEIRG.ORG.UK

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NEWS

Boris Johnson opens the BME Mayor of London thrashes out a drum solo in celebration of the new interactive British music exhibition at O2 THE BRITISH MUSIC Experience (BME), a permanent, high-tech, interactive music exhibition situated within the O2 arena in London, was opened by Boris Johnson, the Mayor of London, who then promptly hammered out a questionable drum solo. Four years in the making the BME takes over the top floor of the O2 and combines cutting edge audio-visual technology and music memorabilia in what has been billed by the sponsors as ‘Britain’s most compelling visitor attraction’. The exhibition celebrates all genres of British music since the early 1940s through to today. It enables visitors to trace musical trends through the decades, learn about music’s influence on art, fashion and politics and allows visitors to download music from the extensive archive. Of note is the Gibson Interactive Studio, which offers

visitors an opportunity to play on various Gibson guitars, Slingerland drums and Wurlitzer keyboards. There is also a stepby-step video tuition featuring

artists such as KT Tunstall, The Magic Numbers and Amy Macdonald with content supplied by the Nowplayit.com website. The Gibson Interactive Studio

also houses a vocal booth sponsored by Sennheiser to add to the educational experience. Adjacent to the Gibson Interactive Studio is the Jam

Studio, a dedicated space to support an educational programme with workshops, lectures, master-classes and concerts. Although predominantly an interactive exhibition, the BME exhibits over 500 key pieces of British pop music memorabilia, including David Bowie’s Ashes to Ashes clown suit and Ziggy Stardust costume, Noel Gallagher’s Epiphone Union Jack guitar, Keith Richards’ Gibson Les Paul Custom and Marc Bolan’s Gibson Flying V. The BME uses RFID technology throughout the exhibition. Tickets allow visitors to activate the interactive elements of the exhibition and also to register further interest in specific BME features. Visitors can then visit the website to access free downloads and further information. BRITISHMUSICEXPERIENCE.COM

MIA booklet promotes Gibson fails in Hero lawsuit quality instruments Patent infringement claims dismissed as game contains no real musical instruments

Free MIA brochure offers professional industry advice for buyers THE MIA HAS produced a free 24-page booklet offering advice and guidance for consumers wanting to purchase musical instruments for beginners. Titled Quality Instruments for Education, the publication has been produced with the support of an impressive array of educational partners, such as the Department for Children, the Federation of Music Services, the National

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Association of Music Educators and with the support of the US trade body, NAMM. Covering all the major instrument groups, the booklet gives useful information and guidance on selecting the right instrument for the player, the MIA said. To be sure of the widest possible audience, the MIA has made electronic copies available, which can be

downloaded from the MIA's website (mia.org.uk), while printed versions are available free plus the cost of postage. To download a copy, interested parties should go to the MIA website and click on the ‘choosing a quality musical instrument’ tab in the orange box. To order hard copies, click the ‘About the MIA’ tab and then the ‘Publications’ tab. MIA: 01372 750600

GIBSON HAS SEEN its lawsuit against Guitar Hero publisher Activision Blizzard thrown out of court after it ruled that Neversoft’s game does not infringe any existing patents. This is the second time that Gibson has lost a high profile lawsuit that it instigated, following the loss of the Gibson versus PRS singlecut case, four years ago. It has been reported that Gibson had claimed its US Patent 5,990,405 for a “system and method for generating and controlling a simulated musical concert experience”. The patent details a head-mounted music system that allows players to play real instruments alongside a simulated concert. However, the claim was dismissed as Guitar Hero uses plastic approximations of instruments that do not require musical skill to play. Nor does it utilise a 3D headset.

“Gibson’s doctrine of equivalents arguments border on the frivolous,” the court ruled. “As a general observation, no reasonable person of ordinary skill in the relevant arts would interpret the ‘405 Patent as covering interactive videogames.” Activision licenses the use of the Gibson brand in its Guitar Hero titles.

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ORDER ALL REMO PRODUCTS FROM EMD, YOUR NEW UK DISTRIBUTOR FOR REMO

EMD are delighted to announce that they are now the sole distributor for the complete Remo catalog in the UK. With long standing experience as a distribution partner with Remo in Europe, as well as an established UK team, EMD can offer you, the dealer, the very best service and support for this market leading brand. We encourage you to visit our dealer website www.emdmusic.com for all stock, availability, prices and more. If you are a new customer requiring a login and password for this service, please do not hesitate to contact our UK customer helpdesk. EMD Music UK

remo.com

Unit 1, South Lodge Court - Ironsbottom, Reigate - RH2 8QG SURREY - Tel: 01293 862612 - Fax: 01293 863665

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DISTRIBUTION • NEWS

Kane establishes KMI Distribution

Aria to bring new gigbag to the UK Fusion brand offers new slant on keenly contested market and now with guitar supplier

Former MIDI manager founds new powerhouse for Ireland THE FORMER MUSICAl Instrument Distribution Ireland general manager, Lesley Kane, has left Ireland’s major supplier to form her own MI wholesale company, KMI Distribution, of which she is managing director. The company has got off to a flying start, establishing exclusive deals for the supply of Marshall Amplification, Ashdown and Casio pianos for the island. Kane has enticed two other MIDI managers to her new company, in the shape of Ed Brady (general manager) and Cathy MacManus (dealer accounts manager). For Kane, who launched KMI on January 1st, the jewel in the crown is having Marshall on her new company’s books. “I have Marshall blood running through my veins, so to be given an opportunity to continue the work I have invested in the brand over the past couple of decades is amazing,” she said. “I can't tell you how proud I am that

Ireland’s finest (l to r) McManus, Kane and Brady Marshall has the faith in me to keep flying the flag. “Ashdown’s bass amplification has been neglected in Ireland in recent years, so I'm looking forward to placing it into its rightful position in our market. “Casio is a new challenge for me,” she concluded. “I see no end of opportunities. Casio is already a household name and consistently produces high quality instruments.

“It is products like this that will keep distributors and dealers trading in these challenging times.” She concluded by telling everyone to “watch this space” for further brands being added to catalogue for Ireland in the near future. Details are Unit 20D Ashbourne Business Centre, Ashbourne, County Meath, Ireland. KMI: +353 1 835 9431

Damn Fine for St Blues US guitar brand re-establishes UK distribution with up-andcoming wholesaler after a year selling direct from the US SPECIALIST DISTRIBUTOR Damn Fine Distribution (DFD) has secured the UK distribution deal for the Memphis-based guitar maker St Blues. The seven model strong St Blues line-up, designed by former Jimmy Page guitar tech and Schecter co-founder Tom Keckler, has won a good following in the US and has a strong endorser list, including Eric Clapton, Albert King, Joe Walsh and Billy Gibbons, while users of St Blues basses include Robbie Shakespeare and sometime Booker T legend, Donald 'Duck' Dunn. The attraction of St Blues is likely to be the combination of high US street cred combined with relatively affordable prices and a good dealer margin, believes DFD's Tony Westcott. 10 miPRO APRIL 2009

RRPs will range from the mid£700s to mid-£800s and models include both solid and semihollowbody guitars with a variety of scale lengths, pickup and hardware options. St Blues basses vary from RRP £740-£770. With names like the Mississippi Bluesmaster, the Bluescaster, the White Lightning and the 61 South, St Blues (with its Memphis HQ situated on Elvis Presley Boulevard, almost opposite the former Sun studios) clearly knows how to create an image, Westcott said, and offers a good opportunity for dealers looking for a unique brand with US heritage values at relatively affordable prices. The full range of St Blues guitars is available immediately through DFD. DFD: 07710 332176

ARIA UK HAS confirmed the agreement to distribute the new Fusion brand of gigbags in the UK, effective immediately. The Fusion brand joins other ‘lifestyle’ gigbag manufacturers in providing a product that is both practical and functional, while also ‘making a statement’ and being very designer savvy. On top of the design, Fusion claims a USP of add-on products, known as the Fuse-On system. “After some research, we saw there was a demand for something more versatile,” explained Amanda Wheatley, Fusion’s product designer. “I developed the Fuse-On system of accessory bags designed to fit quickly and easily to the Fusion ‘mother’ bag.” The Fuse-On system is a mix and match system in ‘back-pack’ or ‘courier’ designs. The Fusion range comprises some 140 bags, designed for acoustic, electric and bass guitars of all shapes, from dreadnoughts to Flying Vs. Keyboards are also catered for and there is a

selection for the brass, woodwind and orchestral string families. “Aria UK is both excited and pleased to be appointed exclusive distributors for Fusion products in the UK,” commented Martin Hartwell, Aria UK’s managing director. “This is an ideal product for us, there’s an abundance of modern commuter musicians out there. Fusion has certainly done its homework, producing high quality gig bags and accessory packs for a variety of instruments.” Fusion gig bags retail between £25 and £129. ARIA UK: 01483 238720

2twenty2 shores up Arbiter brands Parker establishes new hi tech supplier THE FORMER Arbiter brands, NI, Celemony, Arturia and EKS have found a home with the new supplier from Steven Parker, Arbiter’s former music technology manager. 2twenty2, a sales and brand management agency for the hi tech sector of the musical instrument market, has taken on the UK distribution of Native Instruments, Celemony, Arturia and EKS for the UK. The new company is headed by Parker as managing director, Greg Prendergast and Cedric Coudyser. “Here at 2twenty2 we’re very excited to be continuing our work with these companies – without doubt some of the most respected

brands in the industry,” explained Parker. “Having already spent a number of years developing Native Instruments, Arturia, Celemony and EKS in the UK, we’re looking forward to seeing continued innovation and momentum through a raft of new products for the year ahead. We know that 2009 will be a great year for them, and also any dealer who invests in their products.” Jan Stammnitz, sales director at Native Instruments, said: “2twenty2 represents experience both with the UK market and with NI products. We’re thrilled about this co-operation.” 2TWENTY2: 0845 299 4222

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PROFILE • DISTRIBUTION

A performer at the JHS event, which takes place every June Inset: Dennis Drumm

MI Pro talks to JHS MD Dennis Drumm about how the business is going, why it’s so successful, and where it can look to go in the future… Date the business was established: 1965 Number of employees: 90 Is business up or down compared to this time last year? Up. The addition of Allen & Heath, and Fishman has had a positive impact on revenues, but various other areas of the business are up too, including our export sales, which are now to over 55 countries, helping to prove that our proprietary brands all have sufficient reputation and brand equity to be of value to customers around the world. Which are your best selling lines? By sector, the answer would vary, but suffice to say, with a broad offering across many categories, we achieve success in them all. Pound for pound, our guitar lines bring profitable business to all our customers to varying degrees, as do distributed brands like Manuel Rodríguez, HK Audio, Allen & Heath, Fishman and others. Apart from your products, what are your strengths as a distributor? 44 years of experience, the fact that we offer class leading credit terms, can be more flexible than some corporates, and that we have a terrific selection of brands. We also have 11 great reps, with years of experience, who have a real interest in the market. They’re backed up by a dedicated and experienced head office team and senior management, who all diligently support the company. Lastly, as a family company which has had its fair share of ups and downs, near disasters and

outstanding successes over the years, just like the majority of our customers, JHS is still overseen by the owner, John H Skewes, who has demonstrated over the lifetime of the company that he cares deeply about our business in general, our customers individually and remains determined to set very high benchmarks for all JHS’s activities. Do you think it’s been a tough year for retailers? Yes, but as is often wryly observed, most of the consumers we serve are musicians, or otherwise involved in entertainment, and are never flush with cash, so certain sectors of the industry are ‘recession resistant,’ if not ‘recession proof’. It is tough, but the UK/Eire market, with a combined population of 65 million, still represents a massive market, so even given the economic circumstances which surround us in 2009, there are many opportunities. Is the internet the biggest challenge facing the industry? No. The biggest challenge facing our industry is far more insidious than the internet. The real threat lies with each and every one of us and our companies and organisations not seizing the moment and not understanding the opportunities which are presented to us all on a daily basis. Instead,

people spend all their time worrying about what everyone else is doing, and they become introspective and protective, rather than outward looking and creative. If the product is good, the company good and the commercial proposition good, the buyer will buy from the seller. Price, where too much attention is focused most of the time, is not always the key driver. In a perfect world, what product lines would you add to your portfolio? Any physically small, lightweight, high turnover, highly profitable lines with no service issues, with excellent dealer margins and a high demand across all demographics. Suggestions welcome! Seriously, JHS has 4,800 separate products in its programme. We’ve all lost count of the number of times over the last 44 years our customers have said, with a look of astonishment, ‘Oh, I didn’t know you did one of those.’ On that basis, maybe we need to focus on what we have rather than go ‘line collecting’. What are your aims for the next 12 months? We want to support our customers, help them and us have profitable business, grow our brands and market share, promote music making as an essential life skill and try and have some fun on the way.

CONTACT DETAILS Address: Salem House, Parkinson Approach, Garforth, Leeds LS25 2HR Phone: 0113 286 5381 Email: info@jhs.co.uk Contact: Simon Turnbull

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PIANO NEWS

Steinway’s Welsh Logistics marathon

THE ROYAL WELSH College of Music Drama (RWCMD) has taken delivery of over 60 new Steinway pianos in the completion of an order worth in the region of £1.5 million. The order was handpicked by the college’s head of keyboards, Richard McMahon and his staff at Steinway’s headquarters in Germany, following which the instruments were delivered to Piano Logistics’ new 25,000 square foot depot in Milton Keynes. Following a thorough preparation and tuning of each piano, Piano Logistics then took on the mammoth task of delivering the pianos and picking up the old pianos that were being replaced – all while causing the minimum possible disruption to the working of the college. The 62 new pianos were delivered and the 58 old ones collected in a single day, utilising all of Piano Logistics’ 18 staff and five of the company’s largest specialist trucks. One of the pianos had to be craned off the roof of the theatre as there was no other access to this area.

The logistical feat aroused the appreciation of everyone involved. “We had so many complimentary comments about the effectiveness and courtesy of the delivery team,” commented Keith Glazebrook of Steinway & Sons. “Piano Logistics lived up to the high standards we’ve come to expect. A big thank you to all involved.” “We were hugely impressed by the Piano Logistic team’s calm and experienced approach to this mammoth task and to have delivered and removed so many pianos in the course of one and a half working days without seriously jeopardising our teaching programme is a huge credit to the company,” was McMahon’s take on it. “My whole team did a tremendous job,” said Steve Butler, the general manager of Piano Logistics. “We are all aware that business is quite tough within the piano industry at the moment, but by providing this level of service to our customers, we can ensure that we remain the best in the business.” PIANO LOGISTICS: 0800 294 9442

Weber models launched PIANO WAREHOUSE has announced the launch of the new Weber concert grand, which will be launched at Musikmesse in April. The AWG275 incorporates patents by the late Josef Pramberger (for many years the head of R&D at Steinway) and will be unveiled at a special concert on April 2nd at 4:30pm in the west foyer of Hall 3C at the Frankfurt show. The UK distributor has also informed retailers of the arrival of the new Weber Millenium W116 upright. The Millenium has a sitka spruce soundboard with asymmetrically curved ribs, a vacuum processed cast iron plate, Japanese hammers and twin-heeled rubber castors. It will be available in black polish finish only. Concluding the Weber news, Piano warehouse is also offering £500 off the

12 miPRO APRIL 2009

trade price of the Weber WG150 grand piano (pictured) in black polish, while stocks last. Finally, due to demand from retailers, Piano Warehouse has reintroduced the Steinmayer S115. The company explained that the piano was popular due to its unusual architrave top door feature. It will be available in medium crown-cut mahogany and at a retail price of £2,265. PIANO WAREHOUSE:020 7267 9229

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DRUM NEWS

Artist appearances confirmed for Drummer Live at LIMS 09 LIMS element recognises the need for celebrity names to encourage drum dealers and end users to support the show DESPITE THE WIDELY considered success of LIMS in 2008, the majority of the voices of dissent came from the drum suppliers and dealers regarding the Drummer Live show. This year, the organiser is keen to show that it has listened to the trade, having moved the drum element of the show into the main hall along with the other three sections and has already confirmed the attendance of a raft of highprofile drummers. Confirmed artists include Nick D’Virgilio (Tears for Fears) and

the drumming and percussion duo, Derrick McKenzie and Sola Akingbola (Jamiroquai), who will be playing both their own material and Jamiroquai tracks, as well as explaining how they work together. The organiser is also pretty pleased to confirm Prince’s drummer, Cora Coleman (alongside her bass playing husband and fellow Prince band member), will play her first UK drum clinic at Drummer Live. Headlining Saturday will be Steve Smith (Journey) and compére for the whole event is

Meinl Drum Fest goes international AFTER HOSTING four consecutive annual festivals on the company’s own premises in Gutenstetten, Germany, the Meinl Drum Festival is now going international and will be held in Moscow on June 6th. “Our idea is to host the festival abroad one year and then in Gutenstetten again the year after,” explained Meinl'’s festival co-ordinator, Norbert Saemann. “We have had an especially strong demand from Russian drummers to host the festival in Moscow. When our Russian distributor, OK & Co expressed interest and offered to organise the event with us, the decision was made.” OK did an online survey among Russian drummers in order to find out which of Meinl’s artists they would prefer in the line-up and their votes came up with some clear

options. As a result, Mike Terrana, Wolfgang Haffner, Snake, Benny Greb and Thomas Lang will all be appearing at the event. “It’s a great honour for us to organise this event together with OK,” concluded Saemann. “We’re proud to be presenting some of our top artists to Russian drummers and I am sure our first international festival will make history.” The festival will be at the Moscow Palace of Youth. MEINLCYMBALS.COM

to be trade show regular Nicko McBrain (Iron Maiden). McBrain will also be playing on Sunday in a special performance with leading multi-percussionist Pete Lockett (Bjork, Jeff Beck, Robert Plant, Jarvis Cocker, Peter Gabriel), which doubtless will be a memorable and unique collaboration guaranteed to offer drummers something a little different. More drummers are to be announced soon, so interested visitors are invited to check the show website (londoninternationalmusicshow .com) for latest news.

Rock and Pop Festival and Drumfest announced Three events combine into one, plus event aiding multiple sclerosis DRUMFEST, GUITARFEST and the National Rock and Pop Festival have combined forces for a major event to run from July 10th to 13th, which the organisers are claiming to be the largest drum and guitar retail show under one roof. The National Rock and Pop Festival kicks off the event on Friday July 10th with Guitarfest on the 11th and Drumfest on the 12th, with the whole event culminating in a world record attempt, in aid of Stick It To MS on Monday July 13th. Friday’s event will see schools and colleges invited to visit the stands and buy or discuss any of the products on display. Pupils can explore the ‘school-yard’ area where they can experiment with the instruments and other equipment provided, with the

aim of getting more youngsters involved with or continuing their music making. Drumfest sees the first public day and the show hopes to continue its success from 2008. This is the 11th year of the show and, with some five awards under its belt, the

organiser is claiming ‘a whole new level’ for the event, with all the major brands being represented and a long list of high-profile drumming guests. Day passes are £15 with two-day passes for the 11th and 12th at £20 each. DRUMFEST.NET

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 APRIL 2009 15

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NEWS ANALYSIS • SURVIVING MI

Rose-tinted glasses How many of the UK’s MI businesses that exhibited at the BMF in 1968 will be at the LIMS show later this year? Gary Cooper discovers that there are an awful lot less than you might think and wonders how the few survived…

elmer, Dallas Arbiter, Rose–Morris, Boosey & Hawkes – the names read like the roll call from an MI Industry episode of All Our Yesterdays. They are, in fact, among the handful of exhibitors that constituted the 1968 British Music Fair, held at London’s Russell Hotel from August 18th to 22nd in the golden summer of 1968. While the ‘summer of love’ was the year before in the USA, it’s arguable that Britain didn’t feel its full impact until a year later – when the charts were filled with the likes of Cream, Jimi Hendrix, Sly and the Family Stone and the Doors. With so much fine music around, you would be forgiven for imagining that the UK’s sole musical instrument industry show would be a huge event but, as the 1968 BMF’s floorplan shows, the entire British MI industry (pianos excepted) fitted tidily on to two floors of a London hotel. While there are still those who hanker for a return to the hotel days, the impracticability of revisiting that era is plain when you see so graphically illustrated just how much bigger the UK’s industry is today – as witnessed by the size of LIMS last year and the plans for the 2009 show. But perhaps the thing that strikes one most about that list of exhibitors is how few of them are still with us – and how few of those that are remain in the hands of the people who built the businesses. Is it possible that those survivors – the companies which have managed to weather the fortunes of the music industry for these past 40 or so years – hold valuable clues to those wondering how to survive the recessionary hurricane that is said to be threatening us today? It is an idea that has exercised Maurice Summerfield (who first brought the issue to light when he found copies of the 1968 programme – gratefully reproduced here – and contacted MI Pro about it). Summerfield, an articulate and thoughtful survivor himself, raised the question of what links the companies that were at the 1968 BMF and remain, one way or another, the same businesses today? Of the survivors, Summerfield is one, John Hornby Skewes another, as is Barnes & Mullins and the How family’s Rotosound and Stentor, under the guidance of Michael Doughty. As for the rest, most are gone and even some of those whose names remain, like Vox or Premier, have little connection with the businesses founded by Tom Jennings or Fred Della Porta.

16 miPRO APRIL 2009

Days gone by – half of the floor plan for the 1968 British Music Fair held at the Russell Hotel in London

“You’ve got to plough your money back into your business to build up your reserves for a rainy day.” John Skewes So what unites the survivors and what can their experience tell us about how to stay in business? And, in passing, how much do they feel the industry changed? “I think looking at the 1968 show tells us a lot about the nature of business in general,” says Maurice Summerfield. “There’s always a lot of change, but the music industry is particularly subject to rapidly shifting fashions and a lot of companies do find it hard to keep up with this aspect of the business. “It seems to me that the companies that have survived are the ones that have concentrated upon the standard repertoire

of the music industry – accessories and non-fashionable instruments like violins, classical and jazz guitars, drums and that kind of thing. The ones who’ve gone for electronics, funny-shaped guitars and so on, do seem to be the ones that have suffered most. “Once you get into areas of fashion, it gets dangerous,” Summerfield says. “You can see that in the current situation, where fashion clothes stores are in so much trouble, getting caught out with stock that nobody wants, while everybody still wants the classic Marks and Spencer lines. You can make a quick buck out of fashionable products, but in the end, one is safe with the basics of the music trade – the things that people will always want. “It’s borne out if you look at the survivors from that show. People always want a nice Martin guitar, a nice violin – something that won’t go out of date.” He goes on to give his view of how the industry has changed since the 1960s. “As you can see from the catalogue, it was a very much smaller industry.

“In that year, the piano industry was based around the corner in the Connaught Rooms and the rest of the music industry were on the ground floor of the Russell and a few rooms on the first floor. “In that same year I went to Frankfurt and the whole of the industry there was in that rotunda at the main entrance. This was before electronics, after all, and before Yamaha really came on the scene. “I remember Denzil Jacobs of Kemble saying to me that he had just bought a dozen organs to show that year and I had just bought six from Kawai. That was an order than changed their lives at Kemble. “It was an easier trade. We probably took orders for 200, 300 or £400,000, which in today’s terms would be probably be £3 to £4 million and today many don’t expect to take orders at a trade fair at all.’ JHS was a relative newcomer in 1968, having been started just three years before, but John Skewes was already well known in the trade and is, unquestionably, one of the industry’s great survivors. He looks at things from the perspective of

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SURVIVING MI • NEWS ANALYSIS

Clockwise from above: Bruce Perrin, John Skewes, Michael Doughty and (right) Jason How business generally as much as from the point of view of where he gets his staying power from. “What a question,” he laughs. “When you think about it, a lot of those having gone has been due to people selling out – for example, Michael Hunka sold Rosetti to EMI. I remember him, two or three years later, telling me how he regretted that. I’ve always been mindful of what Michael said to me, then. I remember thinking to myself ‘don’t sell your business unless you actually have to’. I’d hate my grandchildren to say ‘why did you ever sell the business?’. That’s one of the reasons I’m still here. “Another key is that you’ve got to plough your money back into the business, to build up reserves for a rainy day. There will always be rainy days and you must always ensure your assets are way in excess of your liabilities. So many businessmen live on credit, spend their money, then have a bad year and find there’s nothing to live on – no reserves. “Of course, the industry has changed a lot since then. It was a friendly, parochial industry where everyone knew everyone else. When I joined Hohner as a salesman in 1960, it amazed me how friendly the business was – amicable, easy going and fun. As it has expanded it has become more hard-nosed – more professional too, of course.” He also believes that JHS being a family business, forging strong relationships with family-owned independent retailers, has contributed much to JHS’s longevity, as has holding a mixed portfolio of products, some brands the company owning, for others acting as a distributor – factors which have helped insulate it from sudden distribution changes. Though in 1968 Bruce Perrin wasn’t part of the Barnes & Mullins he heads today, the company remains part-owned by the trust

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“Keep things simple, determination and passion are what make the difference.” Jason How established by the much-respected Mark Barnes, whose spirit still inhabits the way B&M operates. Serendipitously, 1968 was Perrin’s first BMF – though he attended it as a buyer it from The Cambridge Music Shop. “As to why we’ve survived, up until the late 80s it was one of the few companies that had a supply line of instruments out of East Germany. We were able to get guitars when other people couldn’t – in 1968 we actually sold 38,000 guitars and there was a shortage of product during the 70s, so that supply line made a huge difference to us,” he says. “Plus there was Mark Barnes – a shining light at the top of the company. Not so much today, of course, but until quite recently you would be amazed by the number of people who would say they were in business because Mark Barnes helped them. I was taught by Mark and I like to think we still have the Barnes factor of keeping it as simple as possible for the retailer to do business with us.”

Perrin also believes that sticking to the basics has been another factor in B&M’s longevity, helping insulate it from fashion swings. Jason How, too, feels that keeping things simple probably holds a key to Rotosound’s survival. “That, determination and passion are what make the difference,” he says. “And businesses can be grown today. February this year was our highest turnover month – 62 per cent up on last February. A lot of that is down to our saying we’re not to going to stray – we’re not going to start dabbling in other things that we don’t understand. We’re going to make strings in the UK and keep everything under control. “People in the industry tend to jump all over the place. I think if you asked Rod Bradley from Strings & Things, he would say the same – we’re selling strings and accessories and they are almost recession-proof. Small ticket items that people need to keep going out and buying.” If there is a conclusion to be drawn, perhaps it is this: All of the survivors we talked with share two fundamental things. They are all driven by individuals with a strong sense of purpose and ethics and they have all stuck to the basic components of the trade. There may, of course, be a third factor. They are all run by very accomplished businessmen. There might be a clue there, too.

miPRO APRIL 2009 17

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MUSIKMESSE • EVENT PREVIEW

A Frank exchange of ideas Following on from the upbeat appraisal of the organiser and details on how to get there and where to stay, this month MI Pro gives its annual run through of some of the more interesting things to see on the stands right across the shows…

ordelia von Gymnich told MI Pro last month that she had every expectation that this year’s show would be “really great”, not simply out of some sort of blind optimism, but based on the simple fact that three previous shows at the Frankfurt Messe this year had exceeded expectations and the news from Germany’s MI trade was that business was good. With a few exceptions, business appears to be holding up in the UK, too, despite the country, Europe, America and – let’s face it – the world, now hauling itself through the very worst of the recession. Figures for January and February seem to be holding up in most sectors and regions and the wise and the foresighted will be taking advantage of the world’s largest MI trade show to see what’s new, pick up ideas and chew the fat with counterparts and colleagues. Here then is the initial run through of what we have been told so far, but stay tuned for the full round-up in the next issue. Enjoy.

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EVENT PREVIEW • MUSIKMESSE

MEL BAY MUSIC: HALL 3.1 C28 As ever, Mel Bay UK’s MD Chris Statham has put his thinking cap on to come up with a raft of ideas to encourage dealers to get over to the Frankfurt show. This year, all trade accounts placing an order will receive up to an extra ten per cent discount (up to or maximum discount allowed) as well as a free gift in the form of a black CD/DVD wallet with the red Mel Bay logo, which will also contain DVD and CD samplers of Learn Roots Music, The Murphy Method and The Best Of Mel Bay. Any orders placed at the show will receive an automatic free entry to win a Credit Crunch Busting £300 (or €350) credit note. The publisher will be using the show to launch its New Issue Programmes which, Statham tells MI Pro, “are quite possibly the most generous, flexible and overall the best in the industry”. Top that. Oh, all right then, Mel Bay will also be launching several brand new titles and DVDs that have been held back for a special launch at the show. STUDIOMASTER: HALL 4.1 B60 Following the news that it has received welcome and substantial backing from the Chinese audio giant Soundking, Studiomaster is also upping the ante at

Marshall will be unveiling lots of new products and will also have plenty of high-profile guitarists on its stand

GREMLIN: HALL 3.1 F55 The Sussex base for all things folk is once again using Musikmesse to profile its exceptional range of own-brand gear, as well as a number of the other brands it represents. This year has the added attraction of the new Ashbury instruments, all made at the newly sourced factory in Vietnam. From here, Gremlin will be showing a

“Gremlin, the Sussex base for all things folk, is once again using Musikmesse to profile its exceptional range of own-brand gear, as well as a number of the other brands that it represents. ” the Frankfurt show this year with four new products, starting with the new MCX range of mixers. This is a four-bus design, ranging 12 to 32 channels in four frame sizes. The mixers have six auxiliaries and four-band eq. The successful Pax monitor range has been given more power and is now called Pax+. There are four models in the range, the 12-inch 150-Watt powered and passive, a ten-inch 120-Watt powered and a ten-inch passive. All have two-way design with a new HF tweeter. The Vocal Management System is the only product dedicated to the vocalist. It contains all the elements typically used in the studio: a compressor, noise gate, eq and DSP, but all cleverly preset so you don’t need to be a sound engineer to use it. The C3X mixer, designed for compact PAs, squeezes 12 inputs and a comprehensive DSP effects processor into a single rack space. Just add mics and a couple of powered speakers and you have a quality system ideally suited for the solo/duo act.

20 miPRO APRIL 2009

brand new range of original design Ashbury ukuleles, as well as the Ashbury Celtic instruments by master luthier Phil Davidson. The latter will include both standard and deluxe models of mandolas, citterns and bouzoukis. The ukes will be available as soprano, tenor and baritone models, in both rosecherry and koa woods. The Ashbury tenor guitar will also make an appearance in rosecherry wood with a satin finish. As usual the UK supplier will be displaying the full range of Celtic whistles from a range of UK makers, including Tony Dixon, Chieftain, Kerry, Harper and Howard. Gremlin has also just become the UK distributor for British-made mandolin family from Yorkshire-based Thomas Buchanan and the Fylde brand. MARSHALL: HALL 4.0 F08 Marshall will have a strong presence at Frankfurt this year and will unveil a number of exciting new products, including the new MG4 range of amplifiers.

This is the first European showing of the amps and there will be additions to the range that were not seen at NAMM. As many new Marshall launches are done in association with an artist, there will also be high-profile guitarists hanging around the stand, including Dave Mustaine from Megadeth. Other artists turning up will include Doug Aldrich, Paul Gilbert, Phil Campbell and Matthew Heafy. The man behind the brand – Dr Jim Marshall – will also be there and signing autographs. Throughout every day of the show, visitors will be able to catch the Chris George band playing in the Marshall demo booth, which will also be available at specific times as an open house for people to try out the Marshall gear. Experts will be on hand to explain the products in more detail. ADAM HALL: HALL 4.1 40-45 LD Systems will announce a new addition to its range of LD Systems speakers with the LD Premium series. The Premium series features eight-inch, ten-inch, 12-inch and 15-inch multi-purpose speakers in addition to the VA4 and VA8 line-array systems and subwoofers from one x 15-inch, two x 15inch and up to two x 18-inch. Premier series speaker cabinets are all made of 18mm multiplex and coated with the DuraCoat LX coating. On a peripheral tack (as far as MI Pro is concerned), but with uses beyond its prime target, is the Defender cable laying protection system. A whole range of variants are available, although of particular note is the Subterra 120 system, which was developed for the oil industry, no less. While the high-strength base plate anchors the cable duct when in use and serves as an underlying connecting element, the rather flexible elements provide for a high load capacity. When closed, the two lids interlock with one

another via special holders. This greatly increases the load-bearing capacity, permitting even heavy vehicles to drive over the duct. Of course Adam Hall is best known for its flightcase hardware components – and the full range will be on show again this year. ROLAND: HALLS 3.0, 3.1 AND 4.2 Once again spreading itself very wide across the show halls, Roland will be hauling its swathe of new releases from NAMM across the pond to show to its European customers on their soil for the first time (although it’s probably worth mentioning that a group of dealers, press and end users got a good eyeful of the new V-Piano in Bristol in early March). Demos for this impressive instrument will be ongoing throughout the show, which should act as a suitable bridge for the fact that (as MI Pro has succeeded in wheedling out of the hi tech giant) the company’s launches this year will be predominantly piano-based. Get down to

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Matt Nolan is an artisan cymbalsmith who will make his first appearance at the show a Roland stand that will doubtless be near you as you pound the aisles. LEED REPRESENTATION: HALL 1.1 B07 (HELIN) David Leed will be holding court on the Helin stand in Hall 4.1 and raising the roofbeam on the newly branded Razz Co reeds (formerly Reeds Australia). Originally known as a small 'boutique' brand, Razz Co is now under the management and overall control of Peter Handsworth, a well-known Australian clarinettist and music educator. Razz Co is now seeing, Leed tells us, ‘exciting changes and innovations’. The range of Vintage and Vintage XL reeds has grown over the years and still continues, but with the key change of name to Razz Co comes the introduction of a sub-brand called Razz – an economically priced reed suitable for players of all levels. Razz reeds are available in strengths 1.5 to 3.5 and are made for Bb Clarinet, Alto Sax, and Tenor Sax.

A further pro-style clarinet reed named Passion came to the market last year. Developed again with all players in mind, it has a new cut on a tapering body based on the popular Vintage XL, but with a customised shape for 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. Leed assures MI Pro that the Vintage and Vintage XL ranges are now well enough known not to need description and are used by well known players in both jazz and classical, such as Alan Hacker and Tony Coe. Leed Representation is offering ten per cent off all orders placed at the Frankfurt show, as well as the normal trade discount and ‘a generous settlement’. Which is, let’s face it, what we want to hear. THE SOUND POST: HALL 1.2 A19 The UK’s leading orchestral strings specialist will be debuting the Eastman Strings Master series viola in Hall 1.2. The new viola has a richly figured, onepiece back in poplar, which is ‘the first commercially produced poplar backed viola in a generation,’ the company tells us. Poplar is an ideal wood for a viola, as the less dense wood allows the back to vibrate more freely, thereby producing a rich alto sound. A fine antique finish rounds this beautiful instrument off and it will be available exclusively from The Sound Post in 15, 15.5 and 16-inch sizes. TANGLEWOOD: HALLS 4.0, 3.1 AND 3.0 Tanglewood guitars will be featured on three booths at this years Musikmesse, with the first in Hall 4.0 H44. Staff will be greeting UK customers and international distribution partners and the company will be showing models from all six of the main acoustic sectors of the Tanglewood

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catalogue. There will be a representation of the new Signature by Tanglewood electric range to be launched summer 2009 and an expanded Cove Creek and Union series folk section, plus various new models across all ranges. The second stand is in Hall 3.1 H65A and is dedicated solely to the display of Tanglewood Master Design by Sanden models. Michael Sanden will personally attend this booth along with Tanglewood representatives and there will be live demonstrations of both Master Design and Sanden’s own hand-made guitars for the duration of the show. The third is the Musik Meyer stand in Hall 3.00 B78. Musik Meyer, arguably Germany’s most famous wholesale distributor, will show the full range of Tanglewood guitars on its own impressive booth, dedicated more to the domestic German and Austrian market. MATT NOLAN CUSTOM CYMBALS: HALL 3.0 A39 A serious contender for Messe virgin of the year is Matt Nolan and his custom gong and cymbal business. Nolan hand-forges artisan gongs, cymbals and metal percussion sound sculptures in a number of different metals, including bronze, nickel silver, brass and stainless steels. He is believed to be the UK’s only resident artisan cymbal smith and one of only a handful of solo smiths in the world. He views each piece as a work of art, as well as a musical instrument and he makes original pieces to sell, takes commissions and also makes a few line-type products. At this year’s show, Nolan will be launching his Naan chimes and gongs, Razor chimes, Bat-wing and Bat-head gongs, String-things, Mellotune gongs and a number of other custom gongs and cymbals. WORLD RHYTHM PERCUSSION: HALL 3.0 A42 World Rhythm Percussion launches some new African instruments into the European

market with a range of djembe drums and accessories. The young company, based in the south west of England, has great expectations for the show, with Chris Bromwich, WRP’s MD commenting: “We have been working really hard on this range for a year now, so to be on the brink of launching it at Musikmesse is a very exciting prospect. Our customers were quite clear about what they needed from us and I am confident that the new range delivers.” The Pro Africa djembe range is hand crafted and carved by master-craftsmen from hardwood sourced from sustainable plantations, natural, hand-shaved goat skins and top quality alpine rope are used along with a three-ring system to give the best sound quality for performance and recording. There are four styles available in ten, 12 and 13-inch sizes, all with traditional Mali tuning weave and 35 double runners on the 13-inch model. MANUEL RODRIGUEZ: 3.1 E68 The Spanish and classical guitar firm will have a huge number of launches this year, covering all levels of the market, as well as a wide number of styles. Manuel Rodriguez stands out in the nylon string department as one of the very few luthiers that is still coming up with new ideas for design, with this year’s show seeing the launch of a new bracing system and the Centanario Lift fingerboard (previewed at the JHS Event a couple of years ago). The Centanario has a cedar or spruce top, Madagascan rosewood back and sides and an ebony fingerboard. The sound board is free to reverberate with extra power as the reinforced neck does not touch it. Another item of note is the B Cut Boca MR, an electro-acoustic with a speciallycut sound hole cut from a special wood, which eliminates feedback. LR Baggs has supplied the electrics. The Rodriguez stand will also be launching the new Colour guitar model C3 for the entry to mid-level price range. Studiomaster is taking new monitors and mixers to the show

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Sound Post is going to debut the Eastman Strings Master series viola

KAM: HALL 5.0 C11 The DJ tools company is planning a busy start to the year and will be showcasing all its latest products at Frankfurt, with innovative products including the Sound Force, Profile, Vortex, Extreme and Sonik speaker ranges. There will also be a host of other products, including the LED1300 Lightscreen production tool, turntables including the DDX4500 USB deck, CDJ and 19-inch CD players and the KCDMP3180 iD3 rack mount player for MP3s, as well as studio desks and workstation products.

Blaikley in 1874), which Denis Wick himself saw and adapted, initially for the trombone. The Blaikley design involves a very thin wall, which the manufacturer has been able to thin down further, while adding all of the benefits of the recognised standard of Wicks’ heavier bulk at the bottom of the cup. The best of both worlds.

DENIS WICK: HALL 1.1 H11 Meanwhile, after sprinting the three gazillion miles back to Hall 1 for that meeting you thought was in Hall 3, you might like to pop by the Denis Wick stand, where Paul Archibald, the head of wind, brass and percussion at the Guildhall School of Music and Drama (among many other prestigious roles), will be appearing at 2.30pm on the Wednesday (April 1st). Archibald is a Denis Wick endorser and uses the British manufacturer’s mutes and mouthpieces. He will be available to answer questions about modern trumpet playing, including studio, solo and orchestral playing. The Denis Wick Heritage mouthpiece range will be on show, including the new tuba mouthpiece. The Heritage range was inspired by an 1890 model (patented by

JOECO: HALL 5.1 A79 The Blackbox recorder is a novel concept in live recording technology that means it is no longer necessary to dismantle your home studio to take a complete DAW into a live venue to capture your live performance. The Blackbox plugs into any standard live mixing console via the normal insert points and not only allows for the capture of the performance, but also will record the sound check to help set the foldback mixes and allow the performers to hear the live mix for themselves. It provides 24 tracks of audio recording directly onto a removable USB2 disk drive that can be immediately plugged into your DAW straight after the gig. This could easily be a rig that sells well beyond its pro audio target.

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One for

the road F

or over 30 years Peavey has been a backbone supplier for Britain’s independent music shops and recently it has quietly undergone some major structural changes. Though these won’t have gone unnoticed by Peavey customers, there is a story for retailers that aren’t currently in the Peavey fold. I set out to ask Peavey’s UK and Ireland sales manager, Dave Hunt, just what has been going on at the company and what it will mean for thier dealers. You expect a salesman, especially the manager of a major suppliers UK sales team, to be articulate and on the ball, but just a few minutes speaking

Machinehead suggest it’s time to start selling Peavey...

Some time ago, Peavey Europe decided not just to refresh its sales team, but to overhaul and expand it. Gary Cooper discovers that it wasn’t simply a case of hiring new salesmen – there was a whole strategy in place… with Hunt reveals not just a salesman’s easy manner and ready answer, but a keen sense of the seismic changes taking place in the industry and a refreshing willingness to admit that things haven’t always been perfect. This is a strength and, no doubt, contributed to the analysis that MD Clive Roberts and his team undertook before deciding, in effect, to completely rethink the way Peavey is sold to the trade in the UK. Hunt had extensive experience in the industry before he came to the firm. “I joined Peavey in February 2004. Beforehand I’d been working as a freelance sponsorship agent in sport and music – effectively taking a nine-year sabbatical outside the industry. “But prior to that I was sales manager at Trace Elliot, during the time Clive Roberts was at the company. That was from 1993 to ‘96, when it was Trace Elliot Distribution, owned by

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PEAVEY • COVER FEATURE

Kaman, doing not just Trace Elliot, but Ovation and many other products as well. Even further back, I was with American Percussion, which became Active Distribution and before that I was working with Impact Percussion. “I’d kept in touch with Clive on a social level and also Paul Stevens, Trace’s designer, so when Clive contacted me saying he had an opening in sales in the London area, I knew the people I’d be working with.” He goes on to tell us what led to the decision to recreate the Peavey sales team: “Peavey has had major representation in the UK since Hartley Peavey’s acquisition of the original distributor in the early ‘80s and as the team was diminished due to several factors, including retirement, the decision was made to not just replace, but to increase its UK representation. “We also had to consider the way Peavey itself had changed too, not least by taking over other companies, like Trace Elliot, but also by side-stepping into new areas such as software, modelling amplifiers and line array systems to name just a few. That meant the range of products being offered was getting larger, so our dealer profile was changing and we needed to emphasise those changes and not just with the people who have been dealing with us for over 35 years. We also needed a sales team that was out there knocking on other people’s doors, too.” This latter consideration comes at an important time for the industry. As the pressure on retailers to make decent margins grows and as discounters become ever more desperate, having a stable line of ‘big brand’, reliable products which aren’t being discounted into the ground starts to look increasingly attractive. Indeed, word on the street suggests that Peavey has been gaining momentum in recent months and Hunt confirms that the company is enjoying a renaissance of interest from retailers looking to find a strong supplier whose products they can make a living from selling. There is, it has to be said, another reason why Peavey needed to make some changes to the way it presented itself. Much liked in the industry it may be, but it has been hard to escape the feeling that Peavey had gone just a little off the boil in recent years. Dave Hunt has his own thoughts on the matter: “There has been some complacency in the past. I think we had got to the point where Peavey had its own group of loyal followers, which was fine, they’d order lots of Peavey, but we had to adapt our sales focus so as to take the company into the next phase. Call that survival, call it corporate development, but it had to be done.” Hunt says that the idea to change came from both the UK team and

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Meridian, but particularly from Clive Roberts. “It’s been said before that Clive has put a very different stamp on Peavey and it hasn’t happened overnight. We started talking about doing this in the autumn of 2007 and it takes a long time with a big animal like Peavey to get that amount of movement. From my point of view it was about creating a coherent team of people who would go out and say ‘Yes, I’m from Peavey and we are going to look after you and call on you every month and this is what we will do’.” SUPPLY AND DEMAND Another aspect of the Peavey operation here that needed sharpening, Hunt accepts, is the actual supply of products. A combination of increased demand compounded by inevitable China sourcing issues has resulted, according to word on the street, in shortages in some cases. “We had our fair share of supply issues as have many of our friendly competitors, mainly as a result of taking more and more products to China, but we have improved this situation by streamlining and extending our forecasting system and by increasing our presence in China – we are now seeing very encouraging results.” Of course, having taken the decision to, in effect, start again with a new sales team, Peavey then had to go about assembling it. Hunt explains what they did next: “We started with an advert in MI Pro and with that, plus word of mouth, we had something like 56 applications. We narrowed that down, saw a number of people, and those we’ve appointed have all come to us with varying levels of experience, each bringing something different to the team. “We were looking for people with tenacity and initiative to go out and do it. More than in any other business, in this industry you’re talking to people where the till in front of them and the desk it stands on are owned by them – they own and depend on the business; they’re not just buyers working for someone else. So we were looking for people who were sympathetic to sole traders and able to

Bands such as Pendulum are strong proponents of Peavey

“We wanted people who could represent what Peavey is all about – producing good value products and making the dealers profit.” Dave Hunt, Peavey

represent what Peavey is all about – which is producing good value products across the range and making the dealers profit. That has been a cornerstone to Peavey over the years. If you ask companies, especially some of the bigger players, what they make the most money on, they will tell you it’s Peavey.” Many firms have faced the discounting problem. If you ask around, the consensus among retailers does appear to be, as Hunt suggests, that Peavey doesn’t suffer as much as some of, say, the big Japanese brands. “We’ve been fortunate in that common sense has prevailed,” he comments. “I would say that part of that may have been because we probably have less than half the number of dealers that some other brands have, but that’s on purpose – it’s a ‘less is more’ thing with us and it is working.” And there is, of course, a lot more for those retailers to sell now. At this year’s NAMM show Peavey easily scooped the pool for the greatest number of new products unveiled, with an astonishing display, from serious pro audio products, through to guitars to backline – new line after new line. This is particularly unusual

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Peavey’s sparkling, brand new sales team looks set to improve dealer relationships for the company. From left to right – Mark Emsley; Rob Kerr; Ross Bailey; Virgil Lund in a recessionary climate and Hunt is keen to explain how it came about: “I think from Hartley Peavey’s point of view, he’s utilising technologies that up until recently he’d stayed away from. “If you look at the Vypyr range of amps, that wasn’t a case of ‘we’ll put some of these out and see how they go’. Vypyr was a massive project for the company and was years, rather than months, in development. That’s taken us into a lot bigger volumes of product and a lot of that technology, like the new IPR digital power amps, is going to make a major difference to the way our dealers sell – in fact the way punters perceive PA, for example. These are hugely significant products that will change the way people think about the way things are sold.” If the prospect of a small tsunami of new gear, a more sensible approach towards discounting and a brand name any musician will know still doesn’t do the trick, what does Dave Hunt feel he or his team could say to a retailer to convince him that now is the time to come on board? “Without being blasé about it, I could show you the ten or 15 emails I get a week saying ‘I would like to become a Peavey dealer’, so this is a process that is already happening out there. But if I were trying to explain what we can offer, firstly I would point out that this is a business–enhancing brand. Because of the number of years the brand has been going and because of the product quality and reliability, Peavey is something that is going to make a positive addition to your shop. “But it’s true that in one sense Peavey’s different approach is not always understood by dealers outside of our network. When we go to the MIA awards, we’re not going to be getting up every five minutes to receive an award, because there are a lot of shops that still don’t have access to the line, because they

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perceive that we don’t necessarily fit their profile. Sometimes we’re just too rock n roll for them, or our extensive catalogue unnecessarily overwhelms them.” Indeed, this may well have been one of the inhibitions that has made dealers hold back, because (whether real or imaginary) they felt that taking on Peavey meant committing a greater slice of one’s shop floor to a single brand than many might feel comfortable with. Hunt disagrees: “We try to work to an individual dealer’s circumstances. If somebody came to me and said they only want Vypyr, I wouldn’t go with that, but we will work with dealers and try to tailor our offering to suit their situation. Take PA,

representative with Shuttlesound helped focus him on helping dealers develop their sound reinforcement business. “Then we have Rob Kerr, who was with Yamaha previously and worked that elusive M62 corridor up to the North of Scotland. We’d struggled in previous years with that territory, which is a particularly difficult one, but Rob knew the dealers and he is exactly what we needed there – a very, very experienced guy who could hit the ground running. “For the middle of the country, the West and Ireland, we have Ross Bailey, who has come to us from a demonstration background – from Line 6, in fact. He’d done some sales work and also

“Because of the number of years the brand has been going and because of the product quality and reliability, Peavey is something that is going to make a positive addition to your shop.” Dave Hunt, Peavey for example, again. There can often be a fear factor at work where dealers say they don’t do much PA, but once we’ve trained their staff they find they can sell it very easily. We are good at training our dealers through long-established seminars, which are not necessarily Peavey-specific, but are proven time and time again to work.” THE TEAM EMERGES The new team will enable Peavey to work even more closely with dealers. Handling just a small territory for MI, but also covering the UK and Ireland for sound reinforcement products is Virgil Lund. “Virgil has had many years experience in music retail with Academy of Sound, which gives him insight and empathy towards our dealers. Time as a

management in the music industry, but that was only part of what appealed. He has a great background in his area and that’s kind of what I was looking to do – I didn’t want a team of five people all the same. Everyone in the Peavey team now has different qualities and experience and that’s a strength for us. “In the South and London we have Mark Emsley who, like me, had had a break out of the industry, in his case working in tour management. Before that, he worked with Arbiter for a number of years and he brings a knowledge of artists and touring with him which has been very useful. “So, if you like, you’ve got Rob, a keyboard player, Ross, a guitar demonstrator, Mark, a tour manager and

me, a drummer, also with marketing experience with companies like Cadburys and Coca Cola, plus Virgil, who’s a PA specialist and bass player – so we’re all bringing something different to the team. “It is all now really starting to gel. We have a great team on the road, we have product arriving – which I know sounds strange, but it has been a problem and we acknowledge that. But January this year was the best month we’ve had since March 2006. “What has happened in the past six months with Peavey is typical of Hartley Peavey’s attitude. When everyone is cowering in the corners saying ‘Isn’t it quiet out there?’ his approach is ‘Then let’s make it busy again,’ and the changes here are part of that. “That the company agreed to taking on three new guys with all the associated costs that go with that, in this climate, proves to me that there is a great emphasis from him personally on markets outside the US. One thing I’d come up against in previous incarnations was an American parent company making you feel like the poor relation and that is certainly not the case with Peavey. “I’m still out on the road four days a week, as I was before. I look after the top 20 accounts in the UK and I do a lot of travel with the reps, as well. It’s about making it happen and that’s a key theme for us and our dealers. One of the courses we do is called ‘retail ready’ which is really all about how to be successful in retail – get your own database, have your little black book of people you can phone, to mention just a small percentage of the content – that whole thing about covering all your bases to make sure you’re selling as much as you can. Ultimately, I find that people make that sort of positive association with being part of Peavey. That works for us and it works for our dealers.” PEAVEY: 01536 461234

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SECTOR SPOTLIGHT • BASS GUITARS

Bass in your face Keeping it tight at the low end, bass players have a wildly varied selection of instruments to chose from in what is an exciting and innovative corner of the market. Rob Power separates the funk from the fluff…

EMD A LONG-STANDING stalwart of the bargain bass for the wide-eyed beginner, EMD’s Stagg brand continues to find its way into the hands of players searching for an instrument that will look, feel and, importantly, play the part, without costing arms, legs and divorce proceedings. Take the Vintage Style J-Bass, for example: a solid alder body is home to a fine pair of Stagg JB pickups, with a maple neck adding an extra touch of class to the whole affair. A nice honey finish and you’ve got a very nice little bass, all for under £200. Keeping with the vintage vibe, the Rock ‘G’ Electric Bass, while lacking a snappy name, is a great looking beast of an instrument, based on Gibson’s everpopular rock behemoth EB3. A single humbucker on a mahogany body with straightforward controls and a suitably old-school looking cherry finish makes this an excellent sub-£250 instrument for any Jack Bruce on a budget. JHS ALSO WITH PLENTY to shout about on the more affordable side of things is JHS,

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which has three brands for us to cover in this sector. First up is the Encore E4, the entry level bass from perhaps the most widely known entry-level brand. A contoured solid Wuton body and vintage profile C-section maple neck make this another all-solid affair, and with the line having been given a recent overhaul by UK guitar guru Trev Wilkinson, these are great value at £139. Continuing the trend for ‘relic’ guitars that hold the interest of the nation’s pickers and pluckers, the Vintage Jaco Icon

Given the wide range of jobs that bassists have to do, it’s no real surprise that there’s such a diverse range of bass guitars on the market, with something for all tastes.

shape bang for buck it’s easy to see why. A solid Carolina body, hard maple bolton neck and rosewood fingerboard are joined by a pair of Antoria JB pickups, chrome hardware and a classy looking sunburst finish just to cap things off. HÖFNER THERE IS REALLY only one bass to mention when talking about Höfner and

Choose your shop’s selection of bass guitars carefully – there are a lot of good brands out there

hile ideas in the electric guitar market occasionally become stagnant, with the same old shapes and sounds endlessly repeated by designers desperately looking for a way forward, the bass has always ploughed its own oddly shaped furrow. Bass players may not be the most obviously glamorous band members – it is their job to settle the band, tie it all together, lock down the rhythm with the drummer and, most of all, bring the funk and get those hips moving, all while not taking any attention away from the singer or the electric guitarist. So, given the wide range of jobs they have to do, it’s no real surprise that there’s such a diverse range of bass guitars on the market, with something to please all tastes and budgets.

actually combines two things – a distressed guitar and a tribute model designed to emulate the look and feel of jazz fusion nutcase Jaco Pastorius. Not a bad idea for fans that can’t afford the Fender custom shop version, which is probably most of them… Finally, from Trev Wilkinson’s Fret King range comes the Esprit 4, a beautiful piece or three-piece mahogany eye candy that has that strange, almost familiar yet definitely new look that a lot of Fret Kings have. A distinctive reverse headstock and familiar J/P pickup pattern complete the package on what is a fine bass. ADAM HALL ANTORIA IS providing a steadily popular bass brand with Adam Hall, and with the best-selling Cosmos giving excellent J-

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BASS GUITARS • SECTOR SPOTLIGHT

Whether your customers have a lot or a little to spend, there’s a bass guitar out there for them

as we all know it’s Macca’s pride and joy, the violin bass. For those lacking old Sir Thumbs-aloft’s healthy bank balance, the Contemporary series of instruments includes the Club and Violin bass (put together in Hofner’s very own Chinese factory), which carry an RRP of £565 and feature the Schaller Staple pickups and an added internal centre block for pickup, as well as spruce tops and maple back and sides. Beatles completists might want to check out the German-made Cavern Bass 61 or Violin Bass 62, both exact replicas of the instruments that McCartney worked his way through as the Beatles were beginning their ascent to fame. Unlike their Contemporary Series cousins, however, these hand-built replicas, built to exacting standards by Höfner’s best, are well over £1,000. Money can’t buy you love, but it will certainly collar you one of these beauties. PEAVEY FIRST UP FROM Peavey is its best-selling Millenium range, offering affordable, active or passive rockist basses for the masses. Available in four or five string options with a number of finishes, these are an excellent starting point for those taking their first breath before the plunge into the world of the bass.

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Elsewhere at Peavey, there is the Zodiac, another rock-oriented bass that features one P-style and one J-style pickup, an eight-inch radus maple neck, all chrome hardware, butterfly tuners and a switchcraft jack. A Danny Ellefson signature model is also available, which features a solid alder body with custom Seymour Duncan pickups, a gloss black finish and mirrored pick guard. WARWICK RENOWNED FOR its work in the bass sector, as is expected Warwick has an excellent selection of quality basses. The Corvette Standard should fulfil the needs of the most demanding players, with its switchable active MEC 2-way electronics making for incredibly versatile tone control in both stage and studio settings. Available in four, five or six-string configurations, it features a Bubinga body, Ovangkol neck and a raft of high-quality Warwick hardware (all in chrome, of course) to keep everything steady. ARIA FIRST UP from Aria is a new addition, the AVB 77, designed to fit the position of a workhorse that won’t break the back every night while still delivering the punch and tone required by the picky ears of the common bass player.

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SECTOR SPOTLIGHT • BASS GUITARS

A slimline body with deep cutaways allows for great access to the double octave fretboard, while the chrome satin hardware and quilted maple top catch the eye. The light alder body keeps things light, while a set of Seymour Duncandesigned alnico JB-101 pickups provide a classic sounding and crunchy tone. The new SB1000CB is aimed squarely at the metal market and, having been modelled on the guitar played by the late Cliff Burton, should prick the ears of Metallica fans everywhere. A black gloss finish and black hardware set the tone, while Gotoh tuners and tailpieces offer tuning stability capable of taking the sort of thrashing these guitars are likely to get. Active electronics include BB low-noise circuitry and a six position Pickup Attack Mode Selector control – a key aspect of Burton’s set up which allows you to tailor the low end attack of the instrument. An Ash body provides a bright tone, while a through neck construction adds to the sustain. At £749 it’s very appealing indeed. ASHTON MAKING GREAT inroads into the starter market with the AB2 pack, Ashton ticks all the right boxes for beginners on a shoestring, throwing in a tuner, DVD, bag, spare strings, strap lead, plectrums and a manual alongside the AB bass itself for a mere £240. Meanwhile the AB800 active bass looks to corner another niche in the market, bringing a versatile guitar into the hands of players looking for that little something extra. A 22-fret maple neck, elm body with deluxe bridge and active electronics give plenty of room for tonal manoeuvre and all at a sub-£300 price point ideal for bassists looking for that all-important upgrade. TANGLEWOOD THERE ARE A few bass options available from Tanglewood, stretching from excellent value starter packs up to some rather tasty mid-range options. The Rebel bass pack includes a Rebel bass, in itself a great starter bass, alongside a wealth of

goodies including a gig bag, strap, lead, plectrums, headphone, accessories pouch and Hiwatt Maxwatt Hurricane amp. The RVB-2 Violin Bass is an excellent budget variant on the Höfner classic and features a hollow body with spruce veneer top, flamed maple back and sides, a pair of humbuckers and on/off switches for both, as well as rhythm and solo switches to indulge those mop top fantasies. RICKENBACKER WITH A HUGE fanbase of players that lust after the great looks and distinctive tone of Rickenbacker basses, these are highly sought-after guitars that are well worth saving the pennies to get hold of. The 4001 is a good place to start and, with its dot inlays, horseshoe pickup and flaming finishes, it’s only a psychedelic paint job short of All You Need Is Love. Full of retro charm, it features a fully laminated neck, striped headstock and redesigned dual truss rod system. The classic 4003 is arguably the most recognisable Ricky bass around, having been wielded by a rogues gallery of indie players, not to mention the likes of the Clash’s Paul Simenon, and is on the top of many a wish list, while finally the 4004C Cheyenne II is a sleek update, which combines a low loss circuit with high output humbuckers for a distinctive and cutting tone.

CONTACTS EMD: .........................................................................................01293 862612 JHS: ..........................................................................................0113 2865381 ADAM HALL: ............................................................................01702 613922 BARNES AND MULLINS (HOFNER): .................................(0)1691 668310 PEAVEY: ..................................................................................01536 461234 WARWICK: .............................................................+49 (0) 37422 555 3110 ARIA: ......................................................................................01483 238720 ASHTON: .................................................................................01780 781630 TANGLEWOOD: ........................................................................01937 841122 ROSETTI: (RICKENBACKER) ................................................01376 550033 FENDER: ....................................................................................01342 331711

32 miPRO APRIL 2009

As you might expect from the company that came up with the idea of the bass guitar in the first place, Fender has some lovely specimens on the market.

FENDER AS YOU MIGHT expect from the company that came up with the whole idea of the bass guitar in the first place, Fender has some rather lovely specimens on the market at the moment that stick out from the pack to the cultured eye. On the Squier side of things, there are a few really interesting models, and none more so than the excellent Classic Vibe guitars that capture some of the feeling of those period instruments without costing a fortune. For well under £400, bassists can pick up a 50s style Squier Precision, or 60s and ‘70s styled jazz basses. These are guitars that look and feel the part without coming across as too contrived, and give players aspiring to greater things a chance to get a grip on just what it is that differentiates a well-made second bass from the first plywood charmer that Dad bought from Argos. Fender has been causing some serious ripples in recent weeks with its Road Worn series, a range that bridges the gap between Custom Shop relic dreams and realistically priced realities. Scuffed and chipped and beaten up a treat, these Mexican built guitars are of an astonishingly high quality. A two tone 50s Precision as well as a 60s jazz and a 60s P-bass are all available, and to those of us who will simply never have the readies for our very own custom shop special, this series could well be the answer. Already flying out of stores wherever they appear, the Road Worn series looks like it could already be a sure fire winner for those affable chaps at Fender. Finally from Fender is the frankly funktastic 70s jazz bass, a beautiful reincarnation of the instruments of the era in the company’s Classic range. With great looking block inlays, bullet truss rods and vintage style pickups, all in all these basses scream funk, so it’s probably time to get you ‘fro out, sling on the star shaped shades and get your freak on.

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TANGLEWOOD ROSEWOOD RESERVE • MARKETING ANALYSIS

Special reserve What inspires a new product range? Sometimes as little as 100 quid, Andy Barrett discovers, as he takes a close look at Tanglewood’s new Rosewood range of mid-priced guitars…

pare a thought for the supplier and manufacturer. After years of sustained stability in the market, the credit crunch suddenly forced upon them increasing costs, wild currency fluctuations and sourcing problems that ranged from shortages in materials to the outright collapse of Chinese factories. Having honed business (broadly speaking) to efficient logistics systems, suddenly nothing was quite as clear anymore for suppliers – and all the dealers really saw were the price increases. As ever, it is the proactive and the innovators that tend to survive and over the past 20 years there have been few companies as proactive as Tanglewood. Not only has the company firmly established a brand in dozens of countries around the world, it is constantly looking at its products to see what else can be added, whether that is for models or ranges, as tweaks or innovations. In the wake of the high-end range Master Design by Sanden, which hit the

34 miPRO APRIL 2009

markets almost simultaneously with the new Evolution entry-level series, Tanglewood found itself (like everyone else) in the midst of Chinese price hikes and currency horrors, but chose to look at what opportunities these events created, rather than shoring up and hunkering down. “We decided that as our new Evolution series was still going to be available between £159 and £299 after the price reshuffles and the Premier series – our next range up – was similarly still competitive at points up to £449 retail, that we could establish a whole new line,”

Tanglewood found itself, like everyone else, in the midst of Chinese price hikes, but chose to look at what opportunities were created.

Tanglewood’s Paul Newton has high hopes for the Rosewood Reserve range explains Paul Newton, Tanglewood Guitar’s marketing director. “We gave it the provisional project title of Premier DLX and we think this is a chance to give us a terrific range of options at £500 and down, as well as providing even more sales opportunities for our dealers.” Obviously, DLX was going to be pretty close in price to the old Premier range, so the selling points had to be in components and construction. “Premier features largely natural satin, solid-topped instruments, so we decided the new range should be focused clearly as hi-gloss, with every model having a common denominator of great features,” Newton continues. These features include a premium solid sitka spruce top, American maple binding to the fingerboards, body and headstocks, decorative herringbone top binding, gold Kluson style butterbean machineheads, and a distinctive 7mm Indian rosewood inlaid rosette. “We produced this collection in every favourite Tanglewood shape, drawing inspiration from models already produced in our Sundance and Heritage ranges,” says Newton. “What became apparent during the project research of this new range was the material cost increases for sourcing Indian rosewood, which to us had always been a fairly standard guitar-making timber – albeit a luxury, if you see what I mean.

“Even with Tanglewood’s privileged position in the market, which normally guarantees us the pick of the choicest materials in timber yards, we couldn’t ensure lasting stocks, so we decided – acknowledging that rosewood at the price point targets we needed was a very finite resource – to make this the central marketing hook, hence we found our new series’ name: Rosewood Reserve.” The company then plumped for a matched laminate rosewood for the back and sides that would extend the model life of the new range significantly and incorporated the spruce soundboard, which meant that acoustic tones approach those in Tanglewood’s higher retail price points. Thus the Rosewood Reserve series was born, in 23 different versions, at retail price points beginning at £299 and climbing to £399. “At a time when many are looking merely to maintain guitar sales, we are still hoping to grow them where possible and we feel it’s important to arm our customer base with as many engaging sales options as possible,” concludes Newton. “Some consumers will be happy to pay £559 for an all solid wood TW45, satisfied that the sound will get even better over the years. At the other end of the spectrum, some will see an Evolution model with a similar body shape to the TW45, but differing in specification at £259 as a good match for a stricter budget. “In between those models, we have the Premium natural satin finish TW145SC at £349 retail with single piece necks and select red cedar solid top, which has proved immensely popular, so Rosewood Reserve will now give us and our customers another clear model option. In the TW145 body shape, Rosewood Reserve has the TRSFCE in two colour options at £359 retail, helping dealers match specifications and price to their potential customers budgets.” The Rosewood Reserve series has proved extremely popular in its initial runs as end users increasingly look for quality and value together – just one of the previous simply won’t cut it with many players any more. To top off the value for money label, Tanglewood is also shipping the Rosewood reserve series with specially priced SKB hard cases (worth over £100) at retail. TANGLEWOODGUITARS.CO.UK

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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…

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SPARROW’S FLIGHT • MARKETING ANALYSIS

The Sparrow team with founder Billy Bones (centre)

A Sparrow in the works Ashton’s new guitar line screams retro rockabilly cool and has already proven a hit with dealers and players alike. Rob Power straps on his motorcycle boots to find out more…

aking on a new guitar line can be a tricky business; with hundreds of manufacturers jostling for the attention and all those different designs, innovations and ideas to catch the eye, it can be a long, slow process for distributors looking to expand lines with something a bit different from their usual product range. For Ashton, there was no such trouble and with its new line of Sparrow guitars the company looks set to prove it can bring a bit of rock n roll to the market at a price that musicians can actually afford. Based in an old greetings card factory in Vancouver, Sparrow Guitars is headed up by designer and luthier Billy Bones, with the manufacturing team consisting of a small but select family of regularly gigging musicians looking to put together guitars that not only look the part, but can perform at a level that can satisfy even the hardest working muso. This is a key theme shared with Ashton – quality at an affordable price. It’s easy to see why the two are compatible, and the ripples that the company was making in the US market, alongside a NAMM award for 36 miPRO APRIL 2009

best in show 2007, made Sparrow an opportunity that was too good to pass up for Ashton. The designs are inspired by all that screams retro rock n roll cool – hot rods, motorcycles, pinball machines, tattoos, the whole nine yards – and Sparrow instruments certainly stand out. “We only really introduced Sparrow into the UK market at the end of 2008,” says Ashton brand manager James Dove. “It was

Ashton, spreading the word that Sparrow has hit the UK, with a campaign that has been dreamt up to provide not only increased dealer support, but also a marked raise in the profile of the brand on these shores. “We have been working closely with our Canadian friends in order to provide more support to our dealers,” continues Dove. “There will be great looking point of sale materials and merchandise, and we

The designs are inspired by all that screams retro rock n roll – hot rods, motorcycles, pinball machines, tattoos, the whole nine yards. quite a gentle launch, but in 2009 we plan to get fully behind a product we have absolute 100 per cent faith in. The number of Sparrow dealers has more than trebled in 2009 and we have also received some fantastic reviews, which have helped generate a great buzz around the product.” Dealers can now look forward to a marketing blitz from

are taking a more innovative marketing approach towards the brand, as well as launching its own UK website. “Due to our great relationship with Sparrow in Canada, they have also been extremely receptive to all the feedback we have received from our dealers,” adds Dove. “We are now looking to introduce some new models to the Sparrow family, such as an SG type and a new Cherry Burst RatRod. We are also exploring the possibility of introducing some limited left handed editions, although we won’t be going too crazy with new designs as we believe it is important to try and keep the

models we offer as refined as possible so as to never compromise on the quality. Importantly, we have also managed to avoid any price increases since we launched Sparrow at the back end of 2008, which is not something too many manufacturers can claim.” So with dealers on the rise, prices staying affordable and the guitars themselves looking and playing like the sort of instrument any aspiring rock n roller would love to get his hands on, Ashton seems to have struck gold. LIMS planning is well underway, with Sparrow to play a large part in the company’s strategy and, with an active interest in expanding the dealer base and establishing Sparrow in the UK market, we can expect to be seeing a lot more of these guitars on our shelves. ASHTON: 01780 781630

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AMP HEADS • SECTOR SPOTLIGHT

Heads up

The message has to be ‘if you want to get a head, get down your local MI store’, Andy Barrett takes a look at the amp market...

lot of time and column inches are spent talking about guitars – about tone, feel, sustain, pickup combinations, bridges and nuts and, above all, woods. Whole libraries of books have been written about the sexy side of slinging an instrument over your shoulder and finding that all-elusive ‘personal voice’. Strange, then, that comparatively little has been written about the amplifier, particularly as a rubbish guitar through a great amp will sound more or less okay, while a great guitar through a rubbish amp will sound rubbish. The guitar is important, but needs the right kind of reinforcement. Also, why would anyone these days want to buy an unwieldy amplifier and accompanying speaker cabinet, when pretty much the same sounds can be found in a good 2x12 combo? There are three elements to consider. First, power. While good combos can punch out 200 Watts or more, heads can go a lot further and with a big 4x12 cab (or even two of them) the more important SPL figure can be upped considerably. Second, with the extra power comes a lot of headroom and sturdiness. Amps like this are intended to go on the road and are built accordingly. That headroom also makes it possible to achieve good volumes for clean, non-overdriven sound and when that overdrive kicks in there are never any problems of cutting through the other instruments to take the lead. Third, the plain and simple fact that an impressive stack works wonders for the phallic insinuation so vital for so many styles of rock music. A stack looks cool. For the dealer, it is a more complex road to tread. Big selling amps tend to come from the bigger companies, which means dealer agreements can be pretty stringent and margins pressured. So-called ‘boutique’ amplifier brands might have margins to suit, but can be a harder sell. There are bridges between the extremes, with starter heads on the market and smaller operations bringing in carefully controlled Asian models, as well as the big boys such as Marshall, Orange and others including Far Eastern-manufactured products to take their ranges from pro down to entry levels. A beginner or a pub band may not need a full-blooded 100-Watt or more amp and cab – but there’s no getting away from the fact that axemen love having a stack behind them when they strut their stuff.

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SECTOR SPOTLIGHT • AMP HEADS

MARSHALL DESPITE THE attempts of many, one name still sticks out when it comes to the amp/cab stack, namely the company that invented it. Since The Who first appeared with Marshall heads atop two 4x12s and Hendrix and Cream took the format out into the world, guitarists all over have vied for bigger and louder sounds, fronted by that wall of cabinets behind them (many, of course, are dummies for the look alone) and Marshall has been only too pleased to provide the goods. Whether the JTM, JVM, JCM, the Vintage Modern, DSL, TSL, Vintage, Handwired or Mode Four, Marshall has accumulated a bewildering range of heads that can do pretty much everything anyone might want to do with an electric guitar. The company has the heritage of the classic amps that effectively changed

the sound of rock n roll, but has continued to plough resources into R&D to keep on top of the hill it created. The latest offering from Bletchley is the MG4 series, launched at this year’s NAMM show. It includes one head, the MG100HFX, which brings the aspirational element of Marshall and its very best sounds to a whole new market, with the amp and a dedicated 4x12 ringing up a mere £600 (or less) on the cash register. The power is there, of course, but this solidstate amp goes a lot further, including Marshall’s Stompware technology, which provides a programmable bank of effects. On top of that, the MG head has the proprietary Frequency Dependant Damping technology, which replicates the interaction between an all-tube amplifier and the loudspeaker. The sound is very Marshall, but the accessibility for more modest budgets is unprecedented.

MESA BOOGIE ANOTHER AMP company with a heritage dating back almost as far as the Queen (that’s Her Majesty, not the band of the same name) is the great American pretender, Mesa Boogie. Well, after 40 years, pretender is probably a bit harsh, as Mesa has established itself as one of the amp greats in the world. To celebrate the 40-year landmark, Mesa Boogie has introduced the Mark Five head, which combines attributes from many of Mesa’s classic amps. The Mark I gave the world some of the highest gain ever seen at the time with its cascading preamp, while the Mark II was the first high-gain, dual mode channel switching amplifier. The Mark III took it all to three channels and the Mark IV added to the individual control. The Mark Five is the embodiment of the last 40 years of this Mesa Boogie history. There are three channels for three footswitchable sounds and beneath each set of controls lie three more distinct modes, responsible for the voicing of each channel. In some cases these voicings are related by style and create musical differences within a gain structure and sonic theme. In other cases, both gain and eq are radically altered to achieve drastically different sounds – yet these sounds appear on the same set of controls. There’s a lot for the tone geek to get his head round – months of fun. And with Boogie on the face plate and Westside behind the brand in the UK, this one will make waves. PEAVEY PEAVEY HAS been very busy in the head department over the past few months and swathes of new amps were on show on the company’s stand at NAMM. The massively popular Joe Satrianiinspired JSX series continues with the JSX

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50, an all-valve 50-Watt head with five 12AX7 preamp valves and a power amp that is switchable from Peavey 6550 valves to EL34. This is an ideal head for someone looking for the variety and extremity that the original JSX head offers, but with more manageable levels for smaller gigs. Then there is the 3120, a 120-Watt head, again with switchable valve operation (EL34 or 6L6GC), three channels – a real rocker’s amp, in look as well as sound and at a price that will appeal. Of even more appealing price is the latest addition to the youngsters’ Vypyr series of modelling valve amps using the Trans Tube technology. The new Tube 120H is, obviously, a 120-Watt head that contains 24 amp channel models, 11 stomp box and another 11 rack effect models, with pre and post-gain control, as well as an on-board looper, tuner and MIDI I/O. Bang for your buck indeed. ORANGE ANOTHER STALWART of the British amp scene and another big name that has recently celebrated 40 years of manufacturing the noise boxes for guitar slingers – not to mention the Queen’s Award for Export – Orange has more on offer than ever before. With an onus on keeping it simple and matching an amp to a purpose, Orange has looked to fill gaps in the market, rather than try to cover every single option. The results are often very exciting – as with the Tiny Terror. This little metal box has caused such a stir that at least two other makers have come up with compact, high powered metal box designs. The Terror is an all valve, 15-Watt head, with a two-stage preamp and a big tonal range from just three controls. When driven, this little amp has almost as much

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SECTOR SPOTLIGHT • AMP HEADS

gain as some four stage lead channels. At mid-gain settings, this valve head has masses of character and its portability makes it perfect for pub and club gigging or rehearsing. It can also switch from 15 to seven Watts for studio use and recording. Furthermore, it comes with its own padded travel gig bag. For further angles on the Orange range, check out the Rockerverb, Thunderverb and AD series amps – not to mention the 40th anniversary models. KUSTOM THE KUSTOM Quad stacks set something of a precedent with the introduction of the Quad Junior, a 100-Watt head, fully loaded with eight, 24-bit effects, as well as two channels with four preamp modes, but, for their £499, punters will get the whole half stack, with a 4x12 Celestion loaded cab. Serious value for money. A step up from the Junior is the Quad 200 digital head, with (of course) 200 Watts of power for a similar set of features as the Junior. The 200 is also voiced for what the blurb describes as ‘classic distortion response in high gain modes’. With the dedicated cabs retailing at £299, players can still get a beefy half stack for under £600. Taking a swing out to the left field, Kustom also has the Wav 1000HD head, a 260-Watt stereo, hybrid amp with four preamp modes, some 45 effects and four memory patches for selection of entire amp settings. It looks different and sounds different, so the traditionally conservative guitar buying public will not give it much of a look, but the more adventurous will be keen to try. STAGG Now very much the perennial starter brand (although EMD is taking the brand further up the price scale all the time) Stagg has an interesting amp to offer in the shape of the 250GARH Big Head, a basic, 250-Watt (if 250 Watts can be basic) solid-state, two-channel amp. There are many that will turn their nose up at the name Stagg being associated with guitar amp heads, but with a sub-£300 price tag, there are a lot of young rockers out there that will be drooling at the prospect of having so much power so cheaply.

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ASHTON The pretender to the entry-level brand crown is the Aussie-designed Ashton range. Ashton has made staggering inroads into the UK market over the past two years. As with Stagg, there is a guitar head in among the gear, in Ashton’s case the Bluetongue 100H. This is an all-valve amp, giving 100 Watts of power, through seven 12AX7, 12AT7 and 12AU7 preamp valves (over two channels) and four EL34 power valves. This is not one for the snobs, but beginners will be delighted at the prospect of getting their hands on something so seemingly professional for so little.

The Bluetongue 100H is not for the snobs, but beginners will be happy to get it for so little. HAYDEN HAYDEN’S PIÈCE de résistance is the handwired Speakeasy head. This versatile 50Watt valve amp is well-equipped for the modern stage or studio, being configured in the classic British style with two channels and two separate signal paths ahead of a shared tone shaping stage. This provides control over presence, bass, middle and treble. Channel 1 features a valve driven spring reverb and a gain range that moves from clean into a light crunch, while channel 2 offers considerably more gain, ranging from medium crunch to full overdrive, stopping short of full saturation. Like other Hayden amps, the Speakeasy provides guitarists with the facility to prefilter the input stage to match the guitar. Vintage single-coils can be beefed up or over-aggressive humbuckers tamed according to taste. For the guitarist on a budget, the Hayden Peacemaker is a worthy consideration. It draws on the designs of the handwired range and, unlike many Class A amps, the Peacemakers have two channels. One is for vintage tones and the second takes Class A sound and turns it into a modern, high gain and very usable guitar sound with plenty of dynamics. Although vintage in character, all the Peacemakers feature built-in reverb and

digital chorus, a channel 2 boost facility, an effects loop and switchable dual master volumes to create versatile amplifiers. HIWATT THE HIWATT Hi-Gain series features the Hi-Gain 100 and 50 heads, which in turn have the same circuitry as the highest end Hiwatts, the Custom series. Channel 1 is the clean one, with a bright/normal push/pull selector and channel 2 brings in the big bottomed distortion. There are also the Hi-Gain Ser heads, which are the same as the previous, but with Accutronics reverb, FX loop and amp mute, the latter of which allows for standalone preamp use with the amps speaker emulation circuitry. In the Custom series, Hiwatt has no fewer than five heads, the Custom 7, 100, 50 and 20 and the Studio Stage. This range offers a veritable panoply of sounds, with handwired circuitry and a choice of lots of overhead (the 100) or masses of easily accessible crunch (the 7). With lots of British bands flying Hiwatt, more people than ever are digging through the boxes to find them. RANDALL TOUTING THEM as the ‘most versatile allvalve heads on the market’ Randall’s MTS range of heads is headed up (sorry) by the RM100, a 100-Watt amp with three independent modular channels that can be loaded with any choice and combination of

the available tube preamp modules. The beauty of the system is that there is a choice of 12 modules, so guitarists can mix and match to find the right clean, driven or hi-gain sound. Power valves can be picked and chosen, too, giving valve geeks a chance to experiment and the bias section allows users to pop-in and bias a new set of tubes in just a few minutes. The amps are also MIDI compatible and ship with a MIDI footswitch, allowing the amp to be connected to any MIDI effects rack. For the metal heads, Randall also makes the Kirk Hammett signature amp, the RM100KH, with three custom preamp modules and MIDI to boot. AND NOW FOR THE REST... WE’RE OUT OF space, but the list goes on and on. Vox, of course, has the AC30HH head from the Heritage series, and there’s Line 6 with the popular Spider III modelling heads and Cornford’s MK50H or the monstrous Hellcat. Then Laney has the classy L20H in the Lionheart series and the powerful VH and GH 100s in the Tone Machine series. There are also thousands of smaller brands. One is the Swedish Elmwood brand, handled in the UK by Richard’s Guitars. Elmwood heads include the M60 and 90 heads and the Bonneville – all classically styled, but offering tonal subtleties that are just sitting and waiting for discerning guitarists to discover them.

CONTACTS MARSHALL ...............................................................................01908 375411 MESA BOOGIE (WESTSIDE) ..................................................0141 248 4812 PEAVEY ....................................................................................01536 461234 ORANGE ................................................................................020 7240 8292 KUSTOM (JHS) .........................................................................0113 2865381 STAGG (EMD) ...........................................................................01293 862612 ASHTON ....................................................................................01780 781630 HAYDEN ...................................................................................01245 4411155 HIWATT ....................................................................................01302 330429 RANDALL (SOUND TECHNOLOGY) ....................................01462 480000 VOX (KORG) .............................................................................01908 857100 LINE 6 ......................................................................................01327 302700 CORNFORD .............................................................................01227 280000 ELMWOOD ......................................RICHARD@RICHARDSGUITARS.CO.UK LANEY .....................................................................................0121 508 6666

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PROFILE

I WOKE UP THIS MORNING MARTYN BOOTH Owner, Martyn Booth Guitars

Once his emails are checked, anything could happen while Martyn Booth is at work. The boutique luthier tells us about his day...

y days are pretty varied really. I can get in to work anywhere between half past eight to half past ten, and that depends on my kids more than anything – I’ve either got to drop them off at a station or a college or a school – so I work that out with my wife. It’s not often we have to be here very early, unless there’s pressure on, so I get in at around half past nine most days. I’m a local councillor as well, so I go through my council emails sometimes before work. I’ve got a lot on, so it can get pretty hectic.

I could be up to my ears in sawdust one day and talking to a customer the next. I’m involved in every aspect of the business. Once I’m in the office, the only structured bit of my day is checking the telephone messages and emails when I first get there. After I’ve discarded three quarters of my emails as spam, the rest of the day just depends on what I’ve got to do. I could be up to my ears in sawdust one day, or I could be clean and talking to a customer the next. I’m involved in absolutely every aspect of the business. I could be cutting a neck tenon, radiusing a fingerboard, doing some inlays, wiring, WWW.MI-PRO.CO.UK

setting up a guitar, anything. Because it’s such a custom-built operation, there are many different sections that I can get involved in on any particular day. Equally, I could have woken up in the middle of the night with an idea – I tend to do silly things like that – so I could be in here first thing trying to develop an idea. That happens less often these days, as the push is always on to get the guitars built. We have a team of four or five people that we use on more or less a part-time basis, so we have a small team. There are four or five in production terms, with only myself on it full-time, and then on the admin and running things side there’s Nigel and one other part-time guy. He does the admin and sales stuff – generally keeping the thing running – and we have to liaise closely on things like ordering, what parts we’re going to use, where we’re going to source them from, that sort of thing. We’re both involved with sales and Nigel tends to look after the website and marketing, but when it comes to dealing with customers I like to do a lot of that as well, so we’re both there. Because the guitars are so individually made, when I talk to a customer on a one-to-one basis, we’re essentially talking about building his dream guitar. There are so many options available that there is quite a lot to talk about. It’s great fun – I’ve been messing about with guitars for 47 years, from when I first started tinkering about as an 11 year old, and I’m just as passionate about the instrument today as I was then.

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PERSONNEL

Numark scoops Paul Daniel Wright Former Line 6 man appointed as VP of sales and marketing NUMARK HAS announced the expansion of its European management team with the addition of Paul Daniel Wright as vice president of sales and marketing for Europe, Middle East and Africa (EMEA). Wright is an industry veteran who has driven international sales operations for iconic musical instrument companies such as Line 6, Marshall Amplification, and Studiomaster. Prior to joining Numark, Wright was the international sales director for Line 6, where he was responsible for all international business operations, excluding North America. During his tenure, he successfully developed the Line 6 global distribution business that is in operation now. Earlier in his career, Wright held several positions at Marshall Amplification. Starting as UK sales manager, he ultimately led all non-US operations as sales and marketing director. He grew the company’s revenue in the international sales region two-fold and oversaw direct and channel sales, marketing, and operations.

WRIGHT: Highly motivated “Paul is a highly self-motivated individual with a strong commercial acumen. He is driven to succeed in an increasingly competitive but expanding market sector. We are excited to have him join our team and provide our customers the highest level of support,” commented Numark Alesis Akai’s president and CEO, Jack O’Donnell. NUMARK ALESIS: 01252 341400

New agent selling folk to Scottish folk Former retailer joins Gremlin as agent and takes on two other ‘southern’ suppliers to increase awareness north of the border GREMLIN HAS appointed Kenny Kerr as its sales agent for Scotland and the north of England. Johnson, who began working as a free agent for a number of suppliers north of the border at the beginning of March, was running his own MI retail outlet, Folk Revolution in Glasgow until recently and is thus seen as an ideal rep for the Sussexbased folk specialist. “After closing the store, I really wanted to stay in the trade, so selling for Gremlin seemed the best way to use my specialist knowledge,” explained Kerr. “Also, when you are starting out in a role like this, it is good to have the security of a big name behind you. Gremlin gives me this, so I’m really pleased to be representing them.” His region for Gremlin reaches as far south as York. Among immediate tasks for Kerr will be the new guitars and mandolins from Gremlin’s newly sourced Vietnamese factory, of which the supplier has recently taken its first major shipment.

These instruments, under the Ashbury brand, have all been designed by the Celtic luthier, Phil Davidson and include standard and deluxe mandolins, octave mandolas, citterns and bouzoukis, as well as solid rosecherry and solid koa ukuleles and the rosecherry Ashbury tenor guitar. Prices range up to the £500 mark. Kerr will also be on the road for Tony Wescott’s Damn Fine and the Indie Guitar Company. “I’ve taken on these lines and I hope to be able to raise the profiles of these excellent brands in Scotland.” Kerr can be reached on his mobile (07515 676635) and by email (Kenny@stringsmusic.co.uk). GREMLIN: 01903 203044

Hunt joins Playmusic Magazine picks up new ‘old’ face for new sales position as Bryant turns focus on to publisher’s running magazine PLAYMUSIC PICKUP magazine has recruited Wharfedale’s former UK marketing manager, Jon Hunt, as its new advertising sales manager. Hunt has joined the Playmusic team alongside editor Tim Slater and designer Tony Andrews, while the company’s former ad manager, Nick Bryant, is stepping back from the MI title to oversee the running of Playmusic’s new sister publication, Running Free, a hobbyist magazine for runners. Hunt has a solid track record in MI, having worked as a sales executive for MI Pro, as well as being the assistant sales manager for MB Media’s range of titles, including Drummer and Guitar Buyer. “It’s great to be joining the Playmusic team,” said Hunt. “I worked with Tim before when we were both at MB and knowing he was here backed up my instincts that Playmusic is a magazine with massive potential.” Slater was equally enthusiastic about Hunt’s appointment. “From the moment Jon joined he made a significant contribution to the magazine and I am looking forward to working with him to develop Playmusic into a well-rounded magazine that appeals to the widest possible range of music fans,” he commented. “Besides which, we are also

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HUNT: Playmusic has massive potential working hard with the MI industry to illustrate Playmusic’s potential as an important sales tool.” Stand First Media’s Nick Bryant added: “Jon's a well known face within the industry, already bringing in new advertisers and ideas to the title as well as ideas for growing the online version of Playmusic. We're really pleased to have him on the team.” STAND FIRST: 01892 533456

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the trust network G e t t i n g

D r e a m s

M a r k e t

•PREPARING PRODUCTS FOR GLOBAL SALES •BUILDING GLOBAL SALES •TRAINING FOR DISTRIBUTOR FIELD SALES TEAMS FRANKFURT CONTACT NUMBERS: + 44 751 570 2812 • + 44 770 456 3242 www.thetrustnetwork.com THE TRUST NETWORK LTD • SHA-TIN • WHITE HART DRIVE • MACHEN • CAERPHILLY CF83 8NH UK E-MAIL: INFO@THETRUSTNETWORK.COM • TEL: + 44 1633 441361 • FAX: + 44 1633 441510

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RETAIL NEWS, OPINION, DATA

NEWS

NEWS Pet Sounds in Kelso had a surprise visitor – none other than Slowhand

INDIE PROFILE Jan Akkerman picks a PJ Eggle – and the luthier expands dealer network

Salop Music Centre sees sales down slightly, but remains optimistic

Music Notes hosts Norton workshop Liverpool retailer opens the floor for composer to espouse the need for contemporary music for modern kids in education MUSIC NOTES, the Liverpool MI retailer and sheet music specialist, held a special workshop featuring Boosey & Hawkes’ top in-house composer and educator, Christopher Norton on March 2nd. The store, situated a short walk along North John Street from Liverpool’s new Liverpool One development, prides itself on its comprehensive print stock, as well as a significant shop floor of folk instruments, digital pianos and guitars, but also places education high on its agenda. It was to this end that the store’s owner, Lawrence Albrighton, invited Norton to present the thinking behind his new American Popular Piano series. The series came about after Norton discovered that as many as 65 per cent of piano students drop out of lessons before their third year of study and that boys in particular were giving up playing by the time they reached 12 years of age. Despite the plethora of reasons given, such as sport and homework competing for free time, Norton became increasingly aware that pupils could not relate to the music they were being taught. “Bach did not teach his sons music that was 100 years old, he taught them pieces from contemporary composers, musicians they could relate to,” explained Norton. “So why should modern pupils be treated any differently?” As a result, the new tutorial books encourage students to develop their skills through music in contemporary, popular styles and motivates them to practice by working with familiar music, nurturing their creativity using improvisation and helping them to enjoy regular ensemble playing. This is the culmination of several years working in a precisely this direction for Norton, who has won acclaim from music teachers for his Microjazz and Microstyles books, among many others, which have become staples of the Associated Board’s jazz syllabus.

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Shop floor turned seminar room (above) Lawrence Albrighton (right) and Christopher Norton (far right) “With such a foundation, students soon find they are developing a deep, lasting relationship with music,” he concluded. The four books (Repertoire, Etudes, Skills and Technic) offer students modern compositions that they are familiar with and that mirror the sort of music they listen to every day. The Repertoire book includes a CD for use with both it and the Etudes volume and is aimed at developing improvisational skills from the beginning. Norton’s warm and engaging style of presentation quickly won the small audience over, as he combined his talk with many of his own pieces, firstly solo and then with one of his backing tracks to demonstrate how quickly students can progress to a performance level. His readiness to include the audience made him a lot of friends and by the end of the session most were queueing to buy his books and have them autographed. Afterwards, Albrighton pronounced the workshop a great success and said that he looked forward to including more workshop-based activities in the future.

“Bach did not teach his sons music that was 100 years old, he taught them pieces they could relate to.” Christopher Norton

He has recently opened a new teaching and practice room at the store, which is available to hire for music teachers looking for a city-centre base and he revealed that he is always looking for new ways to benefit the musical community of Liverpool and beyond. “As an independent store, I am able to develop new ideas quickly and I am always open to suggestions and ideas from customers as to what they feel would be helpful to them,” he said. “As a result of this, despite the current financial climate, Music Notes has been going from strength to strength.” MUSIC NOTES: 0151 227 9836

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RETAIL • NEWS

Clapton’s Pet Sound Surprise customer for Scottish retailer is dream come true PETE GILLESPIE of Pet Sounds in Kelso had something of a shock when none other than Eric Clapton walked into his shop looking for a guitar. It turned out that Clapton had been spending some time fishing on the River Tweed, under the supervision of the estate’s ghillie. The ghillie revealed he wanted to buy a guitar and Clapton offered to help him choose one, so off the two went to Gillespie’s Pet Sounds (which also doubles as the local pet shop).

“You can imagine my shock,” said Gillespie. “On my Myspace page, I listed Eric as the person I would most like to meet and here he was in my shop.” Clapton tried out a few guitars, finally recommending a Sheridan BL 350 CEQ, which for obvious reasons left supplier P&R Howard pretty chuffed, too. It alerted the media, including BBC Radio Scotland, which also ran the item. PET SOUNDS: 01573 225097 P&R HOWARD: 01355 236621

Give ‘em a (slow) hand, Clapton (left) and Gillespie

Patrick James Eggle signs World Guitars New retailer and new endorser for British luthier PATRICK JAMES EGGLE Guitars has signed up the boutique emporium World Guitars as part of the luthier’s exclusive UK retail network. The association, it transpires, goes back many years to when Eggle himself still hoped he would play guitars for a living, rather than build them. World Guitar’s owner, former Machine Head owner, Jeff Pumfrett, confessed that he couldn't recall the young Eggle hanging around his shop, but almost certainly would have kicked him out for loitering without a credit card. Today the situation is entirely different. “Jeff told me he loves my guitars,” said Eggle and the rest was dealt with over a civilised cup of tea. He added that he felt World Guitars to be “the ideal forum for my guitars, presided over, of course, by judge Jeff.” Patrick James Eggle Guitars has also revealed that it has built a guitar for its latest endorser, Jan Akkerman.

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AKKERMAN: acoustic pyrotechnics on an Eggle

Akkerman has become something of a Dutch national treasure and while many will recall his ‘Greatest Guitarist in the World’ accolade from the seventies for his electric playing with prog rockers Focus, his acoustic pyrotechnics are said to be equally astounding. The resulting instrument is a Saluda cutaway model, built from reclaimed Brazilian rosewood and featuring Eggle’s distinctive falling maple leaf inlays. Akkerman will be at LIMS this year. PATRICK JAMES EGGLE: 01691 661777

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SEE US AT FRANKFURT MUSIK MESSE HALLE 4 BOOTH C70

RETAIL • INDIE PROFILE

stay in the black - SALOP MUSIC CENTRE invest in gold

Nexus Electric Guitar Strings Black Polymer Coated Wounds Gold Series Plains Available in two popular gauges

SPECIAL LIMITED INTRODUCTORY OFFER

FREE ROTOSOUND KEYRING WITH EVERY SET PURCHASED

SHREWSBURY

Is business up or down on this time last year? Slightly down. Anyone who isn’t, is bucking a trend. Some areas of the store are up. Digital Pianos and Keyboards especially, but in this current climate we’re doing okay.

What is the most important lesson you have learned during your time in the business? There are a few. Keeping the right stock levels is most important and also getting good enthusiastic staff is a must.

Do you advertise locally? Yes – on the local radio stations and in the local papers and magazines, as well as the Yellow Pages and so on. Whether it does any good remains to be seen. Do you have a web presence? Yes: www.salopmusic.co.uk

What is the biggest challenge facing you today? Convincing customers to buy locally and not off the internet. To come to a shop and try a product and get good advice surely has to be the way to buy. Cheapest isn’t always the best option, as some of our customers have found out.

What is your main strength? Having a 9,000sq ft store which caters for every musical need from musical instruments, sheet music, DJ and lighting to car audio, hi-fi and televisions, along with 34 years of trading. Also, having experienced and knowledgable staff in all departments is a great help.

Given the power, what one thing would you change about the industry? Pricing. It will never happen but if companies like Gibson could make everyone sell the product at the same price, it would be great. Then I think people would shop locally a lot more, because they’d know they can’t get it cheaper elsewhere.

FACTS & FIGURES

into the music www.rotosound.com www.myspace.com/rotosoundmusicstrings

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Address: St Michaels Street, Shrewsbury, Shropshire SY1 2DE Phone: 01743 364111 Owner: Mr Andy Rowley Established: 1975 Employees: Ten Best selling lines: Yamaha, Gibson, Fender, Line 6, Marshall

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ANTIPODEAN CLEAN AND ECO-FRIENDLY REEDS SHOW THE WAY... Razzco is the new registered company name of Reeds Australia which has marketed its products worldwide for nearly a quarter of a century. Originally known as a small 'boutique' brand, it is now under the management and overall control of Peter Handsworth, a well known Australian and international clarinettist and music educator. Razzco is now seeing exciting changes and innovations. The range of Vintage and Vintage XL reeds have grown over the years and continues but with the key change of name to Razzco comes the introduction of a sub-brand called RAZZ - an economically priced reed suitable for players af all levels. RAZZ reeds are available in strengths 1.5 to 3.5 and are made for Bb Clarinet, Alto Sax, and Tenor Sax. A further pro-style clarinet reed named 'Passion' came to the market during last year. Developed again with all players in mind with a new cut on a tapering body based on the popular Vintage XL but 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.

Vintage and Vintage XL are now well enough known not to need description, and are used by well known jazz and classical players, Alan Hacker and Tony Coe being but two examples of UK artists who enjoy using these Razzco products and lend their name to them. More pro players are converting to these reeds as time goes by. RRP's (inc VAT) are: Passion Clarinet £24, Vintage XL Clarinet £21, Vintage Clarinet £18 (German Cut £20) Vintage Soprano Sax £18, Alto £21 and Tenor £14. RAZZ Reeds are: Clarinet £9.50 Alto £10.00 and Tenor £8.50. All Clarinet and Alto Reeds are in boxes of 10, Tenor in boxes of 5. Razzco cane is selected and organically grown, seasoned and processed in South Australia using traditional French methods. The products are truly 'green' - two years in the growing followed by maturation of two to three years in the fresh air. Products are truly 'green' with no chemicals used in either growing or manufacture.

10% OFF ALL ORDERS PLACED AT MUSIKMESSE FRANKFURT NORMAL TRADE DISCOUNT AND GENEROUS SETTLEMENT

UK TRADE DISTRIBUTOR & WORLD EXPORT AGENTS David and Louise Leed • Leed Representation • PO Box 33 • Emsworth • PO10 8YS Email: davidleed@eprimus.co.uk • Phone: 01243 378050 • Fax: 01243 378057

Visit us at Musikmesse & Prolight+Sound • Hall 1.1 Stand B07 (with Helin)

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MIA NEWS an update from your industry trade association

Your industry and your show Plans for this year’s LIMS are gathering steam. The MIA outlines its ideas for the show and what we can expect...

e want to update you on London International Music Show developments and to highlight the exciting plans we have in place to showcase the world of music making to the general public. Because the show is owned by the industry, the money made by the event will go back into the industry. In a similar thinking to NAMM, the idea of LIMS is to: Showcase the music-making industry. Inspire more people to start playing an instrument. Reinvest any show profits back into music-making initiatives and programmes. The more the show makes, the more: ‘Learn to Play’ activities we can take to schools and shows. We can lobby government on issues such as the importance of learning music at school, legislation issues, support for the UK export market and so on. We can support charitable activities, such as our Teaching in Prisons scheme. We can support major music-making organisations, such as Music for Youth. Weekend Warriors programmes we can run. Materials we can produce such as the new guide on buying a quality instrument. We now have an ever-growing list of exhibitors in the Main Halls and the Retail Village and will update websites as we go. Trade website (and registration): www.lims09registration.com Public website: www.londoninternationalmusicshow.com

56 miPRO APRIL 2009

We have confirmed promotions with Tesco Clubcard, which are already live and will be sent to over 14 million households. Network Rail will also be running a promotion with LIMS and it will distribute over three million leaflets detailing its two-for-one campaign, which is promoted via TV, radio cinema, door-drops, leaflets and posters reaching multi-millions of train users.

PUBLICITY AND PR UPDATE The recent announcement of the strategic partnership between LIMS and Future Publishing saw the marketing campaign for this year’s show given a huge boost, with the publisher throwing its full weight behind the exhibition. The new partnership sees Future providing unprecedented publicity, utilising its full music portfolio of magazines including all guitar titles, Rhythm, Future Music, Computer Music, Classic Rock and Metal Hammer. This promotion and publicity includes providing full page adverts, news coverage, editorial previews, competitions and e-newsletters. There will also be extensive involvement on the Music Radar website, with a special campaign including web banners, links to the show website and high profile news stories. Building on the success of the Sound Recording Technology (SRT) Hall last year, partnered and supported by Sound on Sound magazine (SOS), 2009 will see LIMS

and SOS working together again to attract bigger audiences through a campaign of advertising, e-shots and editorial. The magazine is again pulling together a fantastic £20,000 prize to run a major competition. New media partners include Stuff, the world’s best selling gadget magazine, which will be running a major competition and extensive editorial coverage, including show preview and e-shots to support its Innovation Stand at LIMS. We have already seen far reaching worldwide online coverage of the Steve Vai story and, with the help of the MIA and exhibitors, major competitions have been finalised in key music publications including Q, Mojo, Rock Sound, Kerrang, Playmusic Pick-up and many more.

WORKING LOCALLY We are working closely with ExCeL and local councils Tower Hamlets and Newham to attract local residents with newsletters, leaflets, posters and web-listings. Over 50 regional papers have confirmed promotions and ticket offers to run leading up to the show and we have implemented a social networking campaign on forums and are running pages on Facebook, Myspace, and other networking sites. In addition, we are individually contracting every exhibitor to enlist their support to help drive their customers to visit the show. Incorporating the LIMS logo on advertising, websites, emails, invoices and e-shots will all help to raise the profile of the show and attract loyal customers. Companies planning promotions, artist signings, show cases and product launches will help to build the buzz and we would ask all exhibitors to forward any press releases related to activities to the show to david@armarketing.co.uk.

CONTACTS To discuss LIMS marketing, contact David Phillips on 01604 762361 or david@armarketing.co.uk To discuss exhibiting at LIMS, contact Bev Channell on 0845 2706800 or bev@channellevents.com

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THE PLAY NEW O T N LEAR N IN OUR ION ORD RDIO ACCO NELLI ACC DETAILS OR HA STEP . PHONE F S L O SCHO

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IRISH FLUTES / BANJO'S / MANDOLINS / GUITAR STRAPS / RECORDERS / FOR A FULL DEALER CATALOGUE PLEASE CONTACT: STEVE CLINKSCALE MUSIC ( S.C.M ) UNIT 9, EDENSIDE WORKSHOPS, INCH ROAD, KELSO, SCOTTISH BORDERS, TD5 7JR STEVE'S MOBILE: +44 (0) 7958-351712 WAREHOUSE: +44 (0) 1573-225885 FAX: +44 90) 1573-225885 EMAIL: info@steveclinkscalemusic.co.uk www.steveclinkscalemusic.co.uk

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NEW PRODUCTS • BASS & GUITAR

EPIPHONE WILSHIRE 1962 REISSUE £POA

YAMAHA FGX730SC ELECTROACOUSTIC £582

PEAVEY TENTH ANNIVERSARY CIRRUS BASSES £POA

They say: Who thinks they don't make 'em like they used to? For: Guitarists Range: New Epiphone range Spec: Reissue of SB-432 guitar, Peruvian mahogany body, set neck, two P90 pickups, rosewood fingerboard, vintage Kluson machineheads, ABR-1 bridge, vintage cherry finish. Ships with case, certificate of authenticity, manual, commemorative T-shirt & plectrums, vintage coiled cable & leather strap. From: Gibson.com

They say: The perfect combination of modern and traditional to create a range that appeals to a wide range of players. For: Guitarists Range: Yamaha FG series Spec: Solid sitka spruce top, rosewood fingerboard, back & sides, cutaway-dreadnought body shape, 90 degree non-scalloped bracing, piezo pickup, Yamaha preamp, chrome, enclosed machineheads. From: Yamaha 01908 366700

They say: A limited run of one-ofa-kind, hand-crafted basses to celebrate ten years of the Cirrus. For: Bassists Range: Peavey Cirrus basses Spec: Alder body, neck-throughbody design, available in 4, 5, 6string & fretless models, korina, koa or spalted birdseye maple tops, walnut, koa or abalone pickup covers From: Peavey 01536 461234

EPIPHONE ZAKK WYLDE ZV CUSTOM £POA

ARIA ADG RESONATORS £349 & £539

They say: Aggressive like no other. For: Guitarists Range: Epiphone signature models Spec: Hybrid SG & Flying V mahogany body, maple set, slim taper, satin finish neck, EMG HZ-4 bridge & HZ-4A neck humbuckers, LockTone tune-o-matic bridge, string-thru-body, Epi strap locks, decorated hard case. From: Gibson.com

They say: Constructed from the finest materials to create accurate representations of these unique guitars. For: Guitarists Range: Aria acoustics Spec: Both with steel & wood resonators, inverted, 9” aluminium cone, round mahogany neck, rosewood fingerboard, enclosed headstock design, chrome covered tuners. DG-10FM with maple top, nato back & sides. DG-20 with steel top (£539). From: Aria 01483 238720

PRS AL DE MEOLA PRISM £3,995

RIKTER 4/4 LEFT HANDED ELECTRO-ACOUSTIC £79.99 They say: A specialist guitar at a non-specialist price. For: Left handed guitarists Range: Rikter electros Spec: Linden top, catalpa back & sides, maple neck, fingerboard & bridge, plastic binding, three-band eq, left-hander. Range of finishes available. From: Intermusic 01202 696963

They say: The culmination of a more than 20-year relationship between Paul Reed Smith and Di Meola. For: Guitarists Range: PRS Prism Spec: Tie dye curly maple custom ‘9’ top on mahogany body, rosewood fingerboard, tremolo bridge, 1957/2008 humbuckers. From: Headline 01223 874301

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BACKLINE & FX • NEW PRODUCTS

INDIE BASS RIDER COMBO £899

MARSHALL MB SERIES BASS AMPS £POA They say: Provide bass players with Marshall's legendary power, sound and reliability. For: Bassists Range: Marshall MB series Spec: Four combos and one head in series, two footswitchable channels (classic & modern), ECC83 valve preamp, gain control, boost switch. Modern channel with active three-band eq and mid controls. Modern channel with passive threee-band eq and adjustable, three-way mid voice control. From: Marshall 01908 375411

HARTKE HY DRIVE 5210 BASS COMBO £549 They say: A pioneering bass combo that is powerful, warm, articulate and exceptionally durable. For: Bassists Range: Hartke bass combos Spec: 350W combo with two 10” speakers, one-inch titanium HF driver, extension speaker output, 12AX7 valve preamp, passive & active inputs, limiter, FX send & return, three-band eq. From: Korg 01908 857100

They say: Brimming with features, offering versatility in the studio or in a full touring environment. For: Bassists Range: Indie bass amps Spec: 400W combo, 15” speaker, pre-gain and sustain controls, seven-band eq & compressor/limiter (both footswitchable), high frequency driver & attenuator, dual input, all I/Os on front panel. Extension speaker output. From: Indie Guitar Company 01635 579300

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

13 – 16 October 2009

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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DRUMS & PERCUSSION • NEW PRODUCTS

MAPEX CHRIS ADLER SIGNATURE BLACK PANTHER SNARE £299 They say: The sound Adler had been looking for – an articulate yet explosive, artillery-like bang. For: Drummers Range: Mapex snares Spec: 12” x 5.5” walnut shell snare, 2.3mm Mapex Powerhoops, black chrome hardware, 20 strand snare, Black Panther padded carry bag, Aquarian HE12 head. From: Korg 01908 857100

TYCOON RETRO CONGAS £339 VIC FIRTH SILVER BULLET STICKS £14.49

They say: Components, craftsmanship and unique finish reminiscent of authentic, Cuban-style drums of the 50s and 60s. For: Percussionists Range: Tycoon percussion Spec: Siam oak conga, 28” tall, 10”, 11”, 11.5” and 12.5” sizes, water buffalo heads, black powder-coated hardware. Special 10" and 11" double conga set (with double stand) and matching 7" and 8.5" bongos also available. Super high-gloss clear coat finish. From: FCN 01892 603733

They say: The bright sound colour cuts and carries through the entire band with an amazing brilliance and clarity. For: Drummers, percussionists Range: Vic Firth American Classic Spec: Hickory American Classic 5A and 5B sticks, aluminium tip, tip the same size as standard 5A & 5B nylon tipped sticks. From: Korg 01908 857100

DE GREGORIO CHANELA SPECIAL CAJÓN £199 They say: The result of years of work, committed to the achievement of an ideal cajón. For: Percussionists Range: Soar Valley percussion Spec: Avio birch-fronted (2.5mm, five-ply) cajón, double quantity, loose fit snare strings, adhesive tape tuning (low buzz), removable snare system, 2mm, nine-ply poplar plywood sides, 6mm, six-ply poplar back, ships with DVD tutor and instruction manual. From: Soar VAlley 0116 230 4926

VICOUSTIC FLEXI KICK DRUM ACOUSTIC TREATMENT £45 They say: An acoustic damper, absorbing unwanted overtones across a broad frequency bandwidth. For: Drummers, studios, live Range: Vicoustic acoustic treatments Spec: Flexible, dense foam panel for inside of bass drum, multi-cavity design, dampens resonance and drum’s front and rear skins, cut to fit any size bass drum. From: Systems Workshop 01691 658550

DE GREGORIO SWEETSPOT CAJON £115

DRUM ART PADOUK SNARE FROM £849

They say: Designed by Paolo De Gregorio together with Soar Valley. For: Percussionists Range: Soar Valley percussion Spec: ‘Crop Circle’ design on front panel locates sonic ‘sweet spot’, pre-set snare system, 12mm, nine-ply poplar side panels, 6mm poplar, three-ply back panel, 3mm three-ply African okumé playing panel. From: Soar Valley 0116 230 4926

They say: : All Drum Art drums are handmade by Silvano Biancucci, the man behind the company. For: Drummers, percussionists Range: Drum Art snares Spec: 14” x 4.5" padouk snare, 2.7cm width stave construction, solid aluminium lugs, stainless steel M6 pitch tension rods, MicronTune snare strainer, Puresound 20-strand snare wires, die cast hoops. Also available in 12”, 13” and 14" sizes, depths from 4” to 7". From: Proel International 020 8761 9911

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

VISIT WWW.MIKEDOLBEAR.COM FOR MORE DETAILS. 60 APRIL 2009 miPRO

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NEW PRODUCTS • PRINT

BOOK OF THE MONTH Author: Lee Marshall Bob Dylan: The Never Ending Star Target: General Comment: The groans are almost audible already: ‘not another Bob Dylan biography’. Well, yes, but then again, no. Marshall achieves a difficult aim with this book, covering the artist he loves (probably above all others) but managing (in the main) to avoid his own sentimentality and that of the hoards of other Dylan fans. Instead, Marshall, a lecturer at Bristol University, digs into Dylan’s ambivalence towards his own

career, the life of the musician and his audience. In doing so, he sidesteps most of the misty-eyed nonsense pertaining to the creation of a new musical genre and a revolutionary movement of the 1960s and creates a sociological perspective on one of the most sociologically relevant pop artists of all time. Love him or hate him, Dylan has been pervasive in the awareness of three generations now and Marshall’s book looks at the changing social structures as

contexts for Dylan’s work as it appears, but also as the times a-change around the work already in the public domain. This book, then, both functions as another perspective for the die-hard Dylan fan, but also sets a new critical yardstick for Dylan (and other) scholars. He will always be a 60s star, but this book illustrates how far beyond the 60s Dylan functions as his ‘never-ending tour’ continues into the present. Backbeat: 020 7720 3581

EDUCATION

POPULAR Artist: The Ting Tings We Started Nothing

Author: William Bay Playing Chrods

Target: PVG Comment: For many, the band of 2008, Julian De Martino and Katie White emerged as a post-post-punk pop duo that both jumps on the wagon of boy/girl punk duos and creates an exciting niche for itself with gimmicky images and catchy numbers. Owing to the predominance of drums and guitars, this is an unusual publication in that it is arranged for piano as well. Full of band pics and imagery, this is a quality book. Faber: 01279 828989

Target: Guitar Series: Mel Bay Guitar University Comment: A beginner’s book, but with a couple of nice touches. First, William Bay gives a page over to stringing a guitar (rarely seen) and then dives straight into a song with one chord (one of many ‘EZ’ chords). Each song uses a different rhythm, adding layers to technique, culminating in a sturdy foundation by the end of the book. Mel Bay: 020 8323 8010

Author: William Bay Guitar Method: Chords in Position Target: Guitar Series: Mel Bay’s Modern Guitar Method Comment: Another cracking chord book from Mel Bay, this one giving the learner the whole range of I, IV and V chords in five ‘zones’ up the neck. One of the best pieces of advice a guitar student can get is to learn the same chord in as many different forms as possible. This book is the first step along that route. Again, no rushing, nothing more than a good step along the way, but an essential part of any student’s studies. Mel Bay: 020 8323 8010

Author: Alan Greenwood & Gil Hembree The Official Vintage Guitar Price Guide Target: Guitarists Comment: Vintage Guitar magazine’s 20th anniversary edition of this indispensable catalogue of vintage guitars, mandos, banjos, lap steels amps and effects and their values in the vintage market. Thorough introductions precede the listings, made year by year and featuring high and low prices. This is a book that could appeal to the aspiring collector, but is essential fayre for the vintage geek. Hal Leonard (Music Sales): 01284 702600

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Author: Various Play Along Guitar/Bass/Drums/ Keyboard 1 Target: Leaners Series: Learn to Play Comment: A new series of DVD tutorials from Music Sales that takes each instrument from a standard rock/pop combo and teaches the basic techniques necessary to playing complete songs with a band. Each lesson allows players to learn at their own pace with an on-screen tutor and the disc includes songs such as Highway to Hell and Every Breath You Take (among others). Music Sales: 01284 702600

Author: Bob Dylan (illustrated Paul Rogers) Forever Young Target: General Comment: A children’s book that takes a line per page of Dylan’s famous song and illustrates it, showing a young boy taking up the guitar, a whole swathe of liberal activities and him growing to learn how generations should pass on all that is good to descendents. Yes, a lot of saccharine in this, but Dylanfans will love to read this to their infants. Lots of detail that kids love. Simon & Schuster: 020 7316 1900

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MI MARKETPLACE

THE PLACE FOR BUSINESS

MI MARKETPLACE TO ADVERTISE ON THESE PAGES CALL DARRELL CARTER ON 01992 535647 A ALLPARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0870 442 3336 B BILL LEWINGTON . . . . . . . . . . . . . . . . . . . . . . . . . 01268 413366 BARNES & MULLINS . . . . . . . . . . . . . . . . . . . . . . 01691 652 449 C COVERNOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0121 327 1977 F FOCUS MERCHANDISE . . . . . . . . . . . . . . . . . . . 020 8245 9035 FCN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01892 603730 FUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0113 3200 304 G GHANA GOODS. . . . . . . . . . . . . . . . . . . . . . . . . . . 0117 955 8668 GUITARRAS DE ESPAÑA . . . . . . . . . . . . . . . . . . . 0117 973 3214

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Leed Representation: doing the old Razzle

L LEED REPRESENTATION . . . . . . . . . . . . . . . . . . 01243 378050 LEISURETEC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01525 850 085

Company is to offer reed deals at the Frankfurt Musikmesse that are sure to delight retailers...

M MADAROZZO™/CBAC LTD. . . . . . . . . . . . . . . . . 020 8816 8368 MARSHALL AMPLIFICATIONS . . . WWW.MARSHALLAMPS.COM MCELLAND/GREMLIN MUSIC. . . . . . . . . . . . . . . . 01273 491333 MELBAY . . . . . . . . . . . . . . . . . . . . . . . . . . +44 (0)20 8382 8010 MUSIC SHIPPING CO. . . . . . . . . . . . . . . . . . . . . . . 01562 827666

avid Leed will be available at the Frankfurt Musikmesse on the Helin stand in Hall 4.1, raising the roofbeam on the newly branded Razz Co reeds (formerly Reeds Australia). Originally known as a small 'boutique' brand, Razz Co is now under the management and overall control of Peter Handsworth, a well-known Australian clarinettist and music educator. Razz Co is now seeing, Leed tells us, ‘exciting changes and innovations’. The range of Vintage and Vintage XL reeds has grown over the years and still continues, but with the key change of name to Razz Co comes the introduction of a sub-brand called Razz – an economically priced reed suitable for players of all levels. Razz reeds are available in strengths 1.5 to 3.5 and are made for Bb Clarinet, Alto Sax, and Tenor Sax. A further pro-style clarinet reed named Passion came to the market last year. It was developed again with all players in mind, with a new cut on

O OCARINA WORKSHOP . . . . . . . . . . . . . . . . . . . . . 01536 485963 ORANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0208 905 2828 P PIANO LOGISTICS . . . . . . . . . . . . . . . . . . . . . . . . 0208 561 4321 R ROBERT MORLEY . . . . . . . . . . . . . . . . . . . . . . . . 020 8318 5838 ROTHWELL AUDIO . . . . . . . . . . . . . . . . . . . . . . . . 01204 366133 S SOAR VALLEY MUSIC . . . . . . . . . . . . . . . . . . . . . 0116 230 4926 STAINER & BELL . . . . . . . . . . . . . . . . . . . . . . . . 020 8343 3303 STEVE CLINKSCALE . . . . . . . . . . . . . . . . . . . . . . 0157 225 885 V TOM & WILL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08450 945 659

a tapering body based on the popular Vintage XL, but with a customised shape for 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. Leed assures MI Pro that the Vintage and Vintage XL ranges are now well enough known not to need description and are used by popular jazz and classical players, such as Alan Hacker and Tony Coe. Leed Representation is offering ten per cent off all orders placed at the Frankfurt show, as well as the normal trade discount and ‘a generous settlement’ – which is just what we like to hear. 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

V VARSITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0131 557 4310 W WIND PLUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0116 243 1698

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

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AMPLIFICATION

ACCESSORIES & GIFTWARE

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

CLASSICAL GUITARS

DISTRIBUTION

Your Choice

Core to Your Business

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Power - Squared - www.leisuretec.co.uk

Leisuretec Distribution Limited Unit L3 Cherrycourt Way Leighton Buzzard Bedfordshire LU7 4UH T: +44 (0)1525 850085 F: +44 (0)1525 852285 sales@leisuretec.co.uk

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MI MARKETPLACE GUITAR PARTS

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

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MI MARKETPLACE GUITAR ACESSORIES

ETHNIC AND FOLK

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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MI MARKETPLACE MUSIC PUBLISHERS

PIANOS AND HARPSICORDS

t ber

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Grand & Upright Pianos by Elysian, Grotrian-Steinweg, Bechstein, Monington & Weston and other famous makers John Morley Clavichords, Spinets, Harpsichords, Virginals & Celestes

Antique, Modern & New, Rental, Repairs, Sales lists & colour brochures on request.

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Extensive Product Information Secure Dealer Only Section

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

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Public & DEALER Forums Online Ordering

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MI MARKETPLACE PROMOTIONAL MERCHANDISE

PIANO MOVERS

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REPAIRS

70 miPRO APRIL 2009

REPRESENTATION

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MI MARKETPLACE WHOLESALERS

ADVERTISERS INDEX

Advertiser

Page

Adam Hall..................................................................48 Anglo Spanish Guitar ................................................5

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

Ashton.........................................................................31 Barnes & Mullins...........................................33,49,52 EMC............................................................24 & 25, 75 EMD...............................................................................9 Hiwatt.........................................................................45 Hong Kong Messe ....................................................59 House Music..............................................................47 Indie Guitar ...............................................................35 JHS ..............................................................................13 Joeco...........................................................................19 Lamba...........................................................................4 Leed............................................................................55 Leisuretec .................................................................46 Marshall........................................................................2 MB Media ....................................................................61 Mcelland .....................................................................18 Mel Bay .....................................................37,38,39,40

WIND INSTRUMENTS

Orange .......................................................................43 Peavey........................................................................53 Roland ........................................................................76 Rotosound .................................................................54 S.Johnson ....................................................................3 Sound Technology .......................................................1 Steve Clinkscale .......................................................57 Studio King ...............................................................29 Studio Music .............................................................35 Summerfield ..............................................................21 Trinity Xtras ...............................................................17 Trust Network...........................................................50 Westside ............................................................11,12,23 World Rhythm............................................................14

TO ADVERTISE IN MIPRO CALL DARRELL CARTER ON 01992 535 647

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N WITH IN ASSOCIATIO

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

BACKSTAGE WITH MEGADEATH

APRIL 2001 Cover Stars: Retail giants. Back then, the likes of Argos and Tesco were still considered the major impediment to maintaining entry-level sales and decent margins. The argument from much of the industry was that this brought on new players that would add to the market. For some reason, nobody mentioned the internet. News: Alesis confirms financial difficulties and cutbacks, Sutherland Trading formed out of Hohner UK after MBO, John Moore appointed as editor of Music Mart. Features: Drums at Frankfurt, Musikmesse roundup, Tokai guitars, accessories sector spotlight. Products: Ashdown Kidd G-1508 practice amp, Peavey Transtube Bandit, PRS Santana III, Ludwig Vistalite re-issue, Sabian HHX, Sonor Jungle snare, Korg Karma, Yamaha YAS-275 alto sax. Number one singles: Emma Bunton – What Took You So Long, Destiny’s Child – Survivor. Number one albums: Hear’Say – Popstars, Stereophonics – Just Enough Education To Perform.

Dave Mustaine is known for demanding perfection – nothing wrong with that. If you were among those that saw Megadeth on their recent tour, you will have witnessed him at his best because of it. Megadeth have enjoyed immense success on the Priest Feast tour, which cements them as one of the top metal acts in the world today. The band is working on a new album at the moment and it promises to be up there with the best. Founder, frontman, guitarist and songwriter, Mustaine is very happy with the current line up, citing Chris Broderick as the best guitarist Megadeth has ever had. This, plus what looks like a new backline, could be a factor in Megadeth sounding as good as ever.

TING TINGS GET THE PAINTERS IN The Ting Tings are everywhere at the moment: Comic Relief, the Brit awards, all with large audiences, but only a small number of people were at a gig in what looked like a disused warehouse in Manchester. No, this wasn’t your run of the mill show, it was in fact being filmed for an Adidas advert, which you all might have seen by now. Marshall made Katie and Jules custom white amps and cabs for the filming, just to have them re-styled as the paint was thrown, squeezed, flicked, brushed and sprayed everywhere. The amps used during the commercial-cum-gig were a 2061x handwired head with matching 2061cx handwired cab and a DSL50 head with a 1960 4x12 cab – all in white. Well, they were, they are now very unique multi-coloured amps. The handwired head and cabs were also seen being used on the Ting Tings Comic Relief performance.

SEND YOUR PICTURES TO CODA@INTENTMEDIA.CO.UK 72 miPRO APRIL 2009

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IN ASSOCIATION WITH

THE LAST WORD IN MI PRO

COREY TAYLOR GETS AMPED UP

TRIVIUM BACK WITH MARSHALL

Legendary Slipknot frontman Corey Taylor has started work on his solo project, and has turned to Marshall Amplification for the sound and tone he is looking for. Corey first spoke to Marshall just before the NAMM show in January, then went to the Marshall stand to take a closer look at the amplifiers. He immediately went for the JVM as it has the versatility he is seeking for his solo project. When asked why he went for the JVM he said “The JVM is damn near perfect! It lets me do anything I want." Corey will be spending some time in the studio with Stone Sour as well as working on his solo project, and will be playing with an assortment of Gibson guitars with both.

Trivium’s frontman, Matt Heafy, has gone back to using Marshall for his power and tone. Touring alongside metal giants Slipknot across America at the moment, Heafy has been using the JVM210 head and is said to be loving the tone, power and reliability. Marshall has said it is good to see the gifted guitarist back with his familiar Marshall setup and the amp maker is looking forward to working together with him again long into the future.

MI ICON

Epiphone Casino

s the instrument seen in the hands of the Beatles just as they started taking themselves seriously, not to mention Oasis and various other luminaries, the Epiphone Casino is a guitar that has an extremely impressive heritage. Introduced by Gibson in 1961 as an alternative to the ES 330, the Casino quickly established itself as a popular guitar thanks to its aggressive pair of P90s and great looks. It’s brash and recognisable tone made it a popular choice with rhythm guitarists, and when the Beatles picked them up in the mid 60s – John Lennon went on to use his for the rest of his career with the Beatles, where it made appearances everywhere from American tour stages, the Budokan in Japan, and the celebrated final roof top gig in Saville Row in 1969 – the Casino had its place in rock and roll history confirmed. The popular and much sought after little Epi had its initial production run cut short as Epiphone decided to pull the plug on construction in 1970, leading to a decade-

long hiatus in production that was to see the legend of the Casino grow and grow. Re-issued by Epiphone in the late 1980s, the Casino once again rose to prominence thanks to the patronage of Oasis’ main man Noel Gallagher. Unlike semi-hollow body guitars such as the Gibson ES-335, which have a centre block to promote sustain and reduce feedback, the Casino is a true hollow-bodied guitar. This makes them lighter and louder when played without an amplifier, although it is much more prone to feedback than semi-acoustic or solid-body electrics. With stocks in Epiphone’s favourite son on the rise, it has gone on to become a staple of the indie-rock sound, used by bands such as Interpol, the Libertines and the Strokes. Currently manufactured in the main in the Far East, including Elitist models built in Japan, the John Lennon 1965 and Revolution Casinos are both hand built in the US, whilst demand for the instrument is at an all-time high.