Mi Pro August 2010 - Issue 123 by Intent Media (now Newbay Media Europe)

No. 123

• AUGUST 2010 • WWW.MI-PRO.CO.UK

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MUSICAL INSTRUMENT PROFESSIONAL FOR EVERYONE IN THE MI BUSINESS

A STAR IS

REBORN HH amps and speakers return with a nod to the past but facing the future

MI RETAIL CONFERENCE & EXPO AMAZON BEHRINGER TASCAM JET CITY

Introducing the latest member of the Marshall family â&#x20AC;&#x201C; the Class5. A tonally rich 5 Watt all-valve combo that exclusively features true class A circuitry from input to output, plus an abundance of pure Marshall tone, feel and response. Conceived in the wake of numerous requests from both professional stadium fillers and bedroom widdlers alike, this compact yet punchy 1x10" amp is the answer to your low wattage, big tone prayers! Ideal for use at home, the studio, rehearsal or small gig, the Class5 is all-valve Marshall tone at its best â&#x20AC;&#x201C; pure, audacious and inspiring!

To find out more about the Class5 contact: Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK1 1DQ or visit the official Marshall website: www.marshallamps.com

ISSUE 123 AUGUST 2010

EDITORIAL COMMENT

COVER STORY 27 A SECOND COMING The PA market was more or less dominated in the 1970s and 1980s by one brand – HH Electronics. Since Laney took the audio giant under its wing, it has been plotting a return. Now, that time is finally upon us.

ANDY BARRETT mipro@intentmedia.co.uk

NEWS MI RETAIL CONFERENCE & EXPO, AMAZON ENTERS MI, BEHRINGER BREAKS FROM KORG, ZILDJIAN ENDS YAMAHA DEAL, ROLAND PRODUCT PREVIEWS

From the reactions received, it is clear that the MI Retail Conference & Expo has the potential to become a hub for the trade.

EVENTS 6

MI RETAIL CONFERENCE & EXPO 18 MI Pro’s first ever event took place on June 29th, proving to be a huge success. This bumper event offering looks at the day’s activities what made it get a major thumbs up

MUSIC CHINA 25 In a country that has achieved staggering growth, Music China has followed suit and established itself as the third largest global MI trade show.

FEATURES 20

ROSETTI 30 A look at the supplier’s new British guitar project

JET CITY 32 Why this US brand chose to enter this already saturated market

TASCAM 34 Exploring the rising appeal of field recorders

SECTOR SPOTLIGHTS 37

MIXERS 39 A sector often shunned by retailers, there appears to be no shortage of choice in the mixer market

SCHOOL RENTALS 45 An overview of the latest youth-friendly instruments that fit into this difficult area of MI

RETAIL RETAIL RESPONSE TO EVENT 57 52

Dealers’ reaction to the MI Retail Conference & Expo

ummer has long been referred to as the silly season for the media, with the world and his wife – and MI is no exception here. The traditionally ‘quiet period’ of the year for most of the trade usually leaves MI Pro scratching around for news and features alike. Not this year. Thanks to the MI Retail Conference & Expo, there has been enough of a buzz about the place to keep us going at least until September. You can read the main report, starting on page 18, but it was, for us, an extremely positive experience, albeit a nerve wracking one. No-one had ever really done anything like this before and the build-up to the event for the MI Pro team was filled with a lot of variables. The nerves were, however, pretty much gone by the time the Conference was underway and had been replaced by something approaching satisfaction once we started getting feedback from retail delegates and Event Sponsors alike at the Expo and the After Show Party. You can see the positive reponses from both sides of the business on pages 20 and 57. What this has done for the MI trade in the UK will only be made clear after the event has had the chance to bed itself into the calendar, but from the reactions we have received, it is clear that the MI Retail Conference & Expo has the makings of being an annual hub around which the issues of the day can be discussed. From discussion, of course, comes conclusions, a clearer path ahead and more ease in decision making. This is the potential. Next year’s event is already in the early stages of being planned and dates for the 2011 Conference & Expo will be announced soon, which means that the opportunity is already upon us for retailers to begin thinking about what it is they would like to debate. With retailers’ concerns at the centre of the agenda, it is possible to get the entire trade singing from the same song sheet – and as Paul McCartney said, ‘that isn’t silly at all’. Andy Barrett Managing editor

REGULARS: DISTIE PROFILE 15 I WOKE UP 36 RETAIL NEWS 58 LOCATION REPORT 62 PRODUCTS 50-55 CODA 72

miPRO AUGUST 2010 3

MI RETAIL CONFERENCE & EXPO NEWS

Praise from all quarters for new trade event MI Retail Conference & Expo attracts over 200 dealers and garners strong support from the market’s leading suppliers THE FIRST MI Retail Conference & Expo, in association with Musikmesse took place on June 29th at The Brewery in Central London. It brought together 23 Event Partners and over 200 UK retailers to discuss the major issues facing the trade today. The morning’s conference saw a series of presentations and panel sessions, while the Expo comprised an afternoon of business and further informal discussions. The day was rounded off with a relaxed After Show Party, sponsored by Roland. The event has been hailed by the UK trade as an unparalleled success, with many suppliers and retailers stating that this sort of gathering had been well overdue. The conference saw Matt Gibbs of GfK reveal statistics outlining the state of the UK’s MI trade at the moment (see below),

panel sesions discussing the lessons learnt from the recent collapse of several retail chains and the role of the internet in MI today. Paul McManus took delegates through the work the MIA undertakes on a daily basis. Rob Sherwood, the MD of the UK office of Musikmesse, felt the show delivered everything it had set out to do. “It was thoroughly well organised with excellent attention to the visitor experience.” He said. “We felt it was professionally branded. Intent Media has delivered on every aspect of the event. Congratulations and thanks.” “This was the best business decision we have made this year,” said Monacor’s Neil Clayton, one of the Event Partners Details of the 2011 MI Retail Conference & Expo will be announced shortly. A full report on the event begins on page 18.

MI Retail Conference & Expo

event

in association with

Research shows tougher times ahead THE FIRST keynote address at the MI Retail Conference was provided by Matt Gibbs of GfK, the market research company that collects, collates and publishes sales figures for the UK’s musical instrument trade. This presentation was undoubtedly among the major talking points of the day. Gibbs pointed out the general stability and quick reactions to economic pressure the MI trade as a whole enjoys and showed, using GfK figures, consumers’ confidence in the UK, with just 15 per cent of the population describing their households as ‘not managing (ie running into debt or drawing on savings), while 42 per cent are managing while not saving and 44 per cent are still saving. With the arrival of a new government those feeling that they will be better off in 12 months’ time, however, has recently dropped drastically.

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During 2009, MI bucked the trend of other consumer durables in the retail sector by growing its market, but January to May 2010 figures show that currently MI is starting to slip behind most others in the market, contracting by 1.7 per cent.

“

crucial to note,” said Matt Gibbs, “that while prices went up, volume sales did not collapse. “Prices have now begun to stabilise, meaning that any value increase must come from volume development – and in some areas that is

During 2009, MI bucked the trend of other consumer durables in the retail sector by growing its market.

The good news comes in the make up of musical instrument sales. Strong value growth in 2009 was because of price increases and growth at the higher end of the sector (this was also true of other sectors), while the underlying volumes, which were up only slightly, have now moved in the opposite direction. “But it’s

actually slowing.” In conclusion, Gibbs pointed out that over the past 18 months, MI has performed well above general retail, but he added: “Low interest rates have helped push high-end sales in this discretionary spend area, and will this now dry up?” Matt Gibbs discusses his presentation is on page 22.

MI RETAIL CONFERENCE & EXPO NEWS

Event Partners launch new initiatives

AUDIO TECHNICA and Barnes & Mullins both used the MI Retail Conference & Expo to launch new initiatives for their UK dealers and both Event Partners were successful with their new introductions. Audio Technica exceeded its target for retailer sign-ups to the company’s Summer School training programme, launched at the new retail event. The

company’s idea is to help retailers improve customer service through better product knowledge and the initiatives were warmly received by retailer delegates, who were quick to sign up for the tailored training sessions in July and August. In addition, the launch of AT’s Centre of Excellence initiative at the expo proved popular, with retailers keen to benefit from

accreditation as a premium supplier of the brand’s microphones and headphones. Barnes & Mullins used the event to launch the second part of its ‘manifesto’, which saw the launch of the String Gallery website, designed to be a comprehensive resource for the supplier’s orchestral strings. For further information on String Gallery, see page 58.

Musikmesse reaches out to retail MUSIKMESSE, the headline sponsor of the recent MI Retail Conference & Expo used the event to get face to face with UK dealers and promote both its trade shows, held in Frankfurt and Shganghai. “Being the headline sponsor of the MI Pro Conference allowed us, as Messe Frankfurt, to get in front of UK retailers on their home turf – which was an experience which we found highly rewarding and worthwhile,” said Messe Frankfurt UK’s managing director, Rob Sherwood. “Many of the retailers who stopped by at our stand were visitors to Musikmesse already – and it was great to hear about how we can make the experience better for UK visitors. “We’ve recently tied up a great deal with a big hotel

agency in Germany to get Musikmesse visitors preferential rates, and we’ll be working on putting together a great package for UK visitors over the coming months.” Sherwood explained that it was also a good opportunity to let retailers, who hadn’t yet visited Musikmesse, know what to expect and how the organiser could help make the trip as easy as possible. With 79,000 visitors attending Musikmesse from around the world (110,000 if you include the concurrent Prolight + Sound show) and over 1,500 exhibitors making the most of the time available is paramount and preparing as much in advance will help dealers get the most from your visit. Musikmesse’s involvement also generated a lot of interest in

Music China, particularly with those thinking of making the trip for the first time. This year’s event is scheduled for October 12th to the 15th and a preview of the trade show, which is now the third biggest in the world with over 1,100 exhibitors, can be found on page 25. Sherwood asked that UK retailers wishing to register interest in visiting should drop him an email at rob.sherwood@uk.messefrankfurt .com. Tickets will be available in 2011 and the UK office can be in touch with you with travel details as soon as they are. Musikmesse 2011, which has taken the slogan ‘Mission for Music’, will run from April 6th to 9th next year at the Frankfurt Messe. Visit the website below for more information. MUSIK.MESSEFRANKFURT.COM

miPRO AUGUST 2010 5

NEWS

Amazon goes live with musical instruments Online retail giant introduces dedicated MI section and stings ‘partner’ retailers with fiver per cent commission hike AMAZON HAS officially joined the MI retail market, by launching a dedicated musical instrument category. The move, announced on July 1st, follows a long 'trial' period working with several established retailers across the country and offering a relatively small selection of instruments and accessories under the 'electronics' tab of the UK version of the retailing website. It is understood that the vast majority of items for sale are still from UK retailers (rather than direct from Amazon), although many dropped out of the scheme when, also on July 1st, Amazon hiked its 'marketplace' commission from seven to 12 per cent and was also discovered to be talking directly to suppliers and manufacturers.

Behringer breaks deal with Korg Company restructures distribution plan towards direct ‘factory to dealer’ operation two-months into deal with major UK supplier BEHRINGER MUSIC Group has confirmed it is rearranging its European and American distribution policy in favour of a ‘direct to dealer’ approach, severing its ties with Korg, which became its distributor on May 1st. According to a statement released by the company, it will now aim to ‘streamline distribution and logistics operations’. There will now be more of a focus on areas such as product conceptualisation, development, manufacturing and customer experience. All changes will apply solely to the Behringer and Bugera brands, as Midas and Klark Teknik will maintain it’s current sales structure. Uli Behringer, chairman and CEO of the company continued: “The restructure of our sales model will help us to place certain logistic operations into the capable hands of our partners and allow us to focus on expanding our brand into new business segments, place a significantly increased emphasis on

6 miPRO AUGUST 2010

Trade reaction to Amazon’s step-change has been mixed. Most retailers, understandably, are fearful of the impact the online juggernaut seems set to make. Some suppliers are also wary, with Roland, Peavey and Marshall all confirming to MI Pro that they will not be dealing directly with Amazon. MI Pro recently contacted Amazon with a list of questions designed to determine its intentions in the sector. In response it issued a brief statement: "Here at Amazon.co.uk, we aim to provide our customers with the widest range of products at low prices. We have a range of musical instruments and, as with any range on Amazon, we will continue to grow over time." (See news analysis, page 13.)

Zildjian terminates 15-year distribution deal with Yamaha

BEHRINGER: All change. As you were

HODGSON: Worked hard

proprietary technology, and as always, deliver our savings back to the consumer.” The statement does not however mention why this decision was made so suddenly, or how this new

system will work in the UK. There is also no indication as to how this new operation will differ from Behringer’s original set-up before Korg was named distributor earlier this year. KORG: 01908 857100

IN A letter to its dealers, Yamaha Music UK has announced that Zildjian has decided to end the distribution agreement it has with Yamaha as of January 2011. The letter, written by Richard Hodgson, director of the pro music division at Yamaha Music, details the agreement and the effort his company has put into Zildjian since it took responsibility for supply in 1995. “We worked hard to establish a sales structure and refined dealer network,” he said.

“Many Zildjian dealers told us they had been pleased that the confusion and last minute deal culture was replaced with a new professionalism. Zildjian cited the move to a unified YME as one it is uncomfortable with.” The Yamaha-Zildjian agreement will remain unchanged until January. "My whole team and I want to take this opportunity to thank you for your continued support,” concluded Hodgson. YAMAHA: 01908 366700

NEWS

Roland Connects worldwide Launch initiative brought back after success of last year’s global promotion brought results ROLAND WILL be offering a sneak preview of a selection of Roland and Boss products, which are due to arrive in stories this coming Autumn. Venues in both Walsall and Manchester have been chosen as the physical locations for the combined online ‘event’ before the official global launch date of September 1st. These events are free to attend, but those interested must act quickly, as there are only a limited number of spaces.

Roland introduced this format last September and brand manager Martyn Hopkins believes it is a format that appears to be working. “It has been very successful. It’s a global event and a great way to get all the assets together in one place, reach more people and develop more of a buzz. The download stats also prove that it works.” The Walsall venue is: Walsall College, Wisemore Campus, Littleton Street West, Walsall, WS2 8ES and it will take place

HOPKINS: Developing a buzz

on Wednesday August 18th. For further information, dealers should call 01922 657000. The Manchester location will be the Monastery Manchester, Gorton Lane, Manchester, M12 5WF on Thursday August 19th. The contact number here is 0161 223 3211. Both events start at 1pm and refreshments and lunch are included. To book, contact Lisa Lewis on 01792 702 701, or via email: Lisa.lewis@roland.co.uk ROLAND: 01792 702701

Wayne Blanchard leaves Sabian

MI Pro becomes exclusive trade partner for LMS Dealers welcome every day as artists and exhibitors added to already impressive line-up MI PRO HAS been named as the exclusive trade media partner for the London Music Show, which is coming to the city’s Excel venue from October 8th to 10th and will also be sponsoring the trade lounge. Organised by Future Publishing, the event has also confirmed several new additions to its line-up, which now includes ex-Prodigy guitarist Jim Davies, DJ John ‘00’ Fleming and keyboard player Howard Francis. The exhibitor list is also growing, with contributing companies taking part now including Fender, Roland, Korg, Peavey, Marshall, Sound Technology, JHS & Co and Focusrite, with many more involved and several slots still to be announced. The London Music Show will feature a combination of workshops, interactive feature

areas and live performances, while visitors will have the opportunity to get hands-on at the Rhythm Live Drum Theatre, Guitar Zone and the Sound and Recording Technology Theatre. “The London Music Show promises to be a fantastic

event, giving musicians of every level the chance to try out the latest gear, join in a host of interactive feature areas and buy musical instruments and recording equipment,” said the event’s director, Future’s Chris Down.

“We’re really pleased with how the show is coming together. Manufacturers are really getting behind the event and working closely with us to help create a much-needed showcase for the industry.” FUTURE: 01225 442244

Music Live 2010 victim of calendar gridlock Show schedule and financial pressures on exhibitors leads to Birmingham event’s cancellation MUSIC LIVE 2010, due to take place at Birmingham’s NEC from November 4th to 7th, has been postponed, according to the show’s organiser, Clarion Events. The event, however, is scheduled to return next year, with a revamped structure planned. The congested autumn 2010 show schedule for MI related events has been flagged as the main reason for this decision, as well as exhibitors citing financial restraints.

8 miPRO AUGUST 2010

Music Live’s show director, Tiffany Pritchard is optimistic for next year and stressed that Clarion remains committed to the event. “We are dedicated to the development of Music Live. I’d like to thank exhibitors for their support for the UK’s longestrunning music-making event and look forward to unveiling our exciting plans for Music Live 2011 later in the year,” she said. NEC CLARION: 0121 767 3592

WAYNE BLANCHARd has left his position as senior marketing manager at Sabian after 24 years with the company. Blanchard, a high profile figure in the cymbal manufacturer’s UK and international operations, was responsible for introducing the concept of brand-led growth into its marketing agenda. He was also editor of the company’s Newsbeat magazine. He personally designed and directed the current cymbal advertising campaigns, the NAMM and Musikmesse show booths, as well as the 2010 Sabian Cymbal and Sound Guide. “It's a unified, sequential programme, possibly the first in our industry and has been met with a remarkable reception," he said. Blanchard was in London recently to direct a photo shoot and managed Sabian media relations, as well as serving as AR liaison for the UK. Blanchard also introduced Sabian’s Jackie Houlden to Westside Distribution, which has been the cymbal maker’s supplier since the demise of Arbiter. Blanchard is now currently discussing possible contract work with the cymbal giant. “Having lived and worked in the UK I am well attuned to the market, have a place to stay and I am available on a consultant basis and for marketing-related projects,” he added. WESTSIDE: 0141 248 4812

NEWS

HOPKINS: Developing a buzz

Wayne Blanchard leaves Sabian

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Yamaha acoustic drums have been the instrument of choice for leading drummers since 1967. And more recently our DTX electronic drums have pushed back the boundaries of technology, allowing beginners through to professionals the opportunity to take their drumming to new levels of excellence. Here in the UK, Yamaha has been committed to providing the very best levels of service to the drum market for many years and we look forward to serving our UK and ROI dealers well into the future. Exciting new releases for 2010 include Rock Tour and the flagship DTX 900 Series. And with our massive investment in new pad technology, as well as advanced production techniques and innovative design, there's never been a better time to get onboard with Yamaha Drums. To find out how you can drum up a storm with Yamaha Drums please contact: Gavin Thomas, Product Manager, on 01908 366700

NEWS ANALYSIS AMAZON

Lost in the jungle Amazon has made headlines by going live with a dedicated tab for musical instruments – and the online giant doesn’t seem too bothered about upsetting anyone, either. Andy Barrett swings his machete through the undergrowth… WE ALL watched from a distance as we saw the (initially gradual) disintegration of the record shop. From such a distance, indeed, that we probably didn’t even think about the fact that, as we bought our CDs, DVDs and books from Amazon’s website, we were contributing to the demise of at least two independent retail communities. The beauty of the Amazon model was that, unlike anything other than the largest bricks and mortar outlets, it could stock everything, offer it at discounted prices and deliver within a couple of days. The Post Office liked it, too. July 1st saw Amazon further extend its already vast scope by introducing a dedicated tab for musical instruments, accompanied by a large sigh from the whole of the MI retailing fraternity… Although some for different reasons.

“

likes of Digital Village, Dolphin and Thomann have got online business pretty well wrapped up. Working with the likes of Amazon means we can compete.” Birch went on to say that this isn’t simply box shifting, either. Customers had phone numbers and email addresses and could get good after sales back up from JB’s. The problem for these dealers came on the same day as Amazon’s dedicated MI tab was introduced. A hiking of the website’s commission from seven to 12 per cent, thus killing off much of the point for dealers selling through the website. “Throughout the three years I’ve been using Amazon, they have used words such

Digital Village, Dolphin and Thomann have got online business pretty well wrapped up. Working with the likes of Amazon means we can compete. Jonathan Birch, JB’s Music

A number of MI dealers had, in fact, been using Amazon for some time to sell through stock, including Jonathan Birch of JB’s Music in Tunbridge Wells. Birch is one of the only dealers willing to talk openly about his involvement with Amazon, seeing it as an essential weapon to fight the online tidal wave that is causing so much consternation among bricks and mortar retailers. “There are three or four retailers working online that most of us simply can’t compete with,” he explained. “The

AT4080

AE5400

as ‘partner’, but then, suddenly, you couldn’t reach anyone to talk to. They have promised to contact me, but so far [as MI Pro goes to press] nothing,” said Birch. “What’s more, we discovered that they are turning to the manufacturers and going direct, undercutting us even more.” As a result of all of this, Birch has severely cut back the lines he sells through Amazon and is investing the money in his own website instead. This is where things start to get interesting. There are, of course, a few

suppliers that avoid websites and multiples anyway, but among the big boys, Roland UK, Peavey Europe and Marshall Amplification have said that they will not be dealing with Amazon in the UK or Europe... At the present moment... The on-the-record statements are almost as bland as the occasional sentences of general meaninglessness that emit from Amazon itself (which only says anything once one has pushed hard and long for a quote. Even the BBC could get no more). This could be because American branches (or headquarters) of global companies are already supplying Amazon across the pond. As to which suppliers are selling directly to Amazon, it is hard to tell. The supply chain is something of a labyrinth. Anything on the website that is listed as being ‘fulfilled by Amazon’, comes from Amazon’s central warehouse, although this does not mean that it has been supplied by the manufacturer. To add to the confusion, certain suppliers are threatening to send letters to dealers forbidding the sale of their products through third party websites.

Centre of Excellence # # # # #

While many dealers will applaud such a move, others, such as Birch, see it as somewhat absurd. “There was one company that forbade the sale of its products via third party websites and all the legitimate dealers accordingly stopped – only for rogue traders to continue regardless. “It’s a bit odd. My suppliers know me, I don’t hide anything, they know the service I offer, they know the level of training my staff have. I’m not certain of the legality of such demands, so I shall be finding out as soon as I get one of these letters.” It’s all a bit of a mess, really, which probably falls nicely into Amazon’s plans – divide and conquer and all that. One thing is for sure, however, and that is that Amazon selling musical instruments will not crumble the foundations of independent dealers in the way it did for books and records. For one, there is little in MI that can fit in the average letterbox and that trip to the Post Office might as well be a trip to the shop. Second, it is clear that suspicion and disgruntlement will keep a good deal of the trade well away from Amazon… For now.

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DISTRIBUTION PROFILE ROSETTI - BRAINTREE, ESSEX Mark Ellis

Rosetti’s Mark Ellis highlights the strengths of his company’s brands and what sets the supplier apart from the rest…

Year Established: Around 1936 Number of employees: 24 Is business up or down compared to last year? Compared to last year we’re finding business is slightly down and we’re noticing the same trends across the whole music industry in the UK at the moment. We’re also hearing similar reports from the US and the rest of Europe as well. How has the economic climate affected business? The current economic climate has affected business for us and the rest of the music industry on the whole from what we’ve all seen and heard. The majority of the British public still want to play and desire new musical equipment, but we’re noticing that the UK population has much less of a disposable income to spend on music gear. What are your best-selling lines, and why do you think they perform so well? Vandoren has always been one of our best selling lines due to its rich history and excellent quality and now that its reeds are supplied in ‘factory fresh’ packaging, this makes them even more desirable. Rickenbacker is also a very popular, unique and exclusive brand, which is highly regarded by many professional musicians. Again, the quality is second to none and demand is greater than supply. Our own Adam Black range is performing very well and the acoustic range offers exceptional performance and quality for the price. Our new Libra UK model adds additional credibility and strength to the brand name. Promark is another brand doing well and is helped by its excellent endorsee roster and exceptional quality. How does Rosetti feel the UK market differs from other global markets? Music is a huge part of the UK identity and its culture. British music has always stood apart from the rest of Europe and the US. This makes it very

hard to predict future trends and a best selling US model doesn’t always translate to the UK. Music now plays a larger and important role in education, which has been a great help over the recent years and hopefully this will continue. What distinguishes you from the competition? We distribute the best brands, hold great stock levels and offer free delivery on all orders over £25, regardless of weight. Every guitar we send out is checked by our in-house workshop for quality before dispatch and we also offer a generous five per cent settlement on invoices paid within terms. How do you maintain a good relationship with retailers? We strive to offer good service, generous terms and excellent products and we always check stock before dispatch. We’re also in the process of organising an open day and look forward to meeting with many of our key customers in September. What would you say is the biggest challenge facing the MI industry today? Amazon, Tesco and other large corporations that are selling into the MI market are a big challenge at the moment, forcing us and everyone else into looking into new ways to work within this new business climate. What are your aims for the next 12 months? To increase our market share with our current brands as well as establish Hagstrom as a brand. We also aim to increase our strengths in-house, and improve customer service. We’ve already redesigned and heavily updated our own website.

CONTACT DETAILS Address: 4 Blackwell Drive, Springwood Industrial Estate, Braintree, Essex CM7 2QJ Phone: 01376 550033 Email: music@rosetti.co.uk Web: www.rosetti.co.uk

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DRUM NEWS

London Drum Show lineup complete Oyster House announces increasing exhibitor list and initial artist roster with more to follow in the near future TOP DRUMMER Dave Weckl has become the final addition to the London Drum Show lineup, according to Sabian's UK distributor Westside. The event, set to take place over the weekend of September 4th and 5th will mark the first time that Weckl has undertaken a UK clinic or master class appearance for some years, so confirmation of his appearance will allow UK drummers the opportunity to witness his legendary technique and playing skills up close. Weckl will perform a master class on Saturday 4th and play the main stage on Sunday 5th. Ian Croft, Editor of Drummer magazine, told MI Pro: “We are delighted to have Dave confirmed for the show. He is a

musician of the greatest repute and his performance is guaranteed to enthrall The London Drum Show audience.” Dave Weckl joins Benny Greb, Pete Locket, Mike Mangini, Ndugu Chancler, Andy Fisenden, Ralph Salmins, Paul Clarvis, Nisan Stewart, Ian Matthews, Craig Blundell, Albert Vila and Young Drummer of the Year Ben Clark at London's Olympia venue. Steve Gadd will be formally opening the show at midday on September 4th. Jobeky Drums, one of the UK’s leading innovators in developing electronic drums

More big names sign up to DW DRUM WORKSHOP has announced the official signing of several high-profile drummers. Dave Grohl, Thomas Lang and Dominick Howard have become the latest endorsers for the top drum company. Drum Workshop considers its artist roster to be one of the most celebrated and highly visible in the drum industry today and already has more endorsers than you can shake a drumstick at, including Tommy Lee (Mötley Crüe), Mick Fleetwood (Fleetwood Mac), Max Weinberg (Bruce Springsteen), Aaron Spears (Usher), Alex Gonzalez (Mana) and Neil Peart (Rush). Its latest recruits include Austrian virtuoso drummer Thomas Lang, Derek Roddy, Creed stickman Scott Phillips, John 'JR' Robinson, heavy hitter Dave Grohl and Muse drummer Dominick Howard. “At Drum Workshop we really pride ourselves on our artist relations programme," said the company's director of marketing, Scott Donnell. “We have an amazing roster and it’s a real family atmosphere.

GROHL: Renowned tub thumper is one of DW’s newest endorsers It’s always been that way and we feel that, more than ever, we can offer drummers the best service, products and people in the business. We’re honoured to be working with so many talented artists." "Guys like Thomas and Derek take drumming to new heights, Scott and Dominick are billboard

chart toppers and what can you say about JR and Dave Grohl, other than they have influenced a generation of drummers and continue to do so today. We couldn’t be happier to have these guys on board and we look forward to working with them for years to come.” MORICO: 01992 461089

and marrying electronics to acoustics, will also be exhibiting at The London Drum Show, “proving that the custom drum industry values the exposure that the London Drum show can bring,” said the show's organiser, Oyster House Media. Jobeky co-owner Jane Ackroyd added: “Following on from our own Custom Drum Show in May, we are very pleased to be exhibiting at The London Drum Show where we will be displaying our full sized, hand painted kit by Scary Designs. “Jobeky’s aim has always been to show that electronic kits can be as realistic in look and playability as an acoustic, without compromise.” OYSTER HOUSE MEDIA: 01884 266100

Roland announces V-Drum education event ROLAND'S SALES training scheme is set to continue with a special V-Drums education event in the West Midlands. This one-day sales training session will be held at Walsall College on Tuesday August 17th. It is due to be hosted by Michael Schack (pictured), Roland’s international V-Drum demonstrator, who has been involved in V-Drums product development, demonstrations and training for over a decade. The objective of the day is to share the latest sales techniques and ensure all participants have the tools and knowledge to increase V-Drum turnover in stores. The session will include tips, examples and ideas that can be put to use by retailers on the shop floor. The event will be split into different stages, focusing on all the main kits in the V-Drum range, as well as the new Octapad, SPD-S sampling pad and Handsonic series. The day will start at 11am and is set to

finish at 4pm. Lunch will also be included. Although free to attend, there is a limit of 30 people, so dealers are advised to book now by contacting Lisa Lewis on the number below, or via email: Lisa.lewis@roland.co.uk The venue for the event is Walsall College, Wisemore Campus, Littleton Street West, Walsall WS2 8ES ROLAND: 01792 702701

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

VISIT WWW.MIKEDOLBEAR.COM FOR MORE DETAILS. 16 miPRO AUGUST 2010

EVENT REVIEW MI RETAIL CONFERENCE & EXPO

FACT FILE: EVENT: MI Retail Conference & Expo, in association with Musikmesse DATE: June 29th 2010 VENUE: The Brewery, London EXHIBITORS: 23 VISITORS: 304 VERDICT: As a first attempt, it couldn’t have been much better. Generally, it was seen that the conference element could have been longer and the panel sessions deeper, but by and large, the UK trade gave MI Pro’s first trade event a resounding thumbs up.

We can work it out The first MI Retail Conference & Expo took place at The Brewery in Central London on June 29th. A new type of trade event, it put retailers top of the agenda and benefitted from the support of some of the market’s biggest suppliers...

he original concept was a simple one: could we get 75 to 100 UK retailers together to discuss some of the major issues facing the MI trade today and then talk business with 15 or so leading suppliers. It ended up being a lot more than that. At the final count, almost two dozen suppliers gathered along with over 200 dealers and the UK’s MI trade got a clear and valuable snapshot of its current condition and future challenges. The responses from all concerned were, as you would expect, many and varied, although there were a few issues that

18 miPRO AUGUST 2010

illustrated a general theme as to how things could be improved, but as you will see (page 20) the overriding opinion was very much a thumbs up that MI Pro had managed to launch a vital and needed event that will grow into the future. For those of you unlucky enough not to be there, here’s a rundown of how the event was scheduled: The day started casually with registration and coffee, followed by all the delegates taking their seats in the large Porter Tun hall, where an introductory video was followed by a few words of welcome from Intent Media’s managing director, Stuart Dinsey.

The keynote presentation came from Matthew Gibbs of the market research company GfK, the only researcher to be tracking retail sales of musical instruments in the UK. Gibbs illustrated how MI had largely cruised through the initial impact of the global economic crisis, but also showed that the first five months of 2010 looked uncomfortably like a downturn. “Prices have now begun to stabilise,” he said. “This means that any value increase must come from volume development – and in some areas that is actually slowing.” A full report of Gibbs’ presentation can be seen on page 22.

The first of two panel sessions, ‘Reverberations: What Have Retailers and Suppliers Learnt from the Collapse of Sound Control, Reverb and Other Multiples?’ was chaired by Andy Barrett, who aimed questions at Simon Gilson of PMT, Noel Sheehan of Sheehan’s Music, Dennis Drumm of JHS and Julia Thomson from FCN. The discussion moved around topics such as the ease of supply – indeed the idea that MI is drastically over supplied – and that suppliers should look upon themselves as banks, offering, as they do, lines of credit to dealers. “At the moment,

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MI RETAIL CONFERENCE & EXPO EVENT REVIEW

MI Retail Conference & Expo

event

in association with

WWW.MI-PRO.CO.UK

banks are extremely cautious as to who they lend money to,” said Gilson. “Yet a shop can get thousands of pounds worth of gear just like that.” Both Drumm and Thompson concurred, but qualified the statement. “We have a warehouse full of stock so that we can supply what is wanted by the dealer,” said Thompson. “It is so easy to become an MI dealer, so it is up to us to make sure these businesses are being run properly.” “It’s not for us to dictate to other businesses how they are run,” said Drumm. “That said, JHS looks for customers who run their businesses with a close eye on their fiduciary duties and trade with our company more or less within terms.” Paul McManus, the CEO of the Music Industries Association took to the podium next and ran through the efforts the organisation is constantly undertaking to grow the market, lobby parliament and ultimately, make more musicians. One of the major functions of the MIA is to run the charity Music for All and to this end, Roland UK’s managing director, Tim Walter, took a few minutes to launch the initiative ‘Three Men on a Bike’. This will see Walter and two other Roland directors cycle from Lands End to the London Music Show in October to raise funds for the charity. Walter called upon any and every individual in the MI trade to ‘give something back’ and get involved in any way possible. (For further details, go to http://threemenonabike.org.) In another seamless link, Walter handed over to his sales director at Roland UK, Peter Heath, who chaired the second panel session, ‘Online Selling: Threat or Opportunity’. On the panel were Paul Marshall of Marshall Amplification, Harvey Roberts of Audio Technica, David Briggs of Dawsons and Katy Watson-Cave of Dolphin Music. “In MI, we are a long way behind getting the most out of the internet,” said Watson-Cave, whose experience is mostly outside MI with the likes of Halfords, Boots and Marks & Spencer. “Denial of the online e-tail industry goes back many

years and in all cases has been reversed. We need a complementary approach.” Roberts agreed with this, pointing out that a complementary approach is needed from everyone. “Traditional retailers need to think about what added value they can deliver so that consumers want to shop in-store,” he said. “What do people currently get out of visiting the stores? If it's not very much, then of course, they'll just buy online as there's no service being offered.” Briggs proved immensely popular on this session and, in inimitable style, boiled the retailing mission, whether online or

and found some new ones. It was very much a business environment, conducive to meetings and discussion, with some product and service demos, and even a retailer survey adding to the buzz. Among these were the initiatives launched by Audio Technica and Barnes & Mullins. The microphone giant used the Expo to introduce its Summer Schools and Centres of Excellence, While B&M unveiled its new orchestral strings website, String Gallery, as part of its ‘manifesto’ to rally behind the independent retailer.

on the shop floor, to its fundamental purpose. “You buy a product at ‘X’, you sell at ‘Y’ and you live off the difference. If you can’t live off the difference, you need to find a new product.” A lively Q&A brought the conference to an end, but it was immediately clear that the delegates had an appetite for more. The presentations had been well received and the panels sparked debate. Next year, the plan is to increase the content and tackle even more subjects, possibly in a multi-track programme. After a networking lunch, the action then shifted to the expo, where 23 Event Partners met with existing customers –

As you will see from the comments that follow, the vast majority of Event Partners and delegates felt the event was a great success – as good as a first attempt could be – and exactly what the UK trade has needed for some time now. Curiously, perhaps, of all the events that have taken place aimed at UK retailers, this is the first time that retailers have been the centre of attention. The inherent beauty of it, of course, is that the event is all about dialogue and that discussion is still ongoing, meaning that next year’s MI Retail Conference & Expo is certain to be better still. We can work it out.

miPRO AUGUST 2010 19

EVENT REVIEW MI RETAIL CONFERENCE & EXPO

The verdict With positive response approaching the overwhelming, here is what the Event Partners said about the MI Retail Conference & Expo, as well as some of the retail delegates. Further retail comment can be found on page 55… “As the organiser of Musikmesse we found the MI Retail Conference to be an excellent way to engage with UK retailers and suppliers. The event was thoroughly well organised with excellent attention to the visitor experience. We also felt the event was professionally branded. MI Pro has delivered on every aspect of the event. Congratulations and thanks.” ROB SHERWOOD, MUSIKMESSE “Congratulations to the MI Pro team for putting on something new and different to the usual trade show. This was the first event and obviously lots of lessons can and will be learnt for next year, which without question Audio Technica will be keen to support. The more feedback and comments received will obviously help shape future events and make it the ‘must-attend’ annual diary event. “I would also like to thank all the retailers who came along and showed their support and hope to see them and others coming back next year for what will undoubtedly be bigger and better.” HARVEY ROBERTS, AUDIO TECHNICA “There could have been one or two more hours in the conference. Pre-selected questions would have been better, perhaps people could have submitted three questions beforehand. But it’s been good value for money, bearing in mind it’s 20 miPRO AUGUST 2010

new – and it was great to talk to dealers we never normally would.” TONY GRAVEL, TASCAM “Very, very good. Anything that gets dealers together and creates feedback from the market is a good thing. I’ve seen a lot of customers, I’ve seen people I haven’t seen for years – it’s been wonderful. It’s like the old days of the BMF when we used hotels for the show – really excellent.” TONY FLATT, TANGLEWOOD “We came to meet new retailers and generate new business, as well as put some faces to names – and that has all been done.” LAWRENCE DAVIES, ALLIANZ “Just great – really good – and if I thought it was rubbish, I’d tell you. Well done. As a ‘first version’ I don’t think you could have done it better, but you know, of course, that the hard work begins now. You have to identify the good and not so good bits and improve everything.” CRAIG FENNEY, NATAL “It’s been a very positive day. A relaxed environment in the Expo and enthusiasm from the dealers has been good. Having a checklist of dealers was really handy because you can tick off who you have and haven’t seen and it’s been nice to

meet some old friends too.” SIMON TURNBULL, D’ADDARIO UK “Quiet simply, it’s the best show we’ve ever done. Best for the quantity of quality contacts and the best decision we’ve made as a business this year. I’ll tell you how good it was – the only thing wrong for us is the difficulty of parking with our van. When that’s the only complaint you have, you know it’s good.” NEIL CLAYTON, MONACOR “It has been very successful and far busier than I thought it would be. I didn’t expect everyone to make the effort, but it’s great that they have.” STEVE GREENWOOD, MARSHALL AMPLIFICATION “Congratulations for putting on an extremely professional and well organised trade event. The right people were invited, excellent choice of trade dealers and key decision makers. The stand and space was perfect and the business from this one afternoon will flourish over the next six to 12 months. “ CHRIS STATHAM, MEL BAY “A-plus. That’s what everybody has been telling me. I think this is an excellent initiative by MI Pro.” DAVID RUSHWORTH, INTERMUSIC

“We bought 30 of our own retailers, so there weren’t any surprises for us, although with so many other exhibitors outside our market, we have met a few dealers we don’t know and we have signed some new accounts – so, all in all, yes, very good.” DANIEL MASON, CASIO “It’s a great location, a really good spread of people and I really like the small, intimate environment.” ALEX MEW, BARNES & MULLINS “Well done – you should be proud of yourselves for a job well done. There are lots of ways we can improve this and I’m happy to go through my ideas for what they’re worth, but for a first attempt, I think you’ve done extremely well.” MIKE BARNFIELD, MICKLEBURGH (AND FORMER MIA PRESIDENT) “Just wanted to thank you guys for being brave enough to organise such an event during these unpredictable times that both retailers and our suppliers are faced with. “Having recently returned from a very similar (but more established) event, which was being held by retailers from a different industry, I can honestly say that the event had all the ingredients to become a successful annual event.” TONY WHITE, BONNERS WWW.MI-PRO.CO.UK

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MI RETAIL CONFERENCE & EXPO EVENT REVIEW

Hitting the

brakes

One of the highlights of the MI Retail Conference was the keynote talk based on GfK’s industry statistics. MI has ridden the initial wave of the credit crunch, but the public is now hanging on to its disposable income. Matt Gibbs gives us a run-through of his well-received presentation…

hrough our panel of over 76,000 UK retail outlets, GfK is able to gather sales data from a wide variety of technology and durable product categories. Coupled with insight into consumer sentiment and confidence, we’re able to build up a comprehensive picture of whether people are willing to spend, and then what they’re willing to spend on. The GfK NOP consumer confidence index figure (which is derived from a series of questions relating to household finances) hit a low of -38 at the end of 2008. To put that into perspective, the lowest score during the recession of 1990/1991 was -35. Anybody with experience of both periods would agree that the economic fundamentals are very different. Currently unemployment is low

“

MI has benefited from the low interest rates and lack of consumer willingness to spend

in relative terms, and interest rates are at a record low of 0.5% compared to 14% in 1991. Clearly the drop in economic output has impacted bonuses, pay reviews and such like, but balancing that is the fact that the largest single item of expenditure for most UK households is housing, and these costs have dropped. So confidence is low, willingness to spend is low, but disposable income for the average household has up until now increased. This is backed up by evidence from the consumer confidence index showing that 44% of households are currently able to ‘save a little or a lot’, compared to only 15 per cent that state they are “drawing on savings or running into debt”. When looking forwards though, the indicators are less positive. Following the election, there has been a marked increase in households believing their financial position will worsen in the next year. WWW.MI-PRO.CO.UK

During 2009, spending overall dropped by three per cent (or about £1.5 bn), yet for musical instruments rose by over ten per cent. Spending within durables over the past 18 months has in particular been focused on higher-end price points. Highend brands have all performed well. And whether it’s guitars, washing machines or hair straighteners this trend can be seen. In line with this, much of the growth seen within MI was at the top end of the price spectrum. Couple this trend with the fact that exchange related price increases hit MI far earlier than in other product areas, and you get a strong value growth reaction to very little volume change – in fact most MI markets were flat or declining in volumes during this time period. From this, you could surmise that retailers focusing on the high-end will have performed best. Where people have been willing to spend, they’ve spent on aspirational goods and MI has clearly benefited from this. Move on to 2010 however and the picture looks less rosy. Prices have now begun to stabilise, meaning that any value increase must come from volume development – and in some areas that is slowing. The durables market as a whole has grown strongly for the YTD 2010 – up by 2.4 per cent in value compared to a drop of 1.4% for MI. This highlights how fluctuating the performance of MI can be, and is a trend commonly seen in markets where power rests firmly with the manufacturers rather than the retailers. The electric guitar sector has seen the fastest slowdown so far in 2010, with high-tech products like synths, keyboards and digital percussion the best performers. So from this evidence we can conclude that MI is not a very price elastic market – spending or demand on a category level does not seem to be stimulated heavily by price fluctuation. ASP for an electric guitar rose by nearly 20 per cent over the course of 2009, but volumes were stable. What we can say with some confidence is that MI has benefited from low interest rates and lack of consumer willingness to spend. With disposable income likely to become far more squeezed, the danger for MI is that this spending will dry up. Matt Gibbs is account director musical instruments at GfK Retail. For further information: Matthew.gibbs@gfk.com.

MI succeeds to maintain volume sales despite wide-ranging price increases

Growth has been seen in some unexpected places in the first half of 2010

Nearly half of the UK’s households are still managing to save

2010 has shown MI’s first downturn since the recession began in 2008 miPRO AUGUST 2010 22

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MUSIC MUSIKMESSE CHINA EVENT EVENTPREVIEW REPORT

OCTOBER 12TH TO 15TH SHANGHAI NEW INTERNATIONAL EXPO CENTRE

China syndrome As China hauls itself out of the ‘blip’ that was for the rest of the world a global recession, Music China continues to increase its gravitational pull on the world of MI. Andy Barrett burrows down to bring the first of three overviews on this key event in the MI calendar…

s the world reeled from the consequences of the credit crunch through 2009, China proved exactly how strong it had become as an economic powerhouse by growing its GDP by a mere eight and a half per cent (compared to nine per cent in 2008 and 13 per cent in 2007). There is a certain amount of ‘splendid isolation’ involved in this, as China’s currencies and financial systems continue (thanks to its still largely controlled economy) to function separate from much of the world’s more dynamic exchanges, but much of the buffer against tumbling stocks and shrinking reserves was due simply to the colossal manufacturing clout that the country has. China continues to grow, albeit at a slower rate than before, and one assumes that musical instruments and the Music China show will, too – although that one is a little more difficult to call. Price increases over the past year have maintained profits in MI trade in the UK, but now prices have stabilised, it would appear that unit sales are beginning to dwindle, too – not that China would bat so much as an eyelid at the sort of drop the UK represents, but multiply that across the developed world. One thing is particularly clear, however, as Music China’s growth has paralleled China’s ascendancy since the launch of the show in 2002, so 2010 will most likely

WWW.MI-PRO.CO.UK

see a moderate, almost imperceptible push upwards. Combine this with the developed world seeing the light at the end of the (crunched) tunnel and October’s show is likely to be as dynamic as ever. Last year’s show took up some 65,750 square metres of space over six halls and saw 1,164 companies from 24 countries exhibiting to 42,499 people from 86 countries over the four days (two of them open to the public).

“

China continues to grow and one assumes that musical instruments and the Music China show will, too.

“For 2010, we are seeing that exhibitors are more confident in putting together aggressive marketing plans to get back any business lost during the global economic downturn,” said Evan Sha, the deputy general manager of Messe Frankfurt (Shanghai). “Well over 90 per cent of last year’s exhibitors have reserved space for this year.”

Interestingly, this push for ‘bigger’ would appear to be an effort to create more shelf space for higher-end products. According to the National Bureau of Statistics in China, the continued growth the domestic population has enjoyed in disposable income has contributed to a steady increase in retail sales. In December 2009, the year-on-year growth rate was 17.5 per cent. The Chinese government had initiated a stimulation plan to compensate for the decline in growth, which bolstered consumption and was reflected at Music China 2009, with buyers looking for high quality products. “With an improving economy, we expect this trend for quality to continue for Music China 2010 as Chinese buyers are still demanding high quality branded goods to meet the needs of local consumers,” Sha concluded. Chinese buyers demanding branded goods, eh? Since Music China began, everyone has been reflecting on the benefits of having one’s foot in the door once the Chinese domestic market began expressing itself through a desire for luxury items (and for the sake of argument, I am including all of MI in that). With the developed world taking a couple of steps backwards and China continuing to run forwards, the gap is now perceptibly closing… And the door is widening. If your foot is in there, you’d best be ready.

IN THE RED, WHITE AND BLUE CORNER UK exhibitors have maintained their numbers at around two dozen for a few years now, with some, such as Howarths, Tanglewood and Denis Wick being genuine regulars. Those from the British Isles exhibiting this year are listed here. Colin Holdsworth tells MI Pro that there are still a couple of £1,800 grants available for qualifying companies wishing to exhibit. ABRSM/Oxford University Press Denis Wick Products G7th Hiwatt Howarth of London IBC Trading JMI Amplification Mel Bay Music Music Sales Scalerail Tanglewood Tokai (unconfirmed)

miPRO JUNE 2009 25

HH ELECTRONICS COVER FEATURE

Return of the king HH Electronics is a brand that many musicians of a certain age will remember fondly. Now, since being bought by Laney, it’s back with a whole range of products waiting in the wings. Gary Cooper was on hand to uncover the details...

t would be almost impossible for someone who wasn’t in the MI trade, or an active musician in the late 1970s and 80s, to appreciate how important the HH brand once was. At that time, HH more or less owned the band PA market and was huge in backline. Born in the early 1970s in Cambridge, the resolutely black and red clothed, all solid-state products epitomised an era of rapid growth and innovation. Downed by a series of poor management decisions (including an ill-fated electronic keyboard and a range of home computers) it

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eventually passed, via Carlsbro, into the ownership of Laney, which has quietly bided its time, waiting for the perfect moment to relaunch this iconic British brand. And that moment will soon be upon us, James Laney explains. In 1990, when the ever-canny Lyndon Laney acquired HH Electronics from Carlsbro (then still owned by its founder, Stuart Mercer) speculation was rife that the iconic high-tech British brand was set for an instant comeback. It hadn’t fared well in Carlsbro’s hands – probably because both brands catered to the same

market, producing ‘the working man’s amp’ which, while it was the mainstay of just about every pub and club band in the country, was less often seen on the professional stages – dominated by the valve hierarchy. But Laney hadn’t bought HH for its amplification expertise – why should it have? After all, the Birmingham amp maker had plenty of that of its own. Instead, it later emerged, Laney had bought the company for its largely unrecognised (outside of technical circles) excellence at loudspeaker design and

manufacture. Lyndon Laney knew he could take those speakers and use them to equip his own amplifiers, giving him an instant cost and quality edge over his competitors. Fast forward to Frankfurt this year, where visitors found an HH stand showing prototypes of a completely new range. On the horizon, it appeared, was not just the odd backline amp, or PA enclosure, but a full-scale relaunch. James Laney, overseeing the project, is understandably excited by the prospect of this.

miPRO AUGUST 2010 27

COVER FEATURE HH ELECTRONICS

“At a certain point in time, HH was the market leader – the innovator. Not just in terms of marketing, but in terms of the technology and the principles behind it,” he enthuses. So what exactly was it that has restrained Laney from doing this in the past? Both Lyndon and James have been asked before, not least because to a certain generation, it has seemed as if they were neglecting a potential goldmine in an industry obsessed with its own heritage. “The last decade has been a time of remodelling the way we’ve worked – not least in becoming a distributor as well. We’ve moved from a business that was making everything in the West Midlands – bashing metal, cutting wood, making speakers – to having to go through the process of disassembling that and moving it offshore, and that has taken a very long time to get it how we want it and where we want it. It’s a place where we still have our heart in manufacturing. “We still design the product, we still go through the whole engineering process – asking the questions about how easy it will be to put it in the box and will it still work at the end, when it’s been shipped thousands of miles? Doing that, and doing that at arm’s length across the other side of the world, is a set of skills that I think we, as a business, are pretty good at. But you’ve go to learn those skills. “What you don’t want to do – and this is why we might have seemed as if we were dragging our heels – is come up with a few speaker boxes, stick a name on them and get someone in Asia to make them for you. We know that wouldn’t work with Laney, we know with Laney that we still have to come up with the ideas, and that’s just as true for HH. You hear the argument that you can just go to a factory, buy a product and stick a badge on it, but you actually can’t – it doesn’t work. The only place that can work is at the very low-end, short-lived, area in the market and that’s not where HH was and it’s not where HH will be.”

28 miPRO AUGUST 2010

Laney makes a good point. If HH meant anything for its retailers and endusers, it was as a stylish, innovative, hightech product. Slapping the distinctive red logo on a box filled with cheap Chinese speakers would be a sure route to extinction. So what is on the way? “It falls into two main camps, really. I’d probably call it professional portable audio – PA for musicians – and some backline.”

Musician. It’s everywhere, so there’s definitely the will to do backline again.” That said, one of the characteristics of HH backline was that it most certainly wasn’t a screaming, valve Marshall or Laney. Though HH’s founder, Mike Harrison, regarded valve technology as obsolete, the fact was that most guitarists continued to aspire to own valve products and Harrison and his supporters (of whom there were more than a few inside the

Product development manager Duncan Boniface (left) and James Laney

“

What you don’t want to do – and this is why we might have seemed as if we were dragging our heels – is come up with a few speaker boxes, stick a name on them and get someone in Asia to make them for you James Laney

That backline aspect could have been easy for Laney to have ignored particularly as it already has a highly successful offering in that area. “HH was very successful there. Look at the VS Musician, the Bass Machine and the IC100. That was all iconic stuff and the fact that we’ve got pictures of Marc Bolan stood in front of his HH isn’t to be ignored. In fact, there’s an enormous list of artists who’ve used HH and it’s not necessarily all in the past. I opened a magazine just a while ago and saw a picture of Johnny Marr sat by a VS

amp business) simply got it wrong. The valve might have been a dinosaur, but it made the sound guitarists wanted – which was something Laney understood. The point of which being, while reintroducing HH will push some guitarist’s buttons, it can’t be assumed that the majority will feel the same way. “Yes – we’ve got this great resource to draw on, but it’s balancing that with doing something that’s current that is going to count,” Laney says. “We have to use that past and we have to refer to it, but we don’t have to copy it.

“To that end, we brought in Duncan Boniface as product development manager for HH. Duncan is specifically tasked with leading the HH process. This is not just the Laney design team doing some HH on the side – we have got separate resources, 100 per cent dedicated to HH. Duncan is an experienced speaker engineer, which adds credibility to our original speaker design approach, and he is also very experienced in China.” So what abut the PA products? “What we’ve tried to do here is say ‘these are products for musicians, designed by musicians’. That really is our starting point. Most of us here are consumers as well as producers, so our starting point was to say ‘as a musician, what do I want my PA to do?’ and that’s not the same today as it was in the 1970s. You have to look at it and ask what did it do well? What were the design cues, what are the questions that it was asking? You can’t not have a mixer because there wasn’t one in the 1970s, but what you can do is ask what approach would HH have taken to it. I think people will see the results of that. For example, we’re working on a powered mixer which we’ve yet to unveil and when we do, I think people will see things on it that are very different from what they’ve been used to, because we’ve approached it in that unique way.” One other aspect of the relaunch that will gladden many hearts is that HH will be sticking to the philosophy with which it began – all the speakers used will be its own. Laney says the design team were very aware of that aspect of HH’s original success and they were determined to make use of that legacy. “We are doing the speaker design because if we weren’t, we wouldn’t be doing the brand justice,” he says. Given that our industry – notably the guitar and amp sector – is awash with product nostalgia, does Laney feel there is a sense in which HH has actually gained extra credibility by not having been available for 20 years? Isn’t it the case

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HH ELECTRONICS COVER FEATURE that some companies have revived products that weren’t even a success the first time around and tried to make them hits, by adding a little marketing fairy dust?” “It’s all a question of how do you make it cool, but that only opens the door. Once that door is open, you’ve got to put a product to the market that stands on its own. That’s why I’m keen to emphasise that were not doing a VS Musician Mk II because that just won’t work today. We’ve seen examples in our industry where products have been re-released and flopped – or where they are ‘re-released’, called the same thing, but are nothing like the originals. That doesn’t work either. Yes, you can create mystique just by being old, that gets you in the door, but once you’re in, what do you do with it? “There is this love for the brand. You could see that on our stand at Frankfurt, where people of a certain age would walk past the stand, see the logo, do a doubletake and smile. But the real challenge is that the people who buy this product, particularly on an international stage where we are very active, won’t remember HH. We have to borrow a bit of the history to show them this isn’t just a new thing we’ve dreamed-up, but the product has got to mean something for now and we have deliberated a long, long time over what is going to be quite a big launch of a lot of products.” So when will MI Pro’s retailer readers actually get their hands on the new HH range? And when they do, what will they have to sell? “It will be the very end of the year – with a launch in earnest in the New Year. What we’ve got is a whole range of products: three ranges of PA cabinets, some active, some passive, with monitors that go with them. We’ve got bass amps, guitar amps, mixer heads – a lot of products to launch simultaneously, plus, of course, the power amplifiers. Those power amplifiers are a perfect example of what I was talking about, though. Everyone remembers the V series, but though there’s a great pedigree there, you

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can’t do yesterday’s power amplifier – of all the things. You can’t re-release a product in that market to an old design. Mind you, there may be a small corner of the market that wants a boutique, handmade V800. We realised that when we saw people drooling over the one we had on the stand at Frankfurt. “One of the reasons this is taking so long is that we are obsessed with reliability. The thing that must not happen is uncertainty about quality. Yes, there might be some love for the old name, but if the product turns up and doesn’t work, then we’ve blown the chance. We’ve been working for 18 months to bring this many products together. We couldn’t launch it in bits and pieces, we’ve got to launch a full range and that’s taken a lot of work. It’s been quite a test for us.” One area of frustration for well-wishing onlookers when Laney purchased HH was that it didn’t build what could have been a knock-out bass system, using HH’s advanced speakers and its superb power amps. Have Laney and his team’s minds strayed in that direction this time around? “Absolutely. It’s an area that’s not in our first launch stage, where we’ll be doing some more entry-level bass amps to get the volume aspect of the business going, but we do want to do it. We have the right bits and we even know what we’re going to call it, but it probably won’t be right at the beginning. And the other area is acoustic amps - which didn’t exist when HH was around before - there are a lot of possibilities.” However good the HH range proves to be, one of the obstacles facing the Headstock distribution team could be the unwillingness of some MI retailers to get involved in PA – and often only in the

most peripheral sense, when they do. What is the plan here? “It’s changed a lot. There were always a few powered monitors in the corner of a guitar shop and even that’s fading away. I think our approach for the UK, speaking as Headstock, the distributor rather than as HH, is to ask what dealers do we want and how are we going to work with and support them? You don’t actually need that many shops to do the job right, You need good national coverage and you need backing for the product, but we don’t need 300 dealers all at once, selling them all two pieces each. I think it’s much better, like we did when we launched Ibanez, to work with the people who are committed to it and help them make good money, help them display it properly and help them reach their consumer. I think Headstock has the right abilities to take that through. “I think what I’d say to dealers about this is that it’s a fantastic opportunity. What matters to dealers? I think that they like working with the company whose supplying them, that they can make good profits on the products in their shops, and that they don’t make profit on things they only sell once a year – they make profit on something that sells consistently. Also, we will make sure that the product is reliable and that it’s not just something we’ve found in China and stuck a badge on. I can’t say that enough. What retailers want least in their lives is a stream of products in their store rooms that have

come back because things have gone wrong with them. I know I sound like I’m banging-on about quality control, but we’re obsessive about that. “The focus of our first phase will be the professional audio side – a package of cabinets, mixers, power amplifiers and the hardware that you need. At the start, there will be some backline for the entry-level market, the 15, 30 and 60-Watt market, because it’s a product the dealer will sell every day. We have more exotic products on the way, like a wonderful two-by-15inch isobaric bass cabinet that will sound amazing and shake the glass out of windows, but dealers don’t sell one of those every day. They need bankers and commodity sales that will help build faith in the brand and which they can make good profit on. It’s getting the right split between commodity sales, core sales and iconic products and the core is where we’re going to start.” Whether dealers will queue round the stand, as they were said to have done when HH made its début at Frankfurt in the early 1970s, remains to be seen. There’s no doubt, however, that the return of the two red Hs will inject a much needed jolt of excitement into the MI scene early next year. For any reader of a certain age, it will be hard to suppress a welcoming smile. HEADSTOCK: 0121 508 6666

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COMPANY PROFILE ROSETTI The Rosetti team, with MD Mark Ellis proudly holding an Adam Black electric in the centre

English Rose Designing a British electric guitar might seem like a daunting task, but not if you’re a member of the Rosetti team behind the Adam Black range. Gary Cooper finds out more…

f the name Adam Black sounds like the hero of a tough, down to earth detective series, then it’s likely Rosetti’s marketing team hit the target, when they came up with the name for a range of no-nonsense ‘bang for your buck’ acoustic guitars. The brand has matured since its launch, finding a healthy niche in the market, but

“

“When you sit down with a factory in the Far East, they literally have an Excel spreadsheet that says if you want a fancy inlay, it will cost you $10 and so on. But we stuck to the basics, for example starting with reliable machine heads. We said we want Grovers because we’ve found from the guitars we’ve handled that it takes a lot to

We thought there had to be a way of making a guitar that was affordable and has features over its competitors from the Far East Mark Ellis Rosetti’s managing director

significantly has recently been graced by the introduction of affordable UK-made electric guitars that are starting to attract serious attention. Affordable UK-made electric guitars? Absolutely, explains Rosetti’s MD, Mark Ellis. “In 2002, we identified that there were still opportunities in the acoustic guitar market, but that it had to be approached differently. We aimed to include all the features players want and leave out the rest.

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destroy a Grover. So we started with that, then a simple dot inlay, added a basic abalone inlay round the soundhole, but opted for good solid tops, scalloped bracing inside, dovetail neck joints – the features that you’d have on a high-end instrument.” The plain but honest approach went down well with retailers and the public, with Adam Black acoustics starting at £149 and more than making up in sound and quality for what they might lack in flashy

cosmetics. With a top-end Adam Black acoustic costing around £449, it’s a competitively priced range likely to appeal to the experienced player, who appreciates a quality instrument and isn’t beguiled by showy looks. “Lately we’ve added free cases as part of the deal for retailers that buy a small quantity of them and that’s how we have progressed with it. It’s been a case of thinking ‘what can we do to make it an easy sell for the retailer?’, with the added benefit that he can make decent money on it, plus the opportunity of offering a free case, should he need to.” So was the name actually chosen to represent that philosophy? “Very much so. You wouldn’t believe how many names for guitars have been registered. We said we just wanted a simple product that gets you from A to B – hence Adam Black.” The first guitars appeared in 2003 and were followed by an electric range which, it’s probably fair to say, wasn’t such a success. Possibly, too many models were on offer, Ellis concedes, though some of the models sold well. The range was soon whittled down to more manageable proportions. Then, last year, Rosetti decided

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ROSETTI COMPANY PROFILE to do something almost unprecedented for a UK wholesaler: it built a British electric guitar. “We’ve got great skills in our workshop team at Rosetti. People who have worked with guitars and indeed built their own guitars, and I thought: can we utilise their skills to build a guitar that’s made in the UK? So, early this year, that’s what we did and it was one hell of a battle. I didn’t realise how much goes into producing guitars. “Being based in the South East, there’s a lot of specialist engineering companies around here – particularly manufacturing for Formula One. For example, I found a guy in Suffolk who could make the body blanks for us out of high quality ash, so we’ve been able to offer a three-piece body, like on a custom shop Fender. Then I found a CNC company in Essex that could CNC the bodies. They specialise in making fine detail products for Formula One and other demanding applications and were keen to get involved. We give them the ash and they do the rest – drilling, routing, creating the scratchplates and so on. The necks weren’t quite as easy and we have to source those from a Japanese company.” Ellis found one interesting reflection on the MI business when working with these precision engineers. When he gave them the components that he wanted to use with the bodies, they were hugely impressed by the standard of bridges, saddles and other machined items, which we take for granted in the guitar business, but which these specialist engineers said were exceptionally high quality. “We tend to look at it and think it’s just a stop bar tailpiece, but the quality of engineering in our industry – well, the word they used was ‘breathtaking’. We just take it for granted, but they were so impressed by the quality of the die casting and plating on products we handle every day.” Of course, once you start importing components like bridges, tailpieces, necks and so on, it raises the question ‘how British is a British guitar?’ Without wandering into litigation territory, it’s a question that might just as easily be asked of some US guitar producers, but it concerned Ellis enough to call in the Essex trading standards department which was, he says, astonishingly helpful and supportive, advising Rosetti what it needed to do to comply with the strict regulations. “I couldn’t fault the way they supported and helped us with this project,” he says. “It’s been enlightening for us, and now we have a UK guitar which will retail with a nice bag for just £400.” Part of Rosetti’s plan was the leverage of the team of guitar experts it had assembled through all the years it had distributed Gibson and Epiphone. Now its four guitar experts not only set up every guitar that Rosetti distributes, but also assembles and perfects the Adam Black electric range.

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“All that work is done here. The bodies come in, we assemble them, then we do the finishing here, too. Some of our guys have been with us for 20 years, so they’ve got the skills and were instrumental in the final design, too, so it has been a good exercise right throughout the whole company from the very beginning.” In common with everyone else, Ellis admits that times are hard in the guitar market right now, so Rosetti wasn’t expecting to set the market on fire with the new UK Adam Black electrics, but they have had a positive reaction from retailers and he says that positive mood is beginning to spread. “We’ve got a number of endorsers already, who we’ve been working with for a number of years and we also work with a company that liaises with band management companies. I’ve asked them to start working on these, as well. It’s critical to have artist endorsement and relations programmes, particularly at a time like this. You have to make it as easy as possible for the people out there, so that’s what were doing. It’s hard work, mind you.” he laughs. It’s refreshing when one of the UK’s longest established distributors decides to break the mould and not just buy Asian guitars out of a pattern book, but takes the trouble to design, specify, assemble and finish a line of its own. From a commercial point of view, it ticks the box that UK distributors have increasingly had to pay attention to – realising that placing your business’ future in the hands of brand owners carries a serious risk – and Adam Black, for all that it means to the company, has to establish the brand from new, gives them ownership of a range over which it can exert complete control. “We thought there had to be a way of making a guitar that was affordable and has features over its competitors from the Far East,” Ellis says. “We’d put this guitar up against any other at the price point. “One thing we also did was involve the endorsers, who tend to be younger and with up and coming bands. That’s important, because we’re not going out with an established name. It would be difficult to convince older guys, who have long since decided they are Fender players, for example, that this is what they must have, so we’ve targeted Adam Black at younger players – and people like it. They are happy to see a guitar that is made in the UK.” While you have always been able to buy a handmade British guitar for a thousand pounds (or two or three) a British-made guitar selling in the £400 region (or its pre-inflationary equivalent) hasn’t been available for a very long while. If Rosetti can pull this off it could set a completely new market trend for home grown instruments – and that can only be a good thing. ROSETTI: 01376 550033

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COMPANY PROFILE JET CITY

Jet setters If ever there were a market suffering from congestion, it must be the guitar amplifier scene. Andy Barrett hard wires into Jet City to find out what is powering the new US brand – and discovers some impressive whys, wherefores and Watts

It’s not an original story, three guys from the MI business meet up working for a large corporation and say to each other ‘hey, we can do this – and what’s more, we won’t need to report to anyone but each other’. But when Dan Gallagher (above) and Doug White found themselves working with each other for Loud Technologies, selling and managing several products including the Blackheart range of amplifiers and did exactly that, they went a stage further and did something a bit different. Soldano was a consultant on that project as he had been on projects working with White in the past. Gallagher and White had worked together in 1999 and through the early noughties establishing Behringer in the US and then met up again at Loud, where Gallagher was VP of International Sales and White was VP of Product Development for MI Brands.

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“We had both worked for big corporations, so the opportunity to work with a product range of our own design was refreshing – and we saw the benefits of getting away from the pleated trousers, the white shirts and the bean counters,” explained Gallagher. “So we said to Mike: ‘what if we start a new business and take your designs to a much bigger market?’ We knew Mike had been approached before, but we were offering him the chance to have complete decision making over the designs and hands-on manufacturing involvement. He is known for being fastidious – that’s why he’s called the Ferrari of amps – so if anything is wrong, he tells Doug and we change it.” Gallagher describes Jet City (named after Seattle, where the company is based) as “very honest with good honest products, “but we don’t take ourselves too seriously.”

The birth of Jet City, then, is nothing particularly out of the ordinary, but it is in the development, manufacture and marketing of the products that things take a swerve away from the norm. We have seen it before in the guitar market, top luthiers designing models for the mass manufacturing market – although in those cases, there tends to be a brand looking to step up from the entry level to the high end. In the case of Jet City, the brand is born of the idea. Gallagher is keen to point out the equality of each of the members of the triumvirate, Soldano on design and engineering, White on product development and marketing, Gallagher on sales and business, but this is not a dictatorship in any other way. Jet City is essentially these three and all other work is sub-contracted out, including a heavy nod towards viral marketing.

“Everything we do has a purpose,” pointed out Gallagher. “Jet City is what people call Seattle, which is where we are based, the concentric rings of the logo is based (a bit tongue in cheek, I admit) on another famous Seattle brand, the 333 refers to Mike’s ’formula’ for overdrive – everything is as deliberate as the designs.” The result of all this is the JCA range of amps, cabs and combos, designed by Soldano and brought to market only after Soldano was happy enough to put his name to them. “He is very strict. The transformer of the first prototype is a classic example. Mike built the first prototype in his shop in Seattle and Doug took it to China to build the production units. Doug spent a few weeks there setting our standards and revised the output transformer about three times by comparing measurements to Mike’s original US-made transformer,

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JET CITY COMPANY PROFILE

Soldano (left) with Lou Reed. The designer made his name hot-rodding amps for pro players and through listening tests. When he came home with what he hoped would be the production standard, we were very happy with the parts and construction, and it sounded good – but not good enough for Mike. It turned out that there wasn’t enough iron in the transformer and it didn’t have enough bass output. It felt good we were working with a factory with a high level of competency, but there are not many guitar amp makers in the world like Mike Soldano. “Mike has consulted with other manufacturers before, so he knows – and we know – that what we are making are never going to be Soldano amps – but this is the first time he has had some ownership in the company, so JCA amps are as close as is humanly possible to the real deal.” The range comprises three heads (with compatible cabs) and two combos, the higher wattage models having two channels: ‘crunch’ and ‘overdrive’. The overdrive circuit is what made Soldano famous, ranging from dirty to an extreme high gain, much loved by modern guitarists. The units are all plywood construction with a 16-gauge steel chassis – and, put simply, you would probably have to have ears the quality of Soldano’s to hear the difference between these and their big boutique forebears. “If you take the 20-Watt JCA 20H, which was based on the Atomic 16, we have managed to create a copy of a Soldano amp that sells for $1,200 for just $299 – when you take the quality of these into consideration, that’s not cheap, that’s just unbelievable value.” Because of this, Jet City has been something of an overnight success in the US and the brand is now opening out into the international market. In the UK, Source Distribution has taken on the line. And there, apart from the possibility of running through the specs of each individual unit, the story would have ended for now and we could have closed with Gallagher, White and Soldano, arm in arm, gazing over the Pacific ocean. Enthusiasts, however, rarely draw a line under their activities. If it worked for Soldano designs, the team thought, why shouldn’t it work with others? “While we are certainly concentrating on the Soldano designs at the moment, the object of Jet City is to co-brand with other boutique amplifier makers as well and the first step along that path is a collaboration with Andy Marshall of THD,” explained Gallagher. Marshall, like Soldano, began his career by hot rodding amps for pro players and moved on to making THD a big name – and like Soldano has been looking to get his designs out to a wider public. “These guys represent big brands, but they are both looking to take up a bit more shelf space in the shops,” continued Gallagher. “This is what Jet City

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does – and we are looking to do more when it is possible. Obviously, we have to be completely legit. We have to be honest, we have to be right about everything we do – and the products have to be absolutely right.” The THD-style model takes the currently popular ‘mesh steel’, small format casing, an all-new design with a five-Watt amp with a half power switch, called the PicoValve. “If you think the Jet City by Soldano are value for money, then the Pico Valve is even better,” enthused Gallagher. “This has a US street price of $299 and like the THD original, it can be hot-valve switched the power section, like the THD UniValve – we’re going to offer an oven glove as an optional accessory item.” The Pico Valve is the kind of amp that guitarists love in the studio. The combination of the low Wattage and the interchangeable valves means that a huge array of tones can be achieved and the low output means that a full, juicy overdrive can be achieved at manageable levels. “We are really looking forward to doing more with Andy,” admits Gallagher. “And the beauty of our setup is that we can put out an open offer to amp makers everywhere – you can come to us. Guitar players are always looking for their’voice’ – and likely as not putting down the established brands. They want something different – and that’s what we do.” Gallagher concluded by underlining this ‘service’, saying that Jet City is genuinely looking to give brands that have never really had a chance to get their products out to the wider market, simply because of availability and price – and he hopes the JCAs and Pico Valve will get that message across. They aren’t the originals, but they are damned close. SOURCE DISTRIBUTION: 020 8962 5080

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COMPANY PROFILE TASCAM

Track and Field Tascam has recently added to its range of best-selling field recorders. But that's not all this industry stalwart has been up to in its never-ending bid to tempt end-users and retailers alike. Gary Cooper gets the latest from Tascam's Gary Maguire.

espite the infamous ‘summer slump’ in the MI trade, some products seem to have a special appeal at this time of year. Acoustic guitars, for example – perfect for impromptu jams and in the back garden or on the beach. And while you’re playing outdoors, how about a solid state field recorder to act as the perfect notebook for when genius strikes? Tascam has carved out a great market for these incredibly useful devices, which musicians have taken to for all sorts of applications – not least for sampling and taking advantage of digital sound quality, which means they can integrate the results into fully professional standard recordings. Recently, Tascam added to its range, but as the company’s technical sales manager, Gary Maguire explains, the previous market stormer, the DR-07, has been such a success that it is maintaining its place in the line-up, with the newcomer, the DR08, coming in above it in the range. There’s no doubt that field recorders are selling so just who is buying them? “It’s one of those markets that at times is hard to fathom, but from what we’re hearing, a lot of people are using them for capturing sounds outside for sampling, open air gigs and practising. Field recorders make it easy to get down ideas, before committing them to a portastudio or computer based recording solution.

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“One of the most common uses of these recorders we have seen is the recording of gigs where traditionally the only means of recording was using a CD recorder. Now they have the option to use a field recorder, take it home and burn off CDs or upload to Youtube or a similar service. It’s much more convenient to have a small, handy pocket recorder for that. “The DR-07 has been out for some time and the next step was to make it more pocket friendly, so the DR-08 is a lot smaller than the DR-07. However, we’re continuing the DR-07, as it’s our ‘value’ product at the moment. But the DR-08 has added features, as well. It has a higher sampling rate, a built-in speaker and you can move the microphones, so that you can get a wider stereo image. It’s probably a bit more music-friendly than the DR-07,

but that has sold so well that we’ve been able to bring the price down and we’ll be continuing to meet the demand for it. “At the same time as the DR-08, we’ve introduced the DR-2d, which has a massive unique selling point – its dual recording function. Why this is so important is because if you set your recording levels at the start of a performance and you set them incorrectly, there’s a secondary recording being made in the background at a lower level - so whoever came up with that idea, we should take our hats off to him.” Given the way almost any performance, acoustic or amplified, tends to creep up the dB scale as the evening wears on, this feature could prove to be a lifeline to anyone making a live recording. And it’s by no means the only feature that makes the

DR-2d stand out, as it also boasts a pair of onboard condenser mics, slow-down playback with no pitch change, and the now familiar, easy to use Tascam interface. “It’s also effectively recording four channels at once, so another way of using it, if you were recording a live gig for example, would be to record via both the line inputs and the microphones. That way you end up with two stereo files, one with the ambience of the gig and the other as your direct mix from the front of house mixer. That makes it ideal for putting files up on Youtube or Sound Cloud, because you can mix in the crowd sound and ambience however you like.” Tascam has a host of field recording solutions, many of which will appeal to the broadcast industry but a larger majority are targeted at the MI sector. For

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TASCAM COMPANY PROFILE example, the affordable DR07, the DR08 with its slim profile, the DR2d that would appeal to a recording novice due to its dual record function, the GTR1 for guitarists and two boom box models for rehearsal rooms, as well as practicing musicians. So what about Tascam’s venerable Portastudio range, now in its 30th year? “Currently we have four models: a four track, an eight track, an eight track with CD and a 24 track with CD,” Maguire says. “One thing that we’ve done over the past year is streamline our range, allowing retailers to offer easy options. The idea is to enable a sale to go through more easily. We’ve done the same with the streamlined audio interface range, too – which currently comes as a two input, four input and sixteen input, with a few more eight input models on the way.

“Most of our products are designed to make for easy choices. It’s a case of the retailer saying ‘what are your needs?’ and the solution presents itself. One of the biggest things that I’ve had feedback on from our dealers is where someone takes a customer through their options, gets to the end of the conversation, they’re just about to take the customer’s money when he says ‘By the way, I’m using Windows 7 64-bit, will it work?”. All of a sudden, the interface that they’ve been talking about for the previous 20 minutes or half an hour is not suitable for their needs. Well, what Tascam has done is pump a lot of money into making sure our products are compatible with every version of Windows on the market and every version of the Mac operating systems as well. “It avoids that situation where you’ve described the perfect product for the customer, only to lose his confidence at the end of the transaction. So we have, in true Tascam style, stuck to the basics and made sure it’s a simple sell for the retailer. There are a lot of things that you can put into a box as technology becomes cheaper and cheaper but, particularly for musicians, that can sometimes act as a deterrent if the choices become murky for someone who only wants to click ‘record’.” When MI Pro last spoke with Tascam, Tony Gravel explained how much trouble the company goes through to make itself appealing to smaller retailers, who might imagine they are too little to interest

them. Gravel stressed that small retailers are very important to the company and Gary Maguire says that, they have increased their efforts to attract them. “We know that it’s tough out there and that footfall is down in the smaller stores. In the industry there has been a bit of an over-reliance on Internet selling, so in the last year we have been visiting a lot of the smaller stores, supporting them and bringing them to our products. We’re open for all small retailers to help them compete with the larger shops and help

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we still have our Portastudios and the sales of those are very good, so we’re going to carry on with them. A lot of manufacturers have discontinued multitrack units, but we’ve every intention of continuing with them and we’ve new models coming along in the future. There’s still a large market out there that is intimidated by computer recording – but it’s not just about that. There are people that have got big Pro Tools systems, but don’t want to be stuck in front of a computer when trying to get ideas down.

In the last year we have been visiting a lot of the smaller stores and bringing them to our products. Gary Maguire Technical sales manager, Tascam

them sell our products – we’re certainly not prejudiced as to where our products go and we’ll, on occasion, support some of the smaller dealers even more so.” This is not a Quixotic gesture towards smaller stores either, as Maguire explains. “There are a lot of guitarists out there who aren’t interested in the technology and a lot of the smaller stores are guitar stores, where they may not have a lot of knowledge about recording and technology, but where there are a lot of opportunities to make sales. That’s why

A Portastudio offers an easier route and thanks to digital technology, where once you were recording to a four track cassette and it was stuck there, now you are recording in digital. So, if you happen to do the best take you’ve ever done, you can export that to a Pro Tools set up and have it professionally mixed later.” Convenience, ease of use, professional audio quality at competitive prices and a policy of helping independent retailers. What’s not to like? TASCAM: 08451 302511

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miPRO AUGUST 2010 35

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PROFILE

I WOKE UP THIS MORNING CALLUM TALBOT International Sales Manager – Studiomaster

Life can be stressful for MI salesmen, which is why Studiomaster’s Callum Talbot likes to clear his mind of everything music related when he gets some much needed free time.

s a sales manager, there are two types of day – one where I’m at home and the rest where I’m out on the road. If I’m home based, I’ll get up around seven and if I’m away it could be any time between five and nine o’clock, depending on where I’m going. I’m lucky enough to live 15 minutes away from the M1 and most retailers in the UK don’t open until 10, so I can get to most places fairly easily. The first thing I’ll do is have a cup of tea and then switch my computer on and have a look at what’s happening in the world and then take my dog, a labrador, out for a walk. The other day, I was talking to my neighbour and the dog started eating his fence, so it’s important to get him some exercise as soon as I can in the morning. When I get home, it’s back to the computer again checking emails and planning the day out. I’ve been pretty busy of late; I think in the last few months we’ve opened up 36 new dealers. Most of the day I’m answering emails, as I’m also international sales manager, so there is always a lot to deal with. We do a lot of business in Europe and Africa, so the time difference isn’t too bad and a lot of my time is spent in contact with them. In my spare time I like to do anything that doesn’t involve music. After 19 years in the business, I find that when I get out of the car or switch off the computer, I just want to do something else. I still love guitars, but you have to have a break from it, otherwise it becomes all-consuming.

I like listening to my six year old’s opinion of the world, reading books and anything that allows me to relax. My background before joining Studiomaster was in retail. I worked at Academy of Sound and then got a job at Loud Technologies with Ampeg, before moving on to Maverick Guitars, which make some of the best guitars I’ve had my hands on in many years. I had a stint running my own company too – GNT guitars, where we specialised in boutique effect pedals, while doing freelance for Maverick.

”

I love guitars, but in my spare time I like to do anything that doesn’t involve music.

I then went self-employed again before being offered the job by Studiomaster. It was the perfect time to join, starting from the bottom and it’s great how much it has grown since. As for future plans, I’d just like to win the lottery so then I could go and buy my own island. But if we’re being serious, I’d just like us to carry on as we are, to ensure everything keeps going ahead as planned to make sure there are no shocks in store for us in this wonderful industry.

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MIXERS SECTOR SPOTLIGHT Tascam M164 £318

Proel M1000USB £899

A three-band eq is included with each mic input, along with hipass filters. Five stereo line inputs are also built-in and extra versatility is achieved due to the presence of eq and RIAA phono preamps on several channels. ‘Main’ and ‘sub’ represent the two output busses and there are two aux sends for monitors and effects.

This model has been flagged as an ideal addition to a band’s inventory. Compact, light digital amplifiers are included within Proel’s active mixer offering, which utilises PWM technology and a switching power supply section. A compact, light 500-Watt-perchannel digital amplifier is built-in and rack ears and a carry case are included in the price. Allen & Heath ZED10FX £299 The Zed-10 and FX version represent the most compact members of Allen & Heath’s lineup. Two ultra high impedance discrete Class A FET inputs allow instruments to be plugged straight in. There is capacity for up to four microphones and two stereo sources, separate two-track record outputs, an input for stereo playback, three-band eq, two aux sends, a separate stereo bus and monitoring, as well as DI level switching.

Mackie Onyx 1640i £1,303 This 16-channel desk is fitted with a pro-quality 24bit/96kHz FireWire recording interface, as well as professional analog features, including Onyx preamps and four-band, dual sweep eq on each channel. Six pre or post-fader auxiliary sends are also built-in and can be flexibly routed via the Firewire.

Soundcraft Notepad 124FX £182.13 The 124FX features an internal digital effects processor with a feed from every input and over 100 effects. An aux send replaces the FX send on the standard 124 with a dedicated output. A high pass filter can be found on the mono inputs, as well as a multi-segment LED metering on the mix output.

Into the Mix

They may not be commonplace in your average MI store, but mixing consoles are a great creative option for musicians and essential for home recording enthusiasts. Adam Savage investigates the latest offerings…

“

MI is full of categories whereby the difference between entry-level product and the allsinging-all-dancing gear is vast.

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lthough more likely to be associated with MI Pro’s sister magazine, Audio Pro, mixers are a worthwhile purchase for a band either looking to record their creations or those seeking a way to add something a bit different to their sound. MI is full of categories whereby the difference between the low priced, entry level products and the top notch, all singing all dancing models equipped with the best gear, is vast. Mixing consoles are no different – they can range from below £100 all the way up to many tens of thousands. Of course, as appealing as mile long desks with more buttons than an aeroplane cockpit are, they’re a wee bit inappropriate for your regular musical instrument retailer to stock. So here’s a taster of the market for us MI folk. Allen & Heath’s Zed series is aimed at the modern working musician for either touring or recording situations. This collection consists of the Zed-10, Zed-14 and Zed-24 stereo mixers, along with Zed10FX, 12FX and 22FX, which come

equipped with a set of in-house designed effects. The versatile Zed-R16 is a recording mixer, blending Firewire with multi-mode MIDI/audio filters, MIDI controls and ‘home studio’ routing. Delivering both powered and unpowered consoles is the PA series. Designed as the perfect tool for running your average PA system, the PA12 would feel right at home in clubs, school and conference systems, as well as in the possession of traveling musicians. 24 mono channels, a four-band eq, four stereo channels, each with two unbalanced stereo inputs on each and four aux sends are just some of the features on this member of the Allen & Heath family. A 16-program digital FX processor offers reverbs, delays, chorus and more. Proel’s M series is a complete range of mixers with price points spanning from £159 for the extremely compact M6 with 6 inputs, up to the £1,225 M1500USB. The last two channels on the smaller members of the series (the M6 and M8) use combi XLR’s, meaning they can be

used as stereo channels or simply for a mic on XLR. The M500 is the best selling mixer in the range, due to the power it produces from its compact size, as well as its choice of effects and price. Alto has also produced a fine blend of both active and passive mixers suitable for the MI market. One of particular note is the Lynx-Mix244. This 24 input, four-bus console offers high headroom, ultra lownoise discrete mic preamps and a variety of effects (256 in total). Mackie’s Onyx 1640i represents the upper end of what can be categorised as MI mixers. This desk blends a powerful 16x16 Firewire interface with the premium analog features such as 16 Onyx preamps and Perkins eq. This will certainly attract bands keen to both play and record and is compatible with all DAWs. The ProFX8 compact effects mixer is the ideal partner for musicians playing small to medium size performance venues. It is equipped with four mic preamps a three-band active eq and LED metering on each channel. A selection of 32-bit effects

miPRO AUGUST 2010 39

MIXERS SECTOR SPOTLIGHT Alesis Multimix 8 USBFX £139.99 A high-impedance input on channel two allows the direct connection of a guitar or bass and a tape RCA stereo input means audio from external sources, such as CD players, can be added to the mix. The internal effect processor allows for the easy adjusting of effects via the pre or post faders on each channel strip and the USB function, also found on the other mixers in the Multimix series, makes computer connectivity remarkable easy and hassle free.

Studiomaster MCX12 £799 A four-band eq and two frequency sweep controls are examples of features more commonly found on consoles higher up the scale. Three inputs per channel allow for high flexibility and the 100mm faders give accurate level tweaking. The stage mode option turns the MCX into a stage mixer by swapping group and mix faders with the auxiliary send rotary controls.

Monacor MMX-512USB £79.99 Featuring a USB audio interface, the MMX512USB incorporates a stereo LED display, two stereo input channels with balance controls and a two way connection to a PC, offering recording onto a PC in one direction and reproduction of audio from the computer in the other. An adjustable headphone output and a power supply via a supplied PSU make up this great little plug and mix device.

is also available, as well as a seven-band graphic eq. Also included on this eightchannel console are 60mm faders for input channels, returns and main/monitor masters. Unveiled at Musikmesse, the M-164 series from Tascam is suitable for live bands, home recording and installation situations. The standard model, along with the M-164FX (with added digital effects) and the M-164UF (with effects and an USB 2.0 interface) each come with six powered XLR mic inputs. Soundcraft’s FX16ii offers several live and recording features, with direct output on each channel and 24-bit Lexicon digital effects. The FX16ii borrows a number of attributes from Digitech and Lexicon equipment, including the AudioDNA and MX400 processors. 32 effects are integrated, with a tap tempo function, three parameter controls, a settings store ability and an effects clip LED. Doubling up as both a mixer and computer recording interface, the Multimix 8 USB FX from Alesis is an easy-to-use, feature-laden unit great for band use or for sub-mixing a group of inputs. Its microphone inputs feature switchable phantom power,

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accommodating both dynamic and condenser mics, plus a wide range of studio quality, 28-bit digital effects and low-noise analog electronics. The smaller Multimix 4 USB is a fourchannel desktop mixer with a built-in USB digital audio interface. This model is best suited for basic computer recording, video editing, production studios and portable podcasting. It outputs stereo 16-bit, 44.1kHz digital audio via USB and users can monitor from a computer through the same connection. The new MCX series from Studiomaster includes 12 and 14channel versions (the MCX-12 and MCX14), which fit perfectly into this category. Featuring a rugged steel chassis, accommodating the individual circuit boards, this range is aimed at engineers, installers and bands. For a rackmountable option, there’s the 162 BPX. This solidly built 16channel mixer offers 28 inputs and a regulated internal power supply. Six reverb effects and six pre-set delays, ranging from 120ms to 720 ms allow for a variety of creative options. 12 mic/line and four mic/stereo line inputs mean up to 16 mics and four stereo inputs can be used simultaneously.

miPRO AUGUST 2010 41

CONTACTS

SECTOR SPOTLIGHT MIXERS Phonic HelixBoard18 £703.83 Over 100 32/40-bit high-definition digital multi-effects are on offer and eight extremely low noise mic preamps are spread across six mono mic/line channels equipped with 75 Hz low cut filters and four stereo line channels. Also on board are three aux sends, two stereo aux returns, a solo on each input and output, a switching power supply and a rack-mount kit.

Peavey PV10 £259 A three-band channel eq is included, as well as an 80 Hz low-cut switch on all mic inputs and internal digital effects with 16 selections, such as reverb, delay and vocal enhancement. Patching is reduced by an A/B stereo input selector and USB connectivity allows it to be connected to a computer.

SOUND TECHNOLOGY (SOUNDCRAFT) 01462 480000 JHS (ALLEN & HEATH) 0113 286 5381 SCV LONDON (FOSTEX) 020 8418 1470 PEAVEY 01536 461234 PROEL 020 8761 9911 LOUD TECHNOLOGIES (MACKIE) 01494 557398 TASCAM 01923 438880 MONACOR 01908 217100 AVID (M-AUDIO) 01753 659590 STUDIOMASTER 01525 217111 SHURE DISTRIBUTION (PHONIC) 01992 703058 NUMARK ALESIS 01252 896000 AVSL (CITRONIC) 0845 270 2411

Citronic CLP122DSP £389.99

Avid M-Audio NRV10 £POA A handy little hybrid, this piece of kit combines an 8 x 2 analog mixer with a 10 x 10 24-bit/96 kHz digital audio interface. It cleverly allows users to link a computer to a studio. This is achievable by routing and recording mixer channels straight to individual tracks in software such as Pro Tools and Ableton Live.

This 12-channel unit has an on-board 24-bit digital effects processor with LCD screen. This, along with a dual seven-band master graphic eq and 48-Volt phantom power is what makes this another well priced piece of kit. Effect send and return, along with mic (XLR) or line (quarter-inch) jack inputs are what should make people consider the CLP122DSP.

Fostex LM16 £999 A single CAT-5 connecting cable eliminates the need for bulky multicore snakes and it can sit either as a stand-alone or mounted in a standard 19-rack. With fitting kits also thrown in, the resulting versatility makes the LM16 perfect for a variety of audio situations, as well as being highly suitable for MI consumers. What will surely appeal to budget conscious individuals is the MMX-512USB from Monacor, a three channel audio mixer with five inputs and USB interface. The PMX-162 represents the next rung on the Monacor mixer ladder. This is a 240-Watt powered mixer, featuring four mono and two stereo inputs, as well as a five band graphic equaliser, LED level display, a USB interface and LCD display. Further up the scale still is the PMX350DSP. As the name suggests, a variety of DSP effects are equipped with this 170-Watt powered model, with a fiveband graphic equaliser. The Helix Board 18 Universal from Phonic features a 96 kHz USB 2.0/FireWire interface for instantly linking 16 independent channels of audio to a computer. A three-band eq is present on each mic channel and a four-band on two of the stereo channels.

42 miPRO AUGUST 2010

For those with a bit more cash to splash, Phonic is soon to release the Summit Digital Mixer. This 16-input, eight-bus digital console has a full colour touch screen, allowing users to access the onboard high quality GUI interface. The LM16 live mixer from Fostex is a digital console that represents an all-inone mixing solution, with knobs and faders similar to an analog console. A three-band eq with swept midfrequency are featured on each of the 16 channels. There is a selection of built in digital mastering effects and the I/O and mixer components can be separated at a range of up to 50 metres. The LR16 has almost identical specifications to the above, except it also functions as a hard disk recorder. The built in hard drive has an 80GB capacity, which can hold around 16 hours of uncompressed digital audio.

Peavey has a couple of ranges in this category that are ideal for bands and home recording. The PV10 USB is fitted with six XLR mic inputs and two stereo channels with RCA and quarter-inch inputs. A three-band eq, effects and monitor send per channel and eight inputs on total are on offer. Also from Peavey is the FX series, a step up from the PVs, but still desirable by the MI category. Silencer mic preamps allow high gain and low noise to ensure faultless signal reproduction. Two postfader auxes add effects and dual DSP engines allow multiple effects. The CL82DSP from Citronic is an eight channel live mixer, which would feel at home in live PA, permanent installation or home recording scenarios. Each channel includes a three-band eq and headphone output with PFL and a ten-bar LED monitor display is just one of several

features that make this a great value mixer. SMT technology is also built in to ensure ultra-low noise performance. For those seeking a powered mixer from Citronic, there’s the CLP122DSP. This 12-channel unit has on-board 24-bit digital effects, an FX send and return, along with mic (XLR) or line (quarterinch) jack inputs. Avid provides all kinds of products in the audio-visual sector, among them mixing consoles. For the MI market, there’s the M-Audio NRV10. Audio channels can be sent back on to the NRV10, for CPU-free mixing and monitoring. Add to that digital effects and you’ve got an ideal companion. Avid’s MC Mix offers a mixing speed, resolution and integration of higher-end desks, as up to four units can be linked together, taking the number of possible channels to 32.

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SCHOOL RENTALS SECTOR SPOTLIGHT

Hire love The rental market has become a difficult one of late, with falling prices and schools being given plentiful cash for new instruments. Andy Barrett looks through the stockroom and finds there is still good business to be had…

peaking to a couple of dealers and suppliers, one gets the impression that the MI rental market is becoming an increasingly difficult one. Prices have maintained such low levels for so long, there are a lot of parents out there that would buy an entry-level sax or trumpet almost without thinking twice. Add to this the money made available for schools to buy musical instruments over recent years and we discover that many of the more opportunistic establishments are veritably awash with instruments. Of course, thousands of instruments in schools is a good thing. The effect of more musicians growing into the disposable income market is bound to help MI out in the long run. In the short term, however, many dealers have all but given up on the rental market. With harder times being promised by the new government, the need for more cautious spending is surely upon us. The problems of renting are many fold, however, and aside from the maintenance and product knowledge needed, there is the world of market research and legal concerns. The first question dealers need to ask themselves is whether there is a market for renting in their area. Has someone else cornered it? Are the schools musically active? How rich is your catchment? Then – and this is important, as Justin Wagstaff of The Sound Post explained – is your paperwork in order? “I’m amazed there are dealers that don’t know the difference between renting and ‘try before you buy’,” said Wagstaff. “These are fundamentally different activities with different statutory rights – one is a delayed

payment, the other is a rental contract.” So, you need to get that aspect in order first. The type of contract, the VAT chargeable (with the VAT rise in January, a six-month ‘try before you buy’ scheme started now, will finish after January 4th 2011 and thus be charged on 20 per cent). Rental includes wear and tear – in short, pop along to your solicitor or Citizens Advice Bureau to make sure you are using the right paperwork. So, the rule of thumb is: 1) do a bit of research and decide what you want to do; 2) get your paperwork right; 3) get the payments sorted. “It takes a big investment, but if you get it right it really can work well,” insisted Wagstaff. “I know a fleet of dealers who rent. Every now or then they need to replace a bow or a case, a bit of maintenance, but otherwise the money keeps coming in and it pays the rent.” That point of investment is crucial, of course. Instruments need to be sturdy enough to survive the sort of treatment youngsters will give them. Which brings us nicely to what’s on the market these days. While there are literally hundreds of options for parents, there is one name permanently on the tip of teachers’ tongues when making recommendations to nervous buyers of kids’ musical tools: Yamaha. It’s not simply the range of instrument categories it covers – everything across the wind and string ranges – but also the varying degrees of quality within each instrument. On page 47 is the company’s student flute (the 211), but in flutes alone, there is the 300 and 400 series student instruments and then the 800 and 900 pro series. Do the same for clarinets, saxophones, trumpets, cornets, violins and cellos and you can see why teachers would want a uniform quality and sound across the entire orchestra or band. If there is one brand worth investing in, it is surely Yamaha. Unless, of course, you are braver than that. Yamaha does have its detractors (not least among its competition), but there are many individual fields where

miPRO AUGUST 2010 45

SCHOOL RENTALS SECTOR SPOTLIGHT Primavera 200 violin £135 Sold in various sizes for all ages, this outstanding violin includes hand carved, high grade maple back and sides and figured spruce wood with inlaid purfling for the top. There is also ebony for the fingerboard, pegs and nut. It comes with a durable, composite bow, a hardcase with back pack straps, a full length music pocket and high visibility stripes and piping.

Mistral alto sax £345 Mistral saxophones claim an excellent intonation. All have a high F# key and come with a hard case. The alto has a full rib construction, high quality keywork and adjustable thumb rest in a gold lacquered finish. The range also includes two soprano saxophones – a straight and a curved model – and a tenor. Stentor Graduate outfit £165 When teachers think student violins, most think Stentor. This model is for those looking to upgrade from their first instrument. It features carved, solid tonewoods and cut for quality of sound. Purfling is hand-fitted and all instruments are checked for correct measurements. This model has a shaded satin finish, along with synthetic gut strings. The outfit includes a lightweight case and strong wood bow with ebony frog.

makers and dealers agree that Yamaha is good, but that the specialist is better. Enter The Sound Post Ltd and its Primavera range of violins and cellos. The company, which has helped with this article, put in motion some market research in 2009, to carry out a survey of music services to identify how the company could develop and improve student products. The main findings were that teachers want instruments that stay in tune and last the distance – and most LEAs were willing to pay that little bit more for the necessary upgrades. As a result, tuning and durability have been addressed with better quality fittings, including a new metal tailpiece across the range. The new entry level Primavera 90 now comes with rosewood pegs and the well established Primavera 100 has been upgraded with ebony pegs. Further to that, the Primaveras have new bows across the range, a new carrying system for the cases (with high-visibility, reflective flashes and piping. For rental instruments, durability ensures that the retailer gets the maximum life and return after the purchase price has been covered. The Sound Post says there are Primavera instruments in regular hire use older than the students playing them. Think student violins in the UK and many think Stentor. Its violins, violas, cellos and basses are ideal to stock as part of any school rental scheme.

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Most famously, perhaps, the Stentor Student II is used by most UK music services and is ideal for beginners who want to rent their first instrument. The violin is carved from solid tonewoods with ebony fittings and comes with a lightweight case and good student wood bow with ebony frog (retailing for £135). Then there are Stentor’s Mistral woodwind and saxophones, comprising alto, soprano (straight and curved) and tenor saxes, clarinet, flute and piccolo – the latter all hitting the £130 retail price. Moving on to the brass and woodwind side of things, some might be surprised to hear that Jupiter has been around for 80 years now. Supplied by Korg in the UK, Jupiter’s instruments cover everything from the entry level to pro and the two companies together have been extremely active in education activities, particularly the Sound Start scheme, teaching hundreds of schoolchildren brass and woodwind instruments since 2001. Jupiter has also won the MIA Awards’ best woodwind instrument four times in the past eight years, most recently with the Jupiter JFL-511ESSC flute. This is one of Jupiter’s core educational instruments and joins the JAS-567GL alto sax, the JTR-308L trumpet and the JCL-631SMTO clarinet as an MIA award winner. The instrument was one of the first to include a silver chimney, which although a small point, with a carefully designed

miPRO AUGUST2010 47

CONTACTS

SECTOR SPOTLIGHT SCHOOL RENTALS Jupiter JHR-452D French Horn £361 This is about as close to a pro instrument as you can get with its mechanical link rotors, leadpipe rose brass, 12mm bore and 302mm bell, but the price and interchangeable slides for Bb and F keys, as well as adjustable hooks make this a superbly priced horn.

Odyssey OFH1700 Baby French horn £319 The new Odyssey Premiere series features a couple of ‘endangered species’ and of note among them is the truly excellent Baby French horn. This model is ideal for smaller hands, having a bell diameter of just 290mm and a compact construction easily manageable by younger players. Made in Bb, the horn has a brass body, a detachable bell, a bore size of 12mm and ships with a Zero Gravity hard foam case. Stagg 77C clarinet £199 As ever, Stagg comes through with a functional, no nonsense instrument, practical and playable and at a price that could easily have parents handing over the cash and not worrying about the rental scheme. This good quality clarinet outfit is ideal for beginners, featuring a brushed, wood effect Bakelite body, nickel-plated keys and ships with an ABS case and useful accessories.

Yamaha YFL-211 flute £499.99 With the same design and craftsmanship as the 300 and 400 series, this wonderful flute is made of nickel silver with a silver-plate finish. The CY headjoint has a double flare taper and a unique embouchure undercut design for excellent response and a warm, rich tone.

KORG (JUPITER) 01908 857100 SOUND POST (PRIMAVERA) 01985 851122 STENTOR (STENTOR, MISTRAL) 01737 240226 BARNES & MULLINS (ANTIGUA) 01691 652449 EMD (STAGG) 01293 862612 JHS (ODYSSEY, ANTONI) 0113 286 5381 INTERMUSIC 01202 696963 BILL LEWINGTON 01268 413366 YAMAHA 01908 366700

Antigua SS3282LQ straight soprano sax £580 Refined key mechanisms provide the SS3282LQ with a professional look and feel at a modest price. A solid performer, this model is perfect for students and aspiring professionals, featuring, as it does, a single piece body with range to high F#, lacquered brass body and power forged keys, tilting low Bb spatula, adjustable thumb hook and premium leather pads. The outfit ships with a 4C mouthpiece, a durable ABS hard shell case and comes with a minumum of five years warranty.

Antoni Debut cello outfit £409.99 This fully featured cello, with a satisfying and sonorous tone, has a two-piece figured, hand-carved, solid maple back, belly and ribs, double purfling, a satin finish maple neck with gloss scroll, ebony fingerboard, nut and tuning pegs, and… well, the specs go on. A remarkable instrument that ships with a Brazilwood bow, deeppadded bag and comes in a variety of sizes. headjoint and well crafted keys, this silver plated flute is a great model, and like the rest of the Jupiter range offers quality, design, longevity, playability and above all, a student instrument that will last. Antigua is a brand that has made considerable waves in the saxophone arena, but its extensive brass and woodwind offering looks very much as though it will be expanding its market considerably in the coming years. Highly professional instruments at medium prices, these are quality tools. Last year saw the launch of Antigua’s Vosi range, born from four years of market research and product development, coupled with huge investments in technology and a state-of-the-art new factory. The finest materials sourced worldwide are used to make Vosi instruments, with the line comprising three flutes, a new ABS clarinet (with LaVoz mouthpiece and Rico H ligature kit), an alto sax with redesigned palm keys for students’ hands, a lacquered body with nickel, a matching tenor sax and two trumpet models with a choice of

48 miPRO AUGUST 2010

stainless steel or Monel pistons. All Vosi instruments come in an ABS case and are covered by the Antigua limited warranty. Barnes & Mullins supplies Antigua to the UK – as well as the Hidersine and Höfner ranges of orchestral strings. Also bridging the gap between quality strings and brass and woodwind is JHS, which, with its Antoni and Odyssey ranges, more than covers the rental scene. The big news this year is the arrival of the Odyssey Premiere range, designed by Peter Pollard. Pollard has become one of the most sought after instrument designers and repairers in the UK, having worked with the country’s top musicians for over 40 years. He is known for his experimental nature and pushes the boundaries of instrument design, often using materials not ususally associated with the instrument he is building. The result is a range of instruments targeting students specifically – including smaller sized horns and saxes, enabling the youngesters to start playing sooner.

The effort made with Odyssey matches the work done with JHS’ guitar ranges and Trevor Wilkinson, but also with Antoni orchestral strings. Entry, mid and pro versions of violins, violas, cellos and basses make Antoni worth pushing. Stagg, of course, comes up trumps for the entry level, with a huge range of instruments that can be bought almost on impulse, but which makes the choice of renting even easier. As well as the 77-C clarinet, there are the 77-FE flute, the 77SA alto sax, and the very popular 77-T trumpet. With value for dealer and customer alike, Stagg covers so many bases, it’s a wonder if there is a general MI store that doesn’t stock it. Intermusic’s Bentley woodwind and brass packages have proved hugely successful, especially for non-specialist brass and woodwind shops. The range takes the starter pack format and comprises a heavy duty instrument stand in a bag, a Tune-a-Day tutor book, sturdy music stand, as well as the necessary reeds, straps and cleaning kit.

Each instrument is blown and checked before delivery and there is a no quibble exchange policy. Although Intermusic has no policy of recommending prices, rough guidelines range from £199 for the clarinet and trumpet packs, £239 for the flute and cornet, £299 for the trombone and £449 for the alto sax. Aside from the instruments, it is well worth using care products to help maintain them. Bill Lewington’s Superslick range of accessories are inexpensive and this is a much overlooked area. Five minutes with a care kit will keep an instrument working for much longer. The trumpet care kit, for example, retails at only £15.50. A quick glance over the workshop showed 13 brass instruments, all with maintenance issues that could have been avoided with little attention from a care kit. This is a fierce market and every one is looking to put out the best deals with little margin to be had. By adding in care kits and maintenance accessories, some margin can be recovered.

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ELITE SERIES Superior leads that maintain signal integrity with uncompromising dependability. Manufactured to strict tolerances using high grade pure copper signal cable with flexible, soft texture PVC sheath and cotton reinforcement to avoid tangling. Terminated with genuine Neutrik 速 connectors.

0845 270 2411

CLASSIC SERIES High quality leads for exceptional sound quality and reliability. High grade cable comprises 2 insulated pure copper cores and global shielding. The durable PVC sheath has a soft texture and is reinforced with cotton cord to avoid tangling.

0845 270 2433

STANDARD SERIES A comprehensive range of speaker, microphone and instrument leads with high-flex shielded cable and heavy duty metal connectors.

www.avslgroup.com

NEW PRODUCTS ACCESSORIES BACKLINE BASS & GUITAR DRUMS PRINT

NEW PRODUCTS BACKLINE ACCESSORY SPOTLIGHT

MARKBASS CLUB SERIES CABS FROM £646.25 They say: Offers exceptional audio performance from cabs that won't break your back. For: Bassists Range: Markbass cabinets Spec: The Club Series kicks-off with the lightest Markbass cab yet: the eight-Ohm 2” Club 121. You can lean it back in wedge monitor position to hear better on-stage, while the newgeneration woofer and 1" compression driver and custom horn provide a seemingly impossibly full sound from such a small cab. It will handle a full 400 Watts (to AES standards) across 40Hz to 20kHz. Power-wise it delivers 99dB, all from a box that weighs a remarkable 12.6 kg and measures just 17.56 in. (W) x 18 in. If you think you can handle something a little bigger and want that 15” sound, there's the Club 151, which is a single 15” plus tweeter and horn enclosure. Like the 121, the 151 will handle a comfortable 400 Watts, deliver across 40Hz to 20kHz and produce an SPL of 100dB. The Markbass Club 102, a 2x10” design will handle 400 Watts, delivering 101dB. Finally, there's a reintroduction that takes Markbass back to the company's foundation – the Club 600F32. This is a re-issue of one of the first creations from Marco De Virgiliis. In 1996, he produced the Parsek 600F32. The success of this cabinet and Parsek bass amps (and increasing requests from musicians and dealers) led to the creation of Music Man's Audiophile bass amp brand, in partnership with Sterling Ball. It was this success that convinced Marco that the time was right for the start of a new Italian brand – and that's when Markbass was born. A four-Ohm design, the 600F32 features twin 12” speakers plus a 1.25” compression driver with a custom horn. It will handle 800 Watts. From: Proel 020 8761 9911

WWW.MI-PRO.CO.UK

2. DIGITECH JAM MAN STEREO LOOPER £341

1. FENDER SUPERSONIC 22 COMBO £959 They say: For guitarists who crave glorious clean and overdriven tones and expressive high-gain distortion. For: Guitarists Range: Fender Supersonic Spec: 50W valve amp, vintage channel (clean), burn channel (overdrive with gain 1 & 2 control), each with treble, bass & middle control, black/silver or 1961 blonde/oxblood cosmetics, ships with amp cover & footswitch. From: Fender 01342 331700

2 3. FENDER SUPERSONIC 60 HEAD £1,039

They say: Now we are reinventing loopers with the new Jam Man stereo. For: Guitarists Range: Digitech Jam Man Spec: Stores over 35 minutes of stereo, CD quality loops, 99 internal loops, SD memory card expansion slot with 16 hour capacity and additional 99 slots, USB connectivity, compatible with JamManager software. From: Sound Technology 01462 480000

They say: Clean and high gain tones in one no-nonsense tube amp. For: Guitarists Range: Supersonic amps Spec: 60W valve amp head, vintage channel (clean), burn channel (overdrive with gain 1 & 2 control), treble, bass & middle controls, voicing switch, selectable 16, eight or four Ohms, amp cover & footswitch included. 212 cab available (£479). From: Fender 01342 331700

4. KUSTOM DEFENDER 5H HEAD £119

They say: Is there any more fun than cranking up the valve tone at modest levels? For: Guitarists Range: Kustom Defender series Spec: Five-Watt head, single control knob (volume) through single 12AX7 preamp and EL84 power valve, three speaker outputs (four, eight & 16 Ohm). Also available Defender 1x12 cab. From: JHS 0113 286 5381

5. PALMER TWO IN ONE £TBC They say: Sophisticated and simple, it connects two amps to a single speaker and switches between them. For: Guitarists Range: Palmer guitar accessories Spec: Tube, transistor and mixed configurations, footswitch (amp selector), five-pin XLR controller cable, footswitch features guitar input, 9V DC socket and XLR connector for controller cable which powers amp selector, adjustable cut and boost for each output, silent and instantaneous switching, can be used as AB switcher. From: Adam Hall 01702 613922

6. PRO CO 85 WHITEFACE RAT £229 They say: The original Rat is still recognised by many as the pinnacle of stompbox style. For: Guitarists Range: Pro Co pedals Spec: Identical re-issue of original 1985 Rat, steel enclosure, LM308 chip, distortion, filter and volume controls. From: Aria 01483 238720

miPRO AUGUST 2010 51

NEW PRODUCTS DRUMS

3 DRUMS SPOTLIGHT

1 2

TURNING LEAF DRUM SCREENS £POA They say: Our tailored drum screens are an ideal solution for all manner of applications. For: Bands, studios, stores, drummers, touring Range: New product Spec: Turning Leaf is a furniture specialist working mainly in wood, but also in metal and acrylic and primarily for the audio visual industry. Following enquiries from a couple of MI stores as to the possibility of creating drum screens, the company looked into the market and saw that there was very little available and almost nothing in the UK. As a result, Turning Leaf is the only company in the UK to offer

“

It is the only company in the UK to offer competitive trade terms for drum screens.

competitive trade terms to businesses for acrylic drum screens. It offers a bespoke service where customers can specify their required dimensions and panel requirements. There are a range of optional extras, which include unique deflector panels, hard boxed flight cases and the addition of band, establishment or brand logos. The hinges are imported from Sweden and designed to enable the screens to be concertinaed for travel and storage. Drum screens have become very popular in the USA, although the UK has until now not had a major supplier that can offer high quality items at competitive prices with trade terms for retailers. From: Turning Leaf 01482 219017

1. DREAM BLISS 18” CRASH/RIDE £84.99 They say: These cymbals are so versatile... Explosive crashes and a soft, but clear stick sound For: Drummers Range: Dream Bliss cymbals Spec: Thin cymbal, medium decay, hand hammered, microlathed plates with low bridge, small, but clear bell, brilliant finish, B20 bronze. From: Soar Valley 0116 230 4926

2. DRUM WORKSHOP PDP BLACKOUT SNARE FROM £153 They say: A line of quality, value-priced snare drums aimed at working drummers, students and weekend warriors. For: Drummers, percussionists Range: Drum Workshop PDP drums Spec: All-maple, lacquered snares, ‘blackon-black’ finish, four models in range: 6x10”, 4x13”, 5x14” and 6x14”. From: Morico 01992 461089

3. JHS TT10T WASHBOARD TIE £19.99 They say: Wear it anywhere, add a little rhythm to your day, entertain and amaze your friends. For: General, percussionists, washboard players Range: JHS percussion Spec: 24 gauge brushed stainless steel, ‘tie-shaped’, clips to collar or neckline, From: JHS 0113 286 5381

4. REMO VINTAGE EMPEROR HEADS FROM £14 They say: A re-issue of the first Remo Emperor drumhead that changed the art of drumming in the late 1960s For: Drummers Range: Remo Emperor drum heads Spec: Consisting of two plies of 7.5mm polyester films, coated finish for accented mids and lows and increased durability. Eight models: eight, ten, 12, 13, 14, 15, 16 and 18-inch. From: EMD 01293 862612

5. MEINL BENNY GREB SAND RIDE £380

6. RHYTHM TECH JINGLER £19.99

They say: Produces a dry sound with a fast, articulate stick sound and quick decay and a clear, bright bell For: Drummers Range: Meinl Byzance Spec: 20-inch ride, two surface treatments: sandblasted top and partially lathed bottom. Designed in collaboration with Benny Greb. From: Active 020 8693 5678

They say: Another original stick-mounted percussion idea from Rhythm Tech. For: Drummers, percussionists Range: Rhythm Tech percussion Spec: Nickel jingles pinned securely to ultra-lightweight, transparent Jingler body, slides on and off drumstick. From: JHS 0113 286 5381

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

VISIT WWW.MIKEDOLBEAR.COM FOR MORE DETAILS. 52 miPRO AUGUST 2010

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ACCESSORIES NEW PRODUCTS

1. ANTONI SYMPHONIQUE VIOLIN STRINGS £11.99 They say: Stringed instruments that, at every level, look, feel, perform, sound and play way out of their price points. For: Violinists Range: Antoni strings Spec: Available for 4/4 and 3/4 size instruments, quality strings with nylon core, aluminium alloy wound, excellent tone and durability. From: JHS 0113 286 5381

2. CRAFTER TS10 HEADSTOCK TUNER £12.99 They say: Improved aspects of its performance by the use of the latest technology. For: Guitar, bass, ukulele, etc Range: Crafter accessories Spec: Large LCD screen, changes from amber to green when correct note achieved, single on/off button also functions as selector for chromatic/guitar, bass or ukulele, adjustable head for easy viewing. From: Sutherland 029 2088 7333

2 3

3. GROVER MAESTRO LITE ILLUMINATED BATON £19.99 They say: The first illuminated baton designed with quality and balance. For: Conductors

Range: Grover accessories Spec: Lexan polycarbonate shaft with soft textured handle, ‘try-me’ packaging, shaft illuminates along the entire length with concentration at tip, on/off switch, batteries included. From: JHS 0113 286 5381

4 4. GUITAR TECH GT 2000 & 2500 CLIP-ON TUNERS £15.99 (2000) & £12.99 (2500) They say: From Guitar Tech’s amazing array of accessories come two new tuners. For: Guitar, bass Range: Guitar Tech accessories Spec: GT2500 clip-on LED tuner for guitar and bass, adjustable head, lights go green when in tune, switch for semitone drop tuning. GT2000 as above, but chromatic. From: JHS 0113 286 5381

WWW.MI-PRO.CO.UK

‘Playing’ Live is so much more than just launching clips. Find out how 64 buttons can put Ableton completely at your ﬁngertips, visit:

www.novationmusic.com/launchpad

miPRO AUGUST 2010 53

Future:x

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RECORDING NEW PRODUCTS

2 1 1. LEXICON NATIVE REVERB BUNDLE £564 They say: Lexicon’s four most popular reverbs available as efficient, multiplatform native software plugins. For: Computer musicians, producers Range: Lexicon plugins

Spec: Chamber, hall, plate, and room reverbs with over 200 studio presets, universal DAW compatibility, functions in mono, stereo or mono in/stereo out, I/O meters, fully adjustable parameters. From: Sound Technology 01462 480000

2. ALESIS MULTIMIX 8 USB £119.99 They say: Doubles up as a computerrecording interface. For: Musicians and bands Range: Alesis mixers Spec: Mic, line and guitar-level inputs, 16-bit 48kHz stereo USB output, XLR inputs with gain trim, switchable high-pass filters and 48V phantom power, eq, built-in DSP effects, multicolour LED metering, main and headphone outputs with independent level controls, plug-and-play USB, Cubase LE included. From: Numark Alesis Akai 01252 341400

4. ZOOM R24 RECORDER

3. ROLAND GAIA SH-01 £579 They say: A high performance value synth with old school charm. For: Synth & keyboard players, musicians Range: Roland synths Spec: Three virtual ‘analog’ engines

They say: All the tools necessary to create studio-quality recordings anywhere. For: Musicians Range: Zoom recorders Spec: New sampler function with 24 built-in voices, eight pads and three bank keys to assign sounds to each track and create loops, drum machine with 400 rhythm patterns, SD memory cards supports up to 32GB for over 100 track hours of recording, over 100 built-in studio

onboard with dedicated oscillator, filter, amp, enevelope and LFO, five layered effects, 64-voice polyphony, hands-on control panel, lightweight body with 37 keys, AC or battery powered, onboard D Beam, arpeggiator and phrase recorder, USB ports. From: Roland 01792 702701

Introducing Drum Kit Tutor book for the complete beginner featuring: ◗ A series of simple progressive exercises ◗ Performance pieces and duets ◗ Playalong CD

incl ud

CD es

incl

rum D IntroducingKit

notation tracks and Playalong ner for the begin

Drum Kit Pieces & Studies Grades 1 & 2

for Trinity Guildhall examinations

2011–2013

CDudes

Drum Kit Piece Studs &

ies Grad es 3 &4

for Trin ity Guil dhal exam inationsl

2011–2 013

and mastering effects, USB audio interface allows compatibility with most DAW software, such as the included Cubase LE 5. From: Zoom UK 01462 791100

Develop yo ur Skills in Range of D a rumming S tyles

AT E B E BE TH includ es

CDcludes

Drum Kit 1–4

Dru m Kit Pie St ces &

Gra udie des s 5& 6

2011 –20 13

Dr um Kit Pie S ces

Gra tud & ies de s7 &8 for Trini ty exam Gu ina ildha tio ll ns

20 11– 20 13

Trinit y exa Guildh mina all tions

es ud incl

for

◗ Repertoire and technical work for Trinity Guildhall exams Grades 1–8 ◗ Compositions by leading drum kit performers and educators ◗ Backing CDs performed by professional session musicians Everything a drummer needs to progress from complete beginner to advanced player

www.trinityguildhall.co.uk WWW.MI-PRO.CO.UK

miPRO AUGUST 2010 55

RETAIL NEWS, OPINION, DATA

INDIE PROFILE

NEWS B&M’s String Gallery initiative, new manuals from Jupiter, Stentor’s Pirastro strings offer and Bass Gear goes online

LOCATION REPORT Scarborough Music’s joint owners tell MI Pro why customer service is so crucial when competing with online retailers

MI Pro heads to Lancashire to see what Preston’s MI scene has to offer and finds some nice surprises

Retail welcomes dedicated event Over 200 dealers, including some of the biggest and best on the High Street, attended the MI Retail Conference & Expo and whichever element of the event they were asked about, they seemed to like it...

he UK’s top retailers, including PMT, Musicroom, Dawsons and Bonners, gathered at the MI Retail Conference & Expo last month and hailed it a tremendous success. The event was created specifically for UK retailers, so it seemed only right to gather some of the thoughts of the retail delegates. The vast majority gave the event a thumbs-up and are looking forward to it taking place again next year. Musicians’ Centre, Northern Music and John Packers were all in this number. “We really enjoyed the event and, in comparison to the many I have attended over the years, I can say that this one was definitely top of the list,” said John Millington of Millington Music. “The venue was first class and easy to get to, the atmosphere was very friendly and professional. Everyone felt relaxed and ready to listen and learn – we did.”

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Most dealers were grateful to the event for bringing them together and providing an opportunity to discuss matters, do business with each other and with the suppliers attending. “Just a very big thank you to the team for the brilliant retail conference,” said Dave Sadler of Jack White Music. “We were impressed how professional it was.” “The morning session was extremely enlightening and reassuring – it’s good to share discussion on issues we all face,” said Vivien Shiplee of Vivace Pianos. “The afternoon was a chance for in depth conversations and information, which led to potential new suppliers and product lines. I was intending to have just one drink in the evening, but it was so much fun chatting to people from other areas and then there were fab ‘Beatles’, so I was there till much later.” On the reverse side, the Event Partners were extremely upbeat about the quality

of the retailers that took part in the day’s proceedings. Notable among these was Neil Clayton of Monacor. “This show was the best for the quantity and the quality of contacts

“

This show was the best for the quantity and the quality of contacts we have come across. Neil Clayton Monacor

we have come across,” he enthused. “The best decision we’ve made as a business this year.” “The right people were invited – an excellent choice of dealers and decision makers,” said Chris Statham of Mel Bay.

Further comments from retailers continued the approval. “We’ve been in need of something like this for years,” said Cliff Williams of Sharon Music. “I thoroughly enjoyed the conference,” said MIke Podesta of Cranes Music. “I found the industry stats and comparisons with other consumer spending very interesting and the debates entertaining and informative.” “This was a great idea and well carried out,” said James Foulds of Foulds Music. “I just wish the balance could have been slightly different, with more time given to the conference session. Do it again please with a different timetable.” “Well done. It’s obviously been a lot of work, but you have pulled off a very slick little event here. Congratulations,” said Iain Davidson of Musicroom. “Thank you very much for an informative, enjoyable and very worthwhile day,” concluded Bill Maynard.

miPRO AUGUST2010 57

RETAIL NEWS

B&M launches String Gallery

BARNES & MULLINS has announced that the first version of its online hub, String Gallery, promoting the sale and use of orchestral strings has gone online. The website aims to convince general music stores that bowed instruments should be seen as more of a priority, as well as providing a valuable resource for those selling orchestral strings. Revealed by the distributor’s joint managing directors, Bruce Perrin and Brian Cleary, in last month’s

MI Pro supplement guide for the MI Retail Conference & Expo as part of the company’s ‘manifesto’ for dealers, String Gallery has been created in conjunction with the European String Teacher’s Association. Thought up by the supplier’s creative and sales teams, the launch of version 1.0 marks the start of what will be a growing initiative. “The ultimate vision behind String Gallery was to create a space in which the bowed instrument community can connect and share, then find

ways to improve the services offered by local stores to string-players, provide links between local teachers, makers, restorers and local stores,” explained Alex Mew (pictured), Barnes & Mullins’ marketing manager. Mew explained that retailers are to play a major part in this project. “A large part of the reason for the String Gallery project being realised was our desire to make bowed instruments less ‘scary’ to the general music store. Granted, there are a good number of general music stores that do business in this area, but there are many more that tend to steer clear.” “Members will also be able to connect with each other and discuss a variety of topics via the String Gallery forums,” continued Mew. “All of this will be free of bias and censorship from the distributor.” The website is free to join and use and includes a number of tools and resources, with regular updates. Next month’s MI Pro will have an in-depth focus on String Gallery and how the site will develop. B&M: 01691 652449

Jupiter announces repairs manual and in-house tech JUPITER BRASS and Woodwind Instruments has introduced a full repairs manual, covering every aspect of the entire brass and woodwind range. Available in two smart files, they are currently in stock and Jupiter can supply any spare within 16 weeks. Warranty repairer Graham de Vere White is also on board to help the company advise, repair and replace parts for all instruments in the Jupiter range. White has been a professional independent repairer for many years, as well teaching at

technical repair colleges such as Newark & Merton. The Taiwanese manufacturer is also celebrating 30 years in the business this year and is continuing to improve its precision in manufacture, as well as its machinery, in order to add to its list of achievements over the last three decades. The manuals are free of charge and dealers interested in getting hold of the manuals should call Kay Hollingsworth (Jupiter’s brand manager at Korg UK) directly on 01908 857104. KORG: 01908 857100

Bass Gear opens its doors

Stentor introduces lower price on Pirastro strings STENTOR HAS announced new lower prices on three selected Pirastro string ranges. Chromcor, Tonica and Piranito violin and viola strings are now available at what the company claims are unbeatable prices. Professional quality strings have risen greatly in price in recent years and have become unaffordable for many players. Pirastro, one of the major string brands, has been making strings since 1798 and has modernised with the introduction of computer aided design and new materials. There are three main subbrands, with the Piranito series being good quality steel strings, ideal for students, with a rounded sound and excellent playability. Tonica strings are a popular synthetic core set, delivering a lively sound and clear, balanced timbre. 58 miPRO AUGUST 2010

Although they would also appeal to students, Tonicas are also targeted at professionals as well. Chromcor strings should be chosen for those favouring a responsive, steel string with brilliant sound and volume.

Next day delivery is available on these items, for orders placed before 12:30pm. To find out these new prices, contact Stentor on the telephone number below. STENTOR: 01737 240226

A NEW dedicated electric bass specialist retailer, Bass Gear has opened in the UK. With demonstration facilities at its base in Harrogate, this new online store is now open with the self imposed remit ‘to serve bassists across the country’. Bass Gear currently has exclusive representation on highend boutique basses from luthier brands such as Alleva Coppolo, Fodera and Shuker. Zon bass guitars are also on the site, along with Purple-Chili lightweight cabs, Bag End bass speakers and self-powered systems.

Managing director, Phil Nixon said: "Our mission is to bring to UK bass 'prosumers', that which hitherto was difficult to find, so most items found on bassgear.co.uk are not available elsewhere in the UK.” Nixon has been a keen bass player since the 1970s and a digital marketing professional for the last 15 years. "We are an ecommerce business, but not because of price, as we have unique stock, but because our customer base will be small and spread far and wide," he said. BASSGEAR.CO.UK

WWW.MI-PRO.CO.UK

“I was amazed and Impressed”

Musical Instrument Co.

Build Quality: 5/5, Sound Quality: 4.5/5, Value for Money :5/5. Acoustic Magazine reviews the AU-24T Ashbury solid koa Tenor Ukulele

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

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

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

A new range of Ashbury ukuleles, tenor guitars and mandolin family instruments have been designed by British Luthier Phil Davidson and are hand made in Vietnam. Ashbury also has a professional quality range of Acoustic Guitars, Mandolins, Banjos & Fiddles, Basses, cases, electrics and more manufactured to a high standard in China and Indonesia.

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

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

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

As well as being the first point of call for all the hard to find traditional musical instruments your customers are asking you for, Gremlin Music is a one stop shop for any musical instrument retailer. We can supply a massive range of acoustic musical instruments, spares, accessories, strings, books and DVDs. Become a Gremlin Dealer and give your customers a better choice! We pride ourselves on the personal touch - you can always reach us by phone during working hours, and we’ll always send your order as fast as possible, no matter what the size. If you’re a dealer, you can browse our website for prices (retail and wholesale), contact us by email, and place orders online! We’ve been in the business for over 25 years, and can offer you an experienced, friendly and professional service.

www.gremlinmusic.co.uk

post@gremlinmusic.co.uk

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

RETAIL

INDIE PROFILE Clive Haviland and Chris Eborall, joint owners of Scarborough Music may be weary of the online giants, but see good service as their best

How is business compared to this time last year? Not good, business is down a lot on last year. We’re doing OK though, as we’re the major music retailer in Scarborough. Of course, we want to be doing better, but we’ve still got our heads above water. How do you market the shop? We do a lot of marketing. We have posters on the back of buses in the local area and we advertise on the radio, we’ve actually just finished doing one recently. We also have our website, of course, which helps a great deal with the business. How do you compete with the online competition? We don’t really, it’s as simple as that. You just have to do your best to compete against them and offer as good a service as you can. When there are big online retailers like GAK out there, we have no chance against them. What are your biggest strengths? Our biggest strength is obviously personal service and our ability to demonstrate and let people try things. We’re not a faceless warehouse full of boxes just waiting to be despatched on internet demand. Musical instruments are personal. 'Feel' is the most important aspect. I know price is a consideration but anyone who is serious about buying an instrument needs to deal with a music specialist. At Scarborough Music, that message seems to be taken on board.

How do you ensure a good level of customer service? We are always friendly and helpful when dealing with customers and we’re great at providing little services as well, like retuning a guitar for free or when someone snaps a string, replacing it for them. What is the one product you couldn’t live without? One type of product almost everyone underestimates, but that we find so valuable, is books. We have over 1,000 music books always in stock covering everything from guitar and piano through to tin whistle. This ensures that just about every music lover is catered for and at every level. Once again we are serious about providing a total music service and having such a huge choice of books allows us to do this. How can the industry do more to support retail? We need a price maintenance scheme similar to the one in the US, which allows for a more level playing field. The industry could do more to support retail by being a bit more thoughtful as to who they supply and how internet companies (and when the going gets tough, selling directly from ebay) can and do affect us. The likes of Argos, Tesco, Toys R Us and most recently, Amazon are not music specialists. This industry attitude of supplying virtually anyone just spreads the butter thinner and has helped in spelling the end for so many independents.

FACT BOX Address: 23 Aberdeen Walk, Scarborough, North Yorkshire, YO11 1BB Phone: 01723 373757 Owner: Chris Eborall and Clive Haviland Established: About three years ago Employees: Four

60 miPRO AUGUST 2010

Best-selling lines: I would definitely say Tanglewood acoustics are among our best sellers. Although we consider ourselves as an ‘all rounder,’ we certainly get most of our business in the strings department. Ukeleles are another product that does particularly well, as well as Peavey amps, which we have only recently started stocking.

WWW.MI-PRO.CO.UK

RETAIL LOCATION REPORT

Preston

The seat of Lancashire County Council and home of the mighty Lilywhites, Adam Savage discovers Preston also has a good choice of MI stores to wander through… THE MUSIC CELLAR This exceptionally friendly store is sure to have the solution to most customers’ musical needs, due to its decision to stock more or less everything, with the exception of drums. Downstairs is home to its range of guitars, accessories and in a separate room, a lovely selection of acoustic and digital pianos can be found. Upstairs is where The Music Cellar’s preferred area, brass and woodwind is located. A large cabinet is home to an array of shiny, polished goods, with a couple of gorgeous Yanagisawa saxes and York horns the main highlights. There is also an extensive sheet music collection. Brass and woodwind repairs also represent a significant percentage of this shop’s business. It’s nice to see a retailer that still values more traditional services and continues to profit well from it. On MI Pro’s visit, the store was also being graced by the presence of several professional brass and woodwind musicians, which underlined the reputation this establishment enjoys and it seemed that the staff had a great

62 miPRO AUGUST 2010

relationship with the customers. Experienced staff, who no doubt love their work, adds to the number of reasons why this place is well worth a visit. HW MUSIC Situated just down the road from The Music Cellar, HW Music is an all-out rock n roll music retailer, representing a much different approach to that of the previous stop on this tour. The guitar offering from this retailer is staggering and with several nicely displayed amp ranges, this shop is truly a guitarists’ paradise. Head up the stairs and you’ll find an array of drum kits and in a separate room, an impressive PA selection, which the shop is aiming to grow further. One thing that can’t he ignored about HW Music is the amount of space that the building offers – a dream for music retailers. There’s no danger of accidentally knocking a guitar over here and it means that there is plenty of opportunity to expand. This is sure to happen, with ambitions for an extended cymbal wall, as well as the aforementioned audio growth.

A younger, eager work force is perfect to appeal to both of its target audiences – students and high-end guitarists. Preston is certainly inhabited by a high number of metal and heavy rock fans, as well as a large student population, which is why this retailer has done well since it became the second HW Music, after its flagship store in Bolton. One thing’s for certain, this store certainly fills a niche within Preston’s overall MI scene and on top of its friendly service and dizzying selection, this should be a serious consideration for any rock n roll musicians across the North West, not just Preston. A&C HAMILTON This shop might be based out of the city centre, but that hasn’t stopped it from building an excellent reputation, one that they claim has put them in the top 20 music retailers in the country. A quick glance around when entering confirms this as a piano and keyboard specialist. The level of choice is remarkable and there is even a special, roped off

section of high end Yamahas. This store stocks primarily the middle level to the upper echelons of the keyed market, causing customers to travel from far and wide to cast their eyes over Hamilton’s offering. In terms of customer service, the team here seems to go one step further than other similar retailers. One member of staff, who turned out to be the owner, Alan Hamilton, was giving an extensive demo to a pair of customers, allowing them to see the instrument’s full capabilities. It was evident that they made a real effort not just to sell, but to ensure that people go home satisfied. Also on show was a nice display of guitars, at the centre of which was a lovely collection of Tanglewood acoustics, which they are exclusive main dealers for. In a second room, a Roland V-Drum kit sits as a centerpiece alongside a wellpresented Korg section. All in all, Hamilton’s is certainly worth leaving the city centre for and its no surprise customers come from so far afield to visit this retailer.

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The Leisuretec Listings Plus 2010 • Call us to Order Your Copy • Experience • Choice • Value • Service Sound • Lighting • Special Effects • Distribution Power Squared • Tel: +44 (0) 1525 850085 • www.leisuretec.co.uk

MI RECRUITMENT

OPERATIONS / SALES MANAGER WANTED One of the most successful independent music retail outfits in the UK, Newcastle Drum Centre is looking for a Sales/Operations Manager to play a central role in developing and growing the business. You will take charge of all day-to-day operations reporting directly to the Managing Director. This will involve everything you might expect in a tightly run, dynamic, go-ahead organisation which has strong sales both on the shop floor and across the internet. You will be running a busy team of customer-facing staff, dealing with suppliers, keeping on top of the paperwork and planning for the future. Must-haves include organisational abilities, successful retail management experience, skills in sales, EPOS systems, admin, team management, business development and a good understanding of IT/internet/online sales. If you are a quick thinker and have a sense of fun, that would help too! For more info or an application form contact us on 0191 2210301 or team@newcastledrum.co.uk

ADVERTISE YOUR VACANCIES AT

WWW.MI-PRO.CO.UK SALES MANAGER, YORK Organise and lead a team within a busy sales environment in one of the largest and most recognisable music stores in the country. You will need to plan staffing requirements, organise local marketing initiatives, motivate and manage a diverse team across various product disciplines including guitars, drums, sheet music, and pianos. You will need proven experience in sales, with a good record of achieving targets. Good sales and management skills. Excellent rewards package and career progression possible. Please apply in writing with a CV to Iain Davidson, Musicroom, Distribution Centre, Newmarket Road,Bury St Edmunds, Suffolk, IP33 3YB or by email to iain.davidson@musicsales.co.uk

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MARKETPLACE INDEX 440 DISTRIBUTION ..................................0113 258 9599 A ARIA ........................................................01483 238720 AVSL ......................................................0845 270 2411 B BILL LEWINGTON ......................................01268 413366 C COVERNOTES ..........................................0121 327 1977 D DADDARIO ..............................SALES@DADDARIO.CO.UK DBT........................................................0800 234 2848

Rothwell maintains an unparalleled reputation for quality – and it’s all truly British made...

lthough Rothwell Audio Products started making guitar related gear back in 2004 with the Stompjuice effects pedal power supply, it was when it introduced its first effects pedals – the Atomic Booster and Hellbender in 2007 – that the world started to take notice. Since then, the pedal range has expanded and the brand's reputation has continued to grow. The company now has dealers in 14 countries around the world with America and Japan the biggest markets. Not bad for a workforce of just two. "We're a very small company – there's just the two of us at the moment, but we're currently making about a thousand pedals a year," commented Andrew Rothwell, the company’s founder.

"We might take on another member of staff towards the end of the year." The company’s most popular products are the Hellbender, for its vintage Marshall-style roar, and the Love Squeeze compressor for its ability to do compression without adding noise or sounding artificial. Based in Bolton, Lancashire, Rothwell’s premises and workforce may be modest, but the company uses a range of top quality UK subcontractors to enable reliable and efficient production. Cases, circuit boards, badges and subcontracted services such as metal polishing and engraving all come from UK sources, making Rothwell truly ‘made in Britain,’ rather than just designed in Britain. “I’m sure things could be made cheaper if everything was farmed out to the Far East, but our pedals aren’t unreasonably expensive and I like the control that using UK suppliers gives us,” says Rothwell. And what about the future? Rothwell insists that he’s always experimenting with new ideas and has plans to expand the company’s range of pedals, but was keeping tight-lipped about details of anything new. “We have got one or two things in the pipeline, but we also need to concentrate on producing the existing pedals so that dealers are never waiting long for stock.” ROTHWELL: 01204 366133

F FCN ......................................................WWW.FCN.CO.UK FENDER ............................................WWW.FENDER.COM FOCUS MERCHANDISE ............................020 8245 9035 H HOT ROX ................................................0115 987 3163 I INDIE GUITAR ........................................01235 851 189

L LEISURETEC ............................................01525 850085 M MARSHALL AMPLIFICATION ....WWW.MARSHALLAMPS.COM MCLELLAND/GREMLIN MUSIC ..................01273 491333 MEL BAY ................................................020 8382 8010 MUSIC SHIPPING CO. ................................01562 827666 O OCARINA WORKSHOP ..............................01536 485963 R ROBERT MORLEY ....................................020 8318 5838 ROTHWELL AUDIO ....................................01204 366133 S SOAR VALLEY MUSIC ................................0116 230 4926 T TEAC ........................................................01923 438880 W WIND PLUS..............................................0116 243 1698 WORLD RHYTHM ......................................01242 282191

J JAM PERCUSSION ..................................0151 494 1492 AMPLIFICATIONS

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

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

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Acoustic, Celtic and Traditional Musical Instrument Specialists Become a Gremlin Dealer and give your customers a bigger and better choice! We pride ourselves on the personal touch - you can always reach us by phone during working hours, and we’ll always send your order as fast as possible, no matter what the size. We’ve been in the business for over 25 years, and can offer you an experienced, friendly and professional service.

Email: post@gremlinmusic.co.uk Tel: +44 (0) 1903 203044 (9.30 - 5.30 Mon - Fri)

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BRITAIN'S FINEST BOUTIQUE EFFECTS Rothwell effects pedals are truly hand-made here in the uk and built to the highest standards. The cases are hand polished and the electronics carefully assembled by skilled uk workers. The circuit design is innovative and original (we don't do clones, repros or mods) and the sound is the sound of classic rock guitar - pure tone. Our pedals are quickly gaining a reputation for superb quality and are being played on some of the world's biggest stages. The Hellbender (overdrive) and Switchblade (distortion) are currently being heard by thousands of fans on Justin Timberlake's world tour, played by Mike Scott (also Prince's main guitarist), who says "you make truly great, great pedals". Why not join our growing list of uk and international dealers and stock Britain's finest boutique effects pedals.

WWW.ROTHWELLAUDIOPRODUCTS.CO.UK 01204 366133 INSURANCE AND BUSINESS

OCARINAS

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

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

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miPRO AUGUST 2010 69

MI MARKETPLACE PERCUSSION & DRUMS

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miPRO AUGUST 2010 71

D IN MI PRO THE L AST WOR MI Pro is the only place the UK’s MI trade turns for the news and analysis of everything going on in the industry. Aside from that, we appreciate the fun that lies at the root of everything we do, so this is the section to crack open a beer, put your feet up and have a laugh. If you have any pictures you’d like us to include, send them to mipro@intentmedia.co.uk...

RETRO

AUGUST 2001 Cover Stars: The BMF continues to stagger through at the NIA, although exhibitors and visitors alike said they were happy with proceedings… It’s just there weren’t very many of the latter. The printed music ‘village’ in the Olympia hall were pretty disgruntled, though News: IMP and Music Sales continue JV negotiations, Studer buys Amek, Future says everything’s fine, Yamaha EKB launch, Solihull rock and pop Features: Electric guitars (Part 2), PLASA preview, Andy Wood’s exposé on ligging, Yamaha-Kemble Family Tree, Wireless microphones, Muzonet Products: Garrison acoustics, Musicman OLP licensed guitars, Meinl Generation X cymbals, Stromberg Montreux Jazz guitar, Ludwig Classic Birch kit, E-mu Paris recorder, E-mu XL-7 command station, Yamaha Xeno trumpets, Technics SX-PX662M, 4M and 5M digital pianos Number one singles: So Solid Crew: 21 Seconds; Five: Let's Dance Number one albums: David Gray: White Ladder; Atomic Kitten: Right Now

72 miPRO AUGUST 2010

PARTY TIME After the MI Retail Conference & Expo, the 300-plus delegates all piled into the adjacent Parker McMillan bar for the very best in drinks, eats, networking and music, courtesy of the After Show Sponsor, Roland. It was a splendid affair, with numerous delgates uttering the famous ‘last words’ of: ‘I’ll only be staying for one’ and then proceeding to party well into the evening. Music came courtesy of the Fabulous Beatles – a tribute act that not only looked and sounded exactly like the original Fab Four, but impressed those more observant among the clientelle by sticking to the songs of the suited, mop-top era of 1962 to 65. Whatever else anyone might wish to say about the MI trade, no-one can deny that it knows how to party.

Mel Bay’s Chris Statham (right) talks printing with Oliver Makings of Caligraving

WWW.MI-PRO.CO.UK

MI Retail Conference & Expo

eman (far liams (front) and Colin Fre Sharon Music’s Cliff Wil nos and Pia s on’ rks Ma Markson (of right) home in on Julian d foo had g gan his e aus obscured by bottle) bec

AFTER SHOW SPONSOR

event

in association with

r, Christine & Del EyreTanglewood’s James Day and Shea Ride the swing of things Walker of Guitar Village getting into

MI ICON

hen a product not only proves to be a significant milestone in its field, but also inspires a whole new sound within popular music

Boss CE1 Chorus Ensemble and goes on to stand the test of time, it clearly deservesthe moniker of MI Icon. The Boss CE1 Chorus Ensemble was the very first true effects unit from this brand and sparked a chorus craze among guitarists, an effect that became all the rage in the late 70s and early 80s. Surprisingly, its circuitry was taken completely from the previously released JC amplifiers, which were also hugely successful. Unlike other MI Icons, the CE1 actually sold extremely slowly at first

and in its early days, it looked more like an MI flop. This was due to its high price and the fact that its first buyers mostly used it as a mono effect. It was when stereo amplification really took off in the later prog era that musicians started to realise the CE1’s potential and in a remarkably short amount of time, Boss was heading towards shifting its millionth unit. Of course, due to it being around 35 years old, the inclusion of just one level knob for the chorus effect is nothing compared to stomp-boxes of today. However, this turns out to be a minor hindrance, as the range that this one control offered was hugely impressive.

Vibrato made up the other half of the CE1’s available effects and this was tweaked via speed and depth controls. Some loved this effect as much as the chorus, due to its resemblance to the Magnatone vibratos of the 50s and 60s. Gain control was another trick it had up its sleeve. It gave the guitarist the ability to fiddle with the input level, in order to suit any guitar. With legendary guitarists, such as Andy Summers from The Police and Jeff Baxter of The Doobie Brothers falling in love with this small grey box, it’s no wonder that Boss quickly found itself rocket to the top of the guitar effects ladder as a result of this little gem.

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

miPRO AUGUST 2010 73

MI SPACE

JHS EVENT

KIRSTY LAMPORT Company/job title: Shure Distribution UK, marketing communications manager Years in the industry? Three First single bought? Brown Girl in the Ring by Boney M, with my pocket money. Favourite album? It depends on my mood, but I’ll go for Bowie’s Hunky Dory today. Currently listening to? LCD Sound System, This is Happening

JHS EVENT The 14th JHS Event brought in the crowds once again. Top: Alison & Steve Busby with Tony Wilkins; HK’s Andreas Mayerl and Hans Stamer with prize winner David Ferriter. Right: Gordon Giltrap with his signature guitar. Far right Tony & Rachel Rodgers with children Katie and Charlie and JHS’ Mike Onza. Below: The Wembley Guitar boys Matt Curtis and Roger Smith flank Danelectro’s Danny Dugan and JHS’ Dave Pomeroy. Soundhire’s Bob Stewart and Ivor Johnson with JHS’ David Law.

Favourite musician? Stevie Wonder Which instruments do you play? A comb and tissue paper is about it, I leave playing instruments to those with some talent. Are you currently in a band? After being forced to sing (I sing badly) as a backing vocalist in a school band, I choose to keep off the stage and now just appreciate music from afar.

the international monthly magazine for music instrument professional and everyone in the MI business

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NEXT MONTH

MI’s run up to Christmas begins now and MI Pro covers Casio’s 30th, previews the first London Drum Show and looks at the acoustic piano market. As it’s September, that means PLASA and the BPM show, so there’s an overview of DJ lighting, no less. EDITORIAL: ANDY BARRETT mipro@intentmedia.co.uk ADVERTISING: JODIE HOLDWAY jodie.holdway@intentmedia.co.uk

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The V-Studio 20 from Cakewalk: an audio interface and control ƐƵƌĨĂĐĞ ǁŝƚŚ ŽƐƐ ĞīĞĐƚƐ ĂŶĚ 'ƵŝƚĂƌ dƌĂĐŬƐ ƌĞĐŽƌĚŝŶŐ ƐŽŌǁĂƌĞ͘ /ƚ͛Ɛ Ăůů ǇŽƵ ŶĞĞĚ ƚŽ ũĂŵ͕ ƉůĂǇ͕ ƌĞĐŽƌĚ ĂŶĚ ŵŝǆ ŬŝůůĞƌ ŵƵƐŝĐ͘ Call 01792 702 701 or ǀŝƐŝƚ ǁǁǁ͘ƌŽůĂŶĚ͘ĐŽ͘ƵŬͬǀƐϮϬ