Marshall Amps by Kucy Kierans

CONTENTS PAGE 7

Turn it up to Eleven

SWOT Analysis

Lucy’s Direction

An Introduction to Marshall

STEVE Analysis

Max’s Direction

Brand Words

Market Barometer and Positioning

Dan’s Direction

Marshallness

Brand Stack

Stuart’s Direction

Jim Marshall

Brand Essence

Rob’s Direction

Stakeholder Map

Survey Analysis

Product Opportunites

Marshall Timeline

Opportunity Venn

References

Corporate Identity

Initial Direction Exploration

Product Portfolio

Contextual Challenges

Marshall Merchandise

Initial Adcepts

Existing Products with Marshallness

Individual Personas

What is a Prosumer?

Persona Development

Past Advertising and Marketing

Adcept Development

Current Advertising and Marketing

Our Direction

Parallel Companies

Chosen Direction Research

Competitor Analysis

Final Adcept

TURN IT UP TO ELEVEN There is a phrase to sum up Marshall Amplification, “Turn it up to eleven”! After half a century of producing some of the worlds most iconic guitar amplification equipment, Marshall have earned the distinction of being one of the founders of Rock music as we know it today. The business grew from selling guitars and drums in a small London shop, to modifying amps by request. The unique sound produced hooked future stars such as Eric Clapton and Jimi Hendrix on the Marshall “roar”. Success in the UK and Europe continued across the Atlantic, and demand for Jim Marshall’s amps grew. Continuous expansion of the company has seen new product lines produced in a large factory, and several highly successful collaborations with head-phone and radio companies, along with the recent acquisition of Natal Instruments, which further adds to the impressive product portfolio. One man’s dream continues to inspire artists and fans alike, leaving a legacy that has defined Rock ‘n’ Roll.

AN INTRODUCTION TO MARSHALL Marshall Amplification is one of the most recognisable music-industry companies in the world. Their products can be found at home and on the main stage. Their customers are professionals, or those that seek to emulate their idols. The lifes work of Jim Marshall, his brand has been at the forefront of the amplification business since the late 1960s, and counts artists such as Jimi Hendrix, Motörhead and AC/DC as customers. The brand is a staple of Rock music; their amp stacks frame some of the biggest bands on stage, on display in front of thousands. At present, Marshall faces increasing competition from other industry players, offering lower prices and additional functionality for the digital music age. These competitors are attracting a younger audience, influenced by pop-culture. Marshall needs to be part of this. Marshall attracts a loyal following. It is synonymous with the Rock genre, and an aspirational brand within the industry. Although they offer products at several different price points, their professionalgrade amps and stacks are the most critically acclaimed. Their product range has something for all abilities, offering lower-cost solid-state amps for beginners and hobbyists, to full-size stage equipment used on stadium tours on every continent.

“If I stand in front of my rig, if my nuts ain’t shaking then I ain’t satisfied . . . and the only stuff that can do that is my Marshalls!” Kerry King, Slayer The company’s growth has been a continuous process, from its London roots, to its current 70,000 sq.ft Milton Keynes headquarters. Key acquisitions and collaborations have also increased the profile of the company in recent years. The collaborations with Pure brought a Marshall branded DAB radio to the market; and recently Zound Industries have launched the “Major and Minor” range of headphones; giving fans the chance to “carry the magnificent burden of Rock ‘n’ Roll all by themselves”. Marshall’s recent purchase of Natal Drums has brought Bongo’s, Timbales and Tambourines into their product portfolio. Throughout their history, Marshall has been at the forefront of the amp industry, from the humble beginnings of the JTM45, through to Eric Clapton’s “Bluesbreaker” and the integration of old-andnew with the solid circuitry of the JCM900 in the late 1980’s, allied with the classic Marshall tone. Accolades followed for the brand, which received

The Queens Award for Export in 1984 and 1992, and also for Jim himself, who celebrated personal recognition with a star on Hollywood’s “Walk of Rock” in 1985. In recent times, the Valvestate and Mode Four ranges have introduced further digital technology, enriching the timeless qualities enjoyed by Marshall musicians for over five decades. Marshall’s near-future in the amplification industry looks secure, with a consistent demand for their hallmark products prompting re-releases of their classic lines. It is the changing landscape of Rock music and the impact of Marshall’s new generation of customers that will change the face of the company in decades to come.

REVIEW “The Marshall brand words provide a valuable insight into the public perception of the Marshall brand. By allowing us to define ‘Marshallness’ we can then explore what the projects that could take Marshall forward into the next decade, whilst still shouting these brand words that have become the heart and soul of Marshall’s brand.”

BRAND WORDS

REVIEW â&#x20AC;&#x153;Marshallness represents the spirit of the brand, what defines the brand from its competitors. With distinct Marshall styling that corresponds with the quality of the sound produced, the Marshallness gives an insight into the key characteristics that need to be maintained in developing further products for the brand.â&#x20AC;?

MARSHALLNESS The spirit of Marshall is best represented by their most famous advocates, the head-lining artists that are household names, and some of the greatest Rock guitarists of all time. These great works have been accompanied by a Marshall setup, the riffs and the lyrics recognised by the masses; these are the men who are pure Marshallness, embracing the tone, the definition and the quality of the sound, provoking the feelings of pure, unadulterated ROCK! “If I stand in front of my rig, if my nuts ain’t shaking then I ain’t satisfied… and the only stuff that can do that is my Marshalls.” Kerry King- Slayer “I’ve said it before, and I’ll say it again; I won’t consider trying anything else – something that consistent you just don’t f**k with.” Slash- Guns n’ Roses, Velvet Revolver “Two 100-watt Marshalls. I set them full on everything, full treble, full bass and full presence, same with the controls on the guitar. If you’ve got the amp and guitar full, there is so much volume that you can get it 100 miles away and its going to feedback - the sustaining effect - and anywhere in the vicinity it’s going to feedback.” Eric Clapton- The Yardbirds, Cream

“The fine Marshall line remains heavy as lead… solid as steel. The best.” Billy F Gibbons, ZZ Top “Old Marshall’s never die – just blow your f**king head off!” Lemmy- Motörhead

“What does a Marshall sound like - strength, warmth, commitment, beauty and destruction... all wrapped up in a giant f**kin’ wrecking ball!” Zakk Wylde- Ozzy Osbourne, Black Label Society Marshallness is the sound. A raw power harnessed. There is an undefinable character, and an unmistakable energy. Great artists manipulate this tone, crafting harmonies with an epic presence. Marshall is heritage; JVM (an iconic Marshall amp) is an acronym for Jim Victoria Marshall, Victoria being his daughter and current managing director of Marshall Amplification.

Marshallness is character. A focussed belief. Inspired by raw passion. Motivated by the music. Marshallness is visual; instantly recognisable as the backdrop to some of the greatest shows on Earth, an enduring presence across the whole of Rock culture. Mighty stacks amplify every stroke, projecting soundtracks that define eras; memories that last a lifetime. Marshallness is the sound that annoys the neighbours. Emulating idols, creating a sound, turning it up to eleven; because you can, and because you want to. A monolith. Shrouded in leather. It’s corners capped. It is unmistakable; a flash of brass catches the eye.

JIM MARSHALL To gain a greater understanding of the legend that is Jim Marshall, an interview conducted with Musicians Hotline in April 2003, illustrates and insight into his thoughts of being the fore founder of the iconic amplifiers. Jim, tell us how you first got your start in building amplifiers?

REVIEW “With Jim Marshall being the epiphany of the Marshall brand, we found it necessary to explore his thoughts and attitudes towards the brand. Jim is regarded as the Godfather of the iconic amplifiers, the brand greatly reflects his ethos as expressed in this interview., allowing us to gain a greater understanding to why Marshall is such a success to date.”

I opened a drum shop in Hanwell, London, in 1960 where I sold drums and gave lessons. The drummers I taught would all bring their guitarists in all the time and young players like Pete Townshend and Ritchie Blackmore would always say to me, “Why only drums? Why don’t you sell guitars and amplifiers too, Jim? The other music shops in London all treat us like idiots because we play Rock and Roll, you don’t so we’d much rather shop here!” My initial reply was, “I know a lot about drums but not much about guitars and amplifiers.” But, I decided to give it a go anyway and it turned out to be very successful indeed right away. “So many players came to my Hanwell shop, it was almost like a Rock and roll labor exchange because a lot of groups were formed there. Anyway, lads like Pete (Townshend), Ritchie (Blackmore) and Big Jim Sullivan - who was and still is one of the top session guitarists in England - started saying to me, “no one makes an amplifier that sounds the way we’d like it to. The Fender Bassman is something like it but not exactly.” They explained to me exactly what they

were looking for and I said to my repairman, Ken Bran, “let’s have a go at making the amplifier they’re looking for. I’ve got the sound in my mind and I think we can do it.” Ken said, “I’m a good at repairs but I don’t really know enough to design an amplifier from scratch. I know of this 18 year old kid who works for EMI called Dudley Craven who’s brilliant, though.” So, I met with Dudley and said, “How would you like to join the team that’s going to design and build the first Rock and roll guitar amplifier?” He told me that he’d love to but that he was an apprentice at EMI. I asked him how much he was making and offered him the same amount I was paying Ken which was over three times as much as EMI were paying him. He immediately said, “done” and joined the team! Dudley handled all the technical details; Ken helped him solder the board while I did the chassis work and everything else. Unfortunately I’ve lost contact with Dudley. The last I heard of him he was in Canada. I’ve tried to track him down but I’ve been unsuccessful I’m afraid. Anyway, Dudley built five prototypes, which I rejected because they weren’t quite right - they didn’t quite make the sound I had in my head. Then he made number six and I as soon as I heard it I said, “that’s it! That’s the Marshall sound.” It sounded exactly like the sound the boys had described to me, you see. We put that amp into my shop that Saturday for people to hear and it didn’t even have a cabinet, it was just the chassis! We took orders for 23 that first day.

Who was the first major endorser to use Marshall Amplification and when? Well, I don’t know if you can call them endorsers because I didn’t give them anything - I never have and I never will! That said, the players I’ve already mentioned like Pete Townshend, Ritchie Blackmore and Big Jim Sullivan were part of the first order of 23 amps. A lot of other groups who were big at the time, like Brian Poole and the Tremolos, also started using the JTM45 straight away too. Eric Clapton and Jimi Hendrix were two other very famous Marshall users in the early days but they both came along a little later. Eric used to practice in my shop and he was one of the first guitarists to ask me to build a combo. He wanted one so it would be easy for him to put the whole thing in the boot of his car. I met Jimi Hendrix through one of my drum pupils, Mitch Mitchell. Jimi was playing at Ronnie Scott’s in London, the group there was using a Marshall and so he had to too. He liked it a lot and he told Mitch he had to have some and that he also wanted to meet me because we shared the same name - as you may know, Jimi’s full name was James Marshall Hendrix, you see. When Mitch brought him into the shop the first thing Jimi said to me was “I’ve got to use Marshalls” and I immediately thought, “Bloody hell, here’s another American guitarist wanting something for nothing.” But straight away Jimi said, “I want to pay for everything at the going rate. All I want is service wherever I’m playing in the world.”

Marshall has recently celebrated its 40-year anniversary. What do you feel has attributed to the success of Marshall Amplifiers over the past four decades? Hard work, the quality of the product and good people. I’ve never minded putting in 16 to 18 hours a day and I still get to my office at 6 o’clock every morning because I can get so much done in those first two hours before the office opens and the factory starts up. In fact, I believe that hard work keeps you young - I’m so busy I don’t have time to think, “Oh, I’m getting old!!” I’ve also got marvellous people working for me - not only in England but all over the world. I’m very proud of my distributors and dealers in every country because they all do a fantastic job and, like me, are very passionate about what they do. Funnily enough, most of the people in the worldwide Marshall family are musicians and I’ve always said that musicians should rule the world! After all, music is the most common language in the world. Tell us a bit about your key employees or designers that have attributed to the R&D at Marshall Amplification? Well, going back there was Dudley Craven at the start; then a chappy named Ken Fleg during the ‘70s; then Steve Grindrod (now with Vox) and right now I’ve got what is, without a doubt, the finest team of engineers in the world. This team is lead by

my technical director, Bruce Keir, and what Bruce has done with Ian Robinson and Laurent Veignal over the past several years has just been fantastic. Marshall is now reissuing several models from the past. What was it about those amps you feel have made them desirable today? The sound, of course! The amps you are talking about are all relatively simple amplifiers to use, especially by modern day standards, and all have a unique, signature sound that many modern players still want. My designers have done a fantastic job of making the reissues sound and feel like the originals do. In closing Jim, what do you feel is the most important aspect that you have learned spanning your career and what “words of wisdom” would you share? Work hard, make a great product and surround yourself with good people because you can’t do everything yourself. Having said that, you must always be in it yourself as well...you have to be involved. It’s no good sitting back in an office and thinking that other people are going to run your life for you - you have to steer your own destiny. Another thing I believe you should always do is keep your eyes, ears and mind open to everybody and everything. No one knows everything and you can always learn something new.

STAKEHOLDER MAP

Celebrity Endorsements Novices

Customers

Suppliers

PROVIDERS

Partners

BENEFICIARIES

STAKEHOLDER IDENTIFICATION

Regulatory Steering Groups

Semi-Professionals

Media

GOVERNANCE

INFLUENCES

Boards

Trade Unions

Audit Jim Marshall

Victoria Marshall

Professionals Retailers Employees

Interest Groups Sponsorships Retailers

1964 Marshall opens its first factory

1946 Fender Musical Instruments Corporation founded, building string instruments and amplifiers

50’s 1950 Gibson introduced the GA series that became a competitor of Marshall

1957 Peavey bought out their first amplifier in their product range

1960 The first Marshall music shop opens in London

The seventies (1967-1981) was the era of the JMP’s

1968 With musical endorsements and growing popularity, a 14,000 sq.ft. purpose built factory was opened

60’s

1974 Marshall introduced the first 100 Watt amp

1970 The Randall Amplifier Company was founded as a direct competitor of Marshall

70’s 1962 Marshall is founded and Jim Marshall produces his first amps

1965 Marshall moved to Bletchley, Buckinghamshire to cope with the increasing demand

1969 Mesa/Boogie begins to operate in direct competition with Marshall, producing amplifiers for guitars and bases

1981 Marshall launches the JCM800 series

80’s

1970 For a short time, Marshall amps were available in a range of colours

The sixties (1962-1967) was the “Jurassic” period of Marshall and the time of the JTM’s

1984 Marshall is awarded the Queen’s Award for Export

1975 Design for the first Master Volume amp was completed

1982 The first split channel amps arrive

1984 Marshall moved to Milton Keynes with 90 staff and 50,000 sq.ft.

MARSHALL TIMELINE 1985 Jim Marshall was introduced into the Hollywood Guitar Centre Walk of Rock 1987 Marshall releases the 25/50 silver Jubilee amp to celebrate Jim Marshall’s 50th anniversary in the music business

1991 Marshall introduces the hybrid Valvestate line of amps 1990 Released a few “special edition” amps, including a “Slash Signature” model

2000 The AVT series is introduced 1994 Jim Marshall becomes the second recipient of Guitar Player magazine’s Leo Award for innovation in guitar equipment design

90’s 1986 Soldano Custom Amplification become competitors of Marshall

The eighties (19811989) was the era of the JCM800’s and the first anniversary amps

The noughties is the realm of the JCM2000’s

2003 Jim Marshall celebrates his 80th birthday

2002 Marshall celebrates its 40th anniversary at the National Association of Music Merchants in California

00’s

1990 The factory was extended to 70,000 sq.ft. and the workforce grew to 220 1992 With its 30th anniversary, Marshall is awarded its second Queen’s Award for Export

1966 Line 6, a Digital Amp company, starts operating The nineties (19901999) was the era of the JCM900’s and the re-release of amps

REVIEW “By exploring Marshall’s biggest milestones and competitor launch, we have been able to define the rise and fall in Marshall’s life and determine how they have kept the company in their market leader position periodically. Marshall has a heritage of 46 years, producing the aspirational and iconic amp collection.”

Initial contact with Marshall Amplification was made on 2nd December 2010, with the intention of acquiring the Marshall corporate identity guidelines. At the time of writing however, we have not yet received these. Therefore, we have analysed existing Marshall media and gathered informed opinion. The Marshall brand must be one that is instantly recognisable. As a strong, solid brand, it is extremely important that the identity of the brand is clear and consistent throughout the brands operations. A cohesive corporate identity improves brand recognition and the effectiveness of marketing activities. Adversely, inconsistent use of the corporate identity can create confusion, and has the potential to cause detriment to the image of the company. Logo The Marshall ‘signature’ logo is its most recognisable print asset. With almost 50 years of history, the script acts as a final “seal of approval” for the company’s actions. The fact that the logo is a stylised interpretation of Dr. Marshall’s signature implies there is a personal connection between the customer and the company founder. On all Marshall advertising the logo is highly visible, often in the footnotes of print-media, or depicted on the image content.

A white variant of the logo appears most prominently on the amps produced. As the vast majority of Marshall’s equipment is black, white provides the greatest contrast. The letterform of the logo, and its high contrast make recognition easy, even at longer distances (such as the view of the stage from the crowd at a festival) as the curved letter forms are different from many other amp manufacturers, who advertise their company with more discretion, such as Yamaha, or flamboyance, in the case of Orange Amps. Although a legacy version of the logo has been used for several reissue models launched by Marshall recently, it is the scripted version, which holds the most value. Online Media The main Marshall website oozes classic Rock. It is very dark, with white text on a black background. The main points of visual interest on the site are images of their product portfolio, and quotes from leading Rock musicians, endorsing Marshall products. The notion of Rock history is apparent, with a varied and continued presence of icons of the genre around the site. The products Marshall sell are endorsed by these leading artists, as they have used them on tours throughout their careers, or their music has been influenced and enhanced by the distinctive tone Marshall products are famed for. However, Marshall’s latest collaboration is with the Swedish manufacturer Zound Industries. They have created a new range of headphones, placing

the Marshall brand in a new market. The website and corporate identity for this offshoot of Marshall is markedly different to the amplification website. There is still a classic aesthetic, with the use of 2 colours, off-white and a black. There is far more whitespace on the site, with more “breathing space” for each item. This site is still identifiable as a Marshall, but is a lot fresher, with a contemporary feel. We expect the main Marshall page to be refreshed in a similar style in the future. The headphones site is highly reminiscent of the monotone advertising literature Marshall produced in their formative years, perhaps to demonstrate the start of a long history for this new product direction? In essence, Marshall’s public persona exudes Rock personality, and credibility is given to their product portfolio through their links to great Rock artists. Print Media Posters and advertising produced for Marshall products at present are aimed specifically towards a particular product or context, rather than as part of a standardised theme. Metal-Rock themes are the most prominent, as a result of Marshall’s longstanding connection with Metal groups. In contrast, the company’s recent “Signature” series product advertising is stylised by the artist they are dedicated to. For example, the Paul Weller

CORPORATE IDENTITY GUIDELINE version is markedly different to the Megadeth inspired print media. The advertising portrays the content in its native context. Styles vary depending on content, with the logo and contact details at the foot of the posters. The main aim is make posters and advertisements instantly recognisable for Marshall enthusiasts and existing fans of the related music genre. Product Language Marshall products have a form-factor that is rememiscent of many amplifiers on the market, as there are similar acoustic and packaging requirements to be met. Marshall distinguishes their portfolio in several ways. Firstly, they offer a broad range of products, included limited edition and heritage line-ups that are styled slightly differently to the rest of the line-up. However, the ‘classic’ Marshall style is easily recognisable. Recent collaboration products have adopted this style, namely the Pure Evoke 1-XT DAB radio, and the new Marshall Major and Minor headphone ranges. The black leather-effect covering and contrasting white logo, the brass fascia and machined dials are the key components. Secondly, the protective caps on the corners of their products, and the familiar rubber handle add to the character of the Marshall range. Intricacies such as dials that go from 0-11 are details appreciated by those that are familiar with Marshall and adds extra depth to a product offering.

Materials The coverings of Marshall’s amps are made from Tolex, a plastic-based fabric with a leather-grain effect. This material is hard-wearing, suitable for amps that are regularly transported between uses. Several different types of Tolex are used, with wider mesh variants to cover the speakers, and some period reproduction material for the Vintage Series amps. Brass is used as an accent colour to distinguish Marshall’s products apart from their rivals, and is also the metal from which their dials are machined. Brass contrasts well with the black covering and white logo, and provides the brand with an identifyable aesthetic identity. Other colours are used to compliment special edition and re-released products, to compliment the artist or styles of the time. However, there are usually only three main tones used, to make products visually interesting, but not distracting, especially if placed on stage. Colour Palette Black is the common colour, with brass and white as main accents. There is always a black and white element to the designs, but some editions use white as the base colour with some silver-grey or blue-red contrasts. The Marshall script logo is always positioned near-centre, and contrasts with the base colour, to create maximum impact.

REVIEW “By reviewing Marshall’s current product protfolio, we were able to gain a more in depth knowledge of the types of products that the consumers have been accustomed to in recent decades. This will help in the development of future Marshall products when considering maintaining their brand identity and characteristics.”

PRODUCT PORTFOLIO Signature Series A range of products underwritten by various well known worldwide artists such as the Megadeths, Dave Mustaine Megastack Amps, and other such amplification products by Lemmy Kilmister of Motorhead, Paul Weller, Jimi Hendrix and Kerry King of Slayer. Limited Editions & Specials This range of products features items that have shaped Marshall and music as we see it today. The 1932C range celebrating 85 years of Dr Jim Marshall OBE is a prime example of this, as well as the JTM45/100 Limited Edition, all valve 100 watt head and a dual mode head that was made in conjunction with Slash of Guns and Roses fame, all of which uses the same technology and techniques as they were made back in 1965.

Vintage Modern The Vintage and Modern range gives a good tone reminiscing back to the 1960s and 1970s with a hot option to give you the harder Rock sound of that era. Class 5 The Class 5 is seen as the purest of the pure with a 100% valve tone quality all of its own, giving a low wattage and big tone for its size in a true “Bluesbreaker” style of sound.

Vintage Series The Vintage Series offers faithful reproductions of the classic originals that made Marshall what it is today and what it is known for, featuring such models as the JTM 45 (the first model that Jim Marshall produced in 1965) and the legendary JCM 800 100 Watt head (considered to one the best products ever manufactured by Marshall). Other certain models also feature an added series effects loop and true bypass switch so the traditional tone is not affected.

Haze Series Studio sound quality that is portable for the road, featuring pure valve and foot switching technology all combined in a package that gives out smooth and rich tones perfect for Rhythm and Blues.

MA Series A range of all valve amps that are currently considered to be the most accessible on the market, featuring pure British valve power amplification of admiration of many British artists and musicians.

JVM Series The JVM series is the most comprehensive and professional range of “all valve” multi channel amps available, giving good performance and tone at an affordable price.

Hand Wired Point - to - Point Perfection The hand wired range of products draws upon the rich expertise that has made Marshall the legend that it is today. It featuring Dagnall Transformers combined with traditional technology and craftsmanship.

DSL Series The DSL Series or Dual Super Lead incorporates an amp that will give out any sound whether clean or crunchy is required, all have dual channels that are foot switchable.

JMD1 Series JMD1 is a good combination of state of the art pre amp technology and studio quality effects with Raw EL34 valve power, making it one of the most technologically advanced comprehensive amps to date that has been manufactured by Marshall.

Mode Four The mode four integrates two amps in one design with a combination of modern and classic styles, complete with the Marshall attitude all in one package. Both amps have their own pre amps and are not shared as they are based on competitors models making for that pure complete 350 watts of Marshall sound.

TSL Series The TSL series is the next generation from the DSL series and they are all members of the prestigious JCM 2000 range all featuring triple channels, 100% pure valve power and incorporating musician friendly features throughout the TSL range.

PRODUCT PORTFOLIO Rack Products British valve power at its best, the ‘roar’ that Marshall are famous for, is known throughout the world by all musicians. MG Series With 11 products within this range the MG Series incorporates the latest state of the art technology in a digital solid state format with an analogue programmer, ideal for whatever your level, from beginner to professional. Extension Cabinets The legendary Marshall stack is known all over the world and it is at the heart of all things Rock n Roll. The first stack was built by Jim Marshall in 1962 and from there on there has been no looking back. Effects Pedals A range of 8 guitar effects pedals all featuring solid metal casing and a passive bypass ensuring a quality well built product to every musician. Packages The Packages feature the Rockbox and Rockkit, giving all budding Rock stars a high quality, award winning musicians package at an affordable price.

AVT Tribute AVT or Advance Valvestate Technology is the combination of valve and modern technology as a hybrid, within the AVT range there is an amp to suit everyones’ needs. Acoustic Marshall do not just design products for all those Metal, Rock and Blues lovers but they also design and manufacture a range of award winning acoustic combos, illustrating how diverse their design team really are. MB Series After asking Bass players what they really wanted, Marshall came up with a range of combination and speaker extension cabinets, built to withstand life on the road. Micro Amps A range of Micro Amps so even when you are not at home or in the studio you can still have a Marshall with you where ever you go, the range consist of the MS4 & MS2. The MS2 Micro Amp measures 14x11x6 CMs and MS4 Micro Amp stack measures 25x11x6 both offering a mighty sound package for their size and really has to be heard to be believed.

VBA Series The best in valve amplification that is available, built for heavy duty road use, such as the VBA 400, a professional bass players’ valve rig.

“The Vintage Modern is raw, classic tone pure and simple.” Ray Tord, My Chemical Romance

REVIEW â&#x20AC;&#x153;Reviewing our selected target market will enable us, as a group to be able to identify appropriate directions in which to take the brand, and to reposition it within the time period of 2015-20. Defining the market is key in developing a design direction so as to create a range of products that will promote Marshall in a suitable way.â&#x20AC;?

WHAT IS A PROSUMER? The term ‘Prosumer’ is a portmanteau formed by blurring the distinction of the words producer or professional with consumer. The term was coined by the futurist Alvin Toffler in 1980 in his book ‘The Third Wave’. He used the terminology to describe a possible future type of consumer who would become involved in the design and manufacture of products, so they could be made to suit individual specification. The term has since taken on multiple conflicting meanings such a mass customisation, where everybody becomes a progressive consumer and in theory a member of a niche market. There would no longer be a passive market upon which consumer goods where ‘dumped’. The research that was conducted to gain a better understanding of the ‘Prosumer’ market segment could be summarised as a serious, enthusiast consumer, not a professional, but someone who has similar interests and skills to a lower level professional who requires professional-level features which are combined with consumer-level usability and price. In other words prosumers may be described as people who borderline between being consumers and professionals, people who want to obtain goods of a better quality than consumer items, but cannot afford the professional pricetag. However these inferior ‘Prosumer’ goods can successfully be applied in the two separate markets. Synonyms which, as a group we believe reflect basic Prosumer principles are words including; amateur, enthusiast, hobbyist and semi-professional.

The Prosumer market is often referred to as a golden group of consumers. A lucrative market segment that is often over looked and is only recognised by a few visionary companies, who are actively prospering by approaching this rich coterie of spenders in this emerging market. Prosumers are not hard to find or identify. But capturing this desirable segment requires a systematic program of research, development, and testing of prosumer orientated offerings. Marshall are considered to be a ‘Prosumer’ brand, offering high end, professional-level products at a price that it affordable to its consumers. This allows the blanket users for Marshall to range from Rock band professionals to garage enthusiasts, therefore giving all skill level and practice levels the same Marshall experience. Marshall’s product range has higher and lower pricetags depending on the quality of the product. However, it is the lower end affordable priced products that are Marshall’s greatest sellers, illustrating that amateur, enthusiast or hobbyist musicians hold a large segment of the ‘Prosumer’ market for this brand.

“I plugged into a Marshall 25 years ago and from my first crunchy riffs to my latest screaming leads, my Marshall’s were always right behind me, lot’s of them! There will always be imitations, but in the end there can only be one, the only one, Marshall!” Yngwie Malmsteen

REVIEW â&#x20AC;&#x153;By studying paralllel companies that have similar values and heritage to Marshall,. This was completed to see how they have diversed and how their relationships in terms of brand values are similar when applied to a different product portfolio range. The companies explored relate to Marshall in term so their target prosumer market.â&#x20AC;?

PARALLEL COMPANIES Harley-Davidson Harley-Davidson is one of the most well known Motorcycle brands in the world. For over a century, H-D has produced motorcycles for the open road, encompassing the American Dream. Harley-Davidson represents a way of life, signifying freedom, exploration, rebellion and defiance. From its Bar & Shield logo to its distinctive sound, look and V twin engine, the brand displays a prominent attitude. With a reputation for quality, and a history of producing iconic motorbikes, Harley-Davidson has defined the rebel lifestyle, with strong connotations towards Rock and Metal, comparisons with Marshall are easy to draw. The company’s Fortune 500 status is a further indicator of a strong brand, and one that has had to adapt to follow todays trends, whilst still flying the flag for its original values. Rolling Stone For over 40 years, Rolling stone has been credited with bringing a balanced portrayal of news and politics, alongside style and fashion content. This format has been said to bridge the gap between generations, with content appealing to a broad circulation. As a freethinking publication, borne of San Francisco’s 1970’s countercultures, there is an unmistakable identity to the magazine that has continued throughout its history. The longevity of the magazine, and the confidence in which it has kept its original ethos is very similar to the Marshall story. The belief in a particular method

or portrayal has retained a near-cult following for both, as the customer knows what to expect. People read Rolling Stone for the same reason as others buy Marshall equipment; because they want to identify with everything they stand for. KitchenAid KitchenAid was founded in 1919, making professional food mixers for industry. However, the public valued the cast-iron construction and nononsense performance, bringing the brand into the domestic environment. A series of colours added a fashion edge to the products, now marketed as a premium appliance for the modern kitchen. The design has remained true for over 90 years, a testament to timeless design. The Artisan Series was designed in a time of elegance and fantasy, and its appeal continues to be admired. Future KitchenAid models have failed to have the same impact as the original, with the classic still commanding significant demand, much in the way that Marshall’s early amp designs, popularised by early Rock greats have remained popular with artists and enthusiasts aiming to replicate the feats of their idols. Roberts Radio Harry Roberts entered the radio business in 1932, quickly establishing a reputation for building high-quality portable radios. A family business, the company’s growth now sees Roberts’s radios in over 2000 locations. Having received Royal Warrants, his efforts gained the highest of

endorsements. To save advertising costs, Roberts produced a series of ‘specials’ in their formative years, to gain free column inches. A history of providing a quality product that offered reliability made their iconic radios instantly recognisable with consumers. However, in later years the brands newer ranges failed to win public acclaim, slowing the company’s growth and process. The ‘Revival’ range was Roberts’ foray back into the mainstream. Eclipsed in terms of technology by its Eastern rivals, the range focused on a retro aesthetic and quality components to raise sales. Leather coated sets, in a multitude of pastel tones let the radio compliment any room, and tie-ins with famous fabric designers such as Kath Kidston and Christopher Kane, as well as icons like Paul Smith has made the range a contemporary hit. Jack Daniel’s The Jack Daniel’s Company is an internationally renowned American brand of Bourbon whiskey, distilled in Lynchburg, TN. Daniel used music to draw crowds to his salons by forming the Silver Cornet Band, a link that is still seen today. Recent collaborations, including a range of acoustic guitars, amps and accessories with the well known American amplifier producer Peavey have brought a sense of Southern charm, blending vintage Rock tones with gritty blues jams. Associations between brands that embody a musical style, and those that manufacture the equipment inevitably raise brand appreciation and recognition.

COMPETITOR ANALYSIS Randall The Randall Amplification Company was founded in 1970 by Don Randall after a lifelong interest within radio and audio amplification. Don Randall gained employment after the Second World War working for Radio and Television Equipment, a company that supplied electronic components. As a manager, he discovered that Leo Fender had set up a business making lap steel guitars and small amps in low production numbers. In 1946 Leo Fender became keen to expand and accepted Don Randall’s offer to sell and distribute the Radio and Television Company’s current range of guitars and amps. Proceeding in 1953, the Fender Sales Corporation & Fender Electric Instrument Company was formed with Don Randall in charge of sales and distribution. In 1969 Don Randall exited Fender and set up his own company, The Randall Amplification Company. Today Randall is regarded as a world leader in guitar amplification, with endorsements including Good Charlotte, Tommy Lee, Nirvana, Damage Plan and Metallica. The Randall Amplifier Company is now owned by U.S. Music Corporation and today has three main lines that fall within its product portfolio; amplifiers, cabinets and its signature series.

Line 6 Line 6 are a relatively new company to the amplification market. The company was founded in the mid nineties by Marcus Ryle and Michel Doidic, who were already quite well regarding due to their involvement with Alesis in developing the digital tape recording system, ADAT.

Fender The Fender Musical Corporation are possibly one of the most well known manufacturers of musical related equipment. They are world famous for their guitars with such names as Telecaster, Stratocaster and Precision Bass, just the name alone is associated with all things “Rock and Roll”.

In 1996 the AXSYS 212 was launched, their first digital modelling guitar amplifier. The advantage of this type of amplifier is that it recreates the major characteristics of musical instruments and professional audio gear. Line 6 later went on to release there now famous “POD”, a digital based amp modeller.

Founded in 1946, the Fender brand has virtually touched the majority of music genres. Aimed at professionals, amateurs and beginners alike, today the Fender Musical Instruments Corporation is one the world’s leading manufacturers, distributors and marketers aimed primary at everything a guitarist or bassist needs.

Line 6’s line of products include the emulation of various guitar amplifiers, guitar cabinet combinations, general effects and micro phones, guitars and other such fretted instruments.

The corporation holds sub-brands such as Fender, Charvel, Squier, Gretsch, Jackson, Tacoma, SWR, EVH, Guild, Groove Tubes and Kaman Music Corporation, which is the largest distributor of Musical Instruments and accessories in the USA. Throughout Fender’s history, professional collaborations have built a strong company presence, most recently the Hendrix Fender tribute tour in 2010.

In 2008 the company acquired Xwire a company that had already developed a digital wireless system for guitars, resulting in developing the technology introducing a line of wireless microphone systems in 2010. The Line 6 Brand is also instrumental within Guitar Hero World Tour gaming, with their products being found on stage and within the “Music Studio” of Guitar Hero, gamers can create their own songs using a Line 6 stylized POD.

Artists and bands that have been associated with Fender include; We are Scientists, Hank Marvin, Stevie Ray Vaughan, Kaiser Chiefs, Richie Blackmore, Jeff Beck, Biffy Clyro and Elvis Presley. All boosting the Fender name and consumer admiration for the product.

COMPETITOR ANALYSIS Mesa Boogie Mesa Boogie began in a small shop which repaired and modified Fender Combinations, with their modifications they produced a better sound quality. Some of the early buyers of such amps include artists Keith Richards and Carlos Santana. Randall Smith began his career at Prune Music in San Francisco with his business partner David Kersner. Early customers to this joint venture included names such as The Grateful Dead, Holding Company, Big Brother and Carlos Santana. In 1969, Randall Smith took a Fender Princeton amp and modified it as a joke, the modification consisted of replacing the amp and speaker to make it louder, Carlos Santana trialled the newly “Hot Rodded” style of amp, which packed the store front out with listeners. Santana remarked to Randall how the little amp worked so well, “Man, that little thing really boogies!” With that the Boogie name was born. Randall continued to convert Fender Amps until Fender became suspicious as to where all these parts were ending up and ceased their supply. The first Mesa Boogie custom made product to be made was for bassist Patrick Burke. Other products followed such a pre-amp for a set of power amps which included an extra tube from this initial concept would lead to the manufacture of a new guitar amp in 1972.

Gibson Gibson began in 1902 in Kalamazoo, Michigan, by its founder Orville Gibson, originally manufacturing Mandolins and Acoustic guitars. Today Gibson Guitar Corporation is based in Nashville Tennessee, USA within its own state of the art manufacturing facility after moving in 1984. The company manufactures acoustic and electric guitars, amps and associated equipment, as well as other items such as pianos, drums and even juke boxes. They produced their first electric guitar in 1936 which is considered by many to be one of the first manufactures of electric guitars. Within the Gibson brand there are many subbrands including Epiphone, Kramer, Valley Arts, Tobias, Kalamazoo, Steinbecker, Magic, Nordiska, Wurlitzer, Maestro, Hamilton, Electar, Sunshine and Baldwin Pianos to name few. Gibson are considered to be one of the major players within guitar and associated markets to date. Gibson have released many signature series styled products associated with prominent artists such as BB King and Les Paul which today are highly collectable. Gibson endorsements include; Katy Perry, Bad Religion, Teenage Fanclub, Jeff Beck, Jethro Tull, David Gilmore, We Are Scientists and Pendulum. Gibson Guitars as a brand also have had various film appearances in productions such as Tenacious D in The Pick of Destiny, and School of Rock.

“Marshall amps and speakers have stood behind me on every continent in the world and I have never found anyone better to have at my back.” Lenny Kilmister, Motorhead As can be seen within this analysis of the various major brands and today’s competitors, they have all been considered a spin off or emulation of each other at some point in their development. Some of the major players have even had a direct working relationship with each other before becoming competitors to each other in the amplification equipment market. The end users and listeners of the sound quality is a link that is maintained throughout the aims of each individual competitor. Many will favour certain brands for certain outputs and products but when it comes to amplification equipment there is only one name, Marshall, for world class amplification equipment that has sound and reliability at it’s core.

SWOT ANALYSIS Strengths Marshall is a market leader within the amplification industry. Their reputation is based upon build and sound quality that has resulted in a mass cult following of musicians worldwide, becoming a well regarded brand name, the Marshall empire has an employee base of over 400 people. Being a family run business, the history and heritage of Marshall is a fundamental component of the company’s success and brand loyalty. Illustrating strength and structure in the company’s roots, customers believe that Marshall is trustworthy and honest, with a great customer service. Marshall have a real empathy for the users of their products. Professional endorsements promote the brand in a way that makes it iconic and admirational to the prosumer market. The likes of Jimi Hendrix, The Who, AC/DC and Guns n Roses, represent the aspirational level of musical quality that many Marshall users aspire to live up to. Currently, the manufacture of the Marshall product range has expanded to Milton Keynes, contained in a state of the art factory, making it the most recognised product line in Rock music.

Weaknesses The unchanged brand and product portfolio that has stood the test of time since 1962, is something that needs to be re-evaluated with the changing times, emerging markets and diversification of the consumer base. As Marshall is in a limited or niché market, being specialists in their field, their product diversity is constrained to the production of amplification equipment. Limiting their audience to a specific user need, the scope for product portfolio expansion is something that can be explored. Marshall’s product portfolio expanding to 120 pieces in its collection includes amp heads, speaker cabinets, combo amps and stacks at prices that range from $100 - $2,000. The market has become heavily saturated with competitors offering similar and ‘copycat’ products that endanger Marshall’s market share and brand isolation. Marshall’s unique selling point has now become a trend setter for competitor benchmarking, with similar companies offering equal to or similar products with slightly different user interfaces and requirements.

“I really like my old Marshall tube amps, there’s nothing can beat them, nothing in the world. It looks like two refrigerators hooked together!” Jimi Hendrix

REVIEW â&#x20AC;&#x153;A SWOT analysis has been completed to determine where the opportunities lie for the future of the Marshall brand, based on the strengths. Identifying the weaknesses, threats and opportunities enable us as a group to explore and gain focus on future direction ideas.â&#x20AC;?

SWOT ANALYSIS Opportunities With the low price end of the market controlling 70% of Marshall’s sales, there is scope for expansion into the prosumer market. Like the music genre ‘Rock ‘n’ Roll’, which continuously keeps coming back into fashion. Marshall’s branding is under constant review and redefined by new bands and endorsements to reflect contemporary pop tastes and pop culture. With Marshall’s loyal presence at a range of different music events in over 65 countries worldwide, and its unmistakably strong brand uniformity, their products are easily recognisable. An intergenerational trend is emerging, with younger generations becoming more exposed to the power of Marshall, through their presence at gigs and festivals, through music videos and television appearances. Marshall’s current product portfolio allows for the opportunity to explore several unexploited markets such as children who are too young to play instruments, but old enough to enjoy ‘The Marshall experience’. There is only one manufacturing plant left in Denbigh, a prime location neighbouring Marshall’s headquarters, increasing efficiency.

Threats Sitting in an industry where the manufacturing is often being shipped out to cope with economic downturn, keeping Marshall British is always going to be a concern with a growing business. With new technologies such as digital modelling that are forever evolving, a vast range of competitors, such as Peavey and Fender, are able to digitally sample the sound architecture of other amplifiers. This poses a threat because prosumers will be able to reproduce an inferior Marshall sound without having to purchase a Marshall product. One of Marshall’s key concerns has indefinitely got to be whether or not the philosophy that Rock music is timeless and can be applied to a futuristic market. With the Marshall brand being so successful amongst the novice, semi-professional and professional music enthusiasts, there has not been an immediate requirement to develop their current product range beyond amplification. This results in Marshall relying solely on a back catalogue where only incremental or slight progressive changes can be acknowledged. In a saturated market, what differentiates Marshall from its competitors?

“I’ve had my Marshalls on tour all over the world and they have never let me down! Perfect everytime!” Brian Nutter, Keith Urban

Social: Well being Rock has been known for its anti-social behaviour, the ideas of the teen next door jamming out on his guitar with his Marshall amp blarring in the garage or moshing out in the nearest pit. Alternatively, Rock can be classed as a social or engaging activity. Concerts, festivals and gigs bring thousands of people together, to congregate and enjoy the experience of the show or band on display, listening to the sounds of their instruments and dancing to the tunes. Social: Developing a capable population Design for inclusion. Marshall haven’t really created products for the mass market, they are an amplification producer therefore it’s natural to aim for music related people, that bring people to play instruments at home or in a band at a concert. This currently limits their target market. Social: Attitudes towards Marshall It’s a brand that people recognise if they have an interest in music, not everyone recognises the brand. It’s a brand people can relate to but have no general opinions on or their products as they generally lie in the background. At a concert people are engaged in the music, in the singer or musician, they don’t tend to look to the background and think about what amp their using unless, as mentioned, they have a self interest, i.e. they’ve got one, or are thinking of buying one.

People agree it’s a high quality brand. In 2008 it was awarded by being listed as one of the UK’s coolest brands. It had to meet certain criteria, qualities such as style, innovation and desirability were all requirements of the brands that made the grade and are attributes that Marshall pride their amps on. The panel also took into account the way that the brands are perceived and marketed. It was noted that: “The most effective advertisement for Marshall Products remains the amplifiers and cabinets themselves which appear on stages worldwide.” Cool Brands publication 2007/2008. Technology Originally built as direct copies of Fender amplifiers, Marshall amps soon incorporated certain traits of their own which made them more favourable to those seeking a heavier sound. Like most professional-level amplifiers, big amplifiers still use valve stages instead of solid state devices (transistors), although Marshall also manufactures cheaper solid-state or hybrid devices. Valve amplifiers are considered to produce a “warmer” tone than those of transistor amps, particularly when overdriven. Vacuum tubes also boast different harmonic effects than transistors. Though technology continues to change, the most sought after, best sounding, and most expensive amps use technology that is considered quite obsolete. The sound of a Marshall 1959SLP or JCM800 amp is among the most recognised in popular music, and there is a constant demand for both cutting edge

and vintage amplifiers. They are now some of the most expensive amps on the market. Marshall currently produces a number of amplifiers which are a mix of modern designs and vintage reissues. Most models attempt to include the “classic” Marshall “roar.” Economic Marshall Amplification is a family business, still run by its founder, Jim Marshall, although he is now 83. Marshall was awarded the “Queens Award for Export” in 1984, and the export market is still the main source of its estimated $40.7m sales for the company. Marshalls largest export market is the US, where it rivals amps from other companies such as Mesa Boogie and Line 6. Marshall has, over the course of their history, moved into larger premises to cater for their increasing market. At present, they are located in Milton Keys, where they have been located since 1966. They moved into their current factory in 1984. Economically, Marshall have diversified into selling solid state amps, at lower prices, as a way to get new guitar enthusiasts to play the same brands as their icons. This has been a runway for success for the company, and has helped raise awareness of the brand.

STEVE ANALYSIS Marshall have also re-released many of their amps produced in the 1960s and 70s period, which was the height of British Rock, and the “British Invasion” in the US. These reissues are obviously cheaper economically to implement, as they are simply new productions of Marshall’s back catalogue. Marshall moved to their current premises in 1984, coinciding with the boom in solid state amplification technology, denoting their comfort and confidence in the long term success of investment. Overall, Marshall are a company that has made an impact on the amplification market as a whole, from the lower end, budgeting proportion, to the high end market where their buyers are international artists. By continuing to specialise only in amps, Marshall have created a very successful brand. Values Marshall’s values lie greatly in their heritage and customer loyalty. With nearly five decades of professional products delivered to satisfied customers, Marshall have built up a customer loyalty profile that has created a trusted and unique following. The Marshall consumers know that when they purchase a Marshall product, there is no doubt about the quality, the performance, the price.

Heritage plays a large part in the values that Marshall promotes, a family begun business that has grown into a successful international company which focuses on good, honest sound. Environmental No matter how much Marshall have experimented and tested, wood still remains the most suitable material on which to mount the speakers for their extensive range of amplifiers, which are in demand world-wide. “We had been concerned for some time about the volumes of wood waste that were following the historical route to landfill. We now recycle in excess of 70% of our waste.” Martin Green - Environment Officer, Marshall Amplification plc. The catalyst was the introduction by Shanks of a Customer Relationship Manager to work with Marshall Amplification to reduce waste volumes by any means possible. This partnership approach to waste management has been effective in tackling two key waste streams, sawdust and wood off-cuts. Shanks have introduced specially fabricated containers for the collection of sawdust. This reduces transportation costs, carbon emissions and environmental impact. As part of a continued effort to increase recycling and reduce the amount of waste sent to landfill, Shanks and Marshall Amplification plc have sourced an

innovative outlet for the wood waste that the production process generates. Sawdust totalling approximately 60.5 tonnes per annum now goes entirely to composting whilst the wood off-cuts amounting to a considerable 170 tonnes are sent to a wood laminate manufacturer where it is completely recovered and recycled. The savings in Landfill Tax alone amount to thousands of £’s per annum and, as the Tax continues to escalate year on year Marshall Amplification plc will continue to reap the benefits.

RESIDUAL

DOMINANT

EMERGING

MARKET BAROMETER & POSITIONING

PRICE

We believe that Marshall lies between residual and dominant positioning within its current market. Marshall appear to be in a ‘comfort zone’ position where they are dominant in the market of producing high quality consumer products, but have not pushed the brand to manufacture products outside the amp category. The question has to be asked as to why Marshall has chosen not to develop their brand and products into the other ‘fast moving’ sectors of the music industry. We believe that it is because they have their specialities in their sector and therefore do not wish to proceed into the area of high quality digital and advance technology and therefore they are comfortable in their position as remaining the most recognisable amplification manufacturer.

QUALITY

The guitar amplifier market is highly saturated. Many brands are also founded, or based in the UK, placing Marshall in a very competitive industry. Many brands describe themselves as “premium”, advertising professionals that use their amps. However, the majority produce amps at both ends of the market, utilising both solid-state and valve technologies, which makes positioning brands asa-whole, a difficult process. As a rule, companies have been positioned in accordance to the range of their product portfolio. Marshall have been placed in a favourable position in the industry. Their products are regarded as being high-quality, with a competitive price.

BRAND STACK Black and Gold Trim Identifiers

Rock

Gold Knobs

Vintage Modern

Marshall Script Logo Device

Seen on Stages at Gigs and on TV

Retro-Looks

The Who Known Primarily for Guitar Amps

Leather Grain Box Finish

“Bluesbreaker”

Marshall “Roar”

Electric Guitar

Visible Quality

Eric Clapton

Slayer

Jimi Hendrix

Iron Maiden

Celebrity Endorsements

Turn Volume up to Eleven! Valve (Tube) Amp’s

Vacuum Tubes

“The Marshall Sound”

High Gain

Unmistakable

400+ Employees

95,000sq. ft Factory

Sponsor Local Sports Teams

“Crunch Distortions”

Re-Issues

Modelling Fender Amps

Started in a Shed

Bass, Middle,Treble

Local to Milton Keynes Founder Jim Marshall

Heritage

Founder Jim Marshall

1962

Originally Sold Drums and Cymbals

PR O P O ITY AL

ERS O N

N O TI I

BELIEF S&

TIT

S E LU

IDEN

BRAND ESSENCE Why Eleven? Just 6 simple words define the essence of Marshall Amplification as a brand “just turn it up to eleven”. The phrase sparks feelings within those familiar with the Marshall way, and others who may not have yet been enlightened! It is clear that the mention of volume, places Marshall within the audio technology industry, as an equipment manufacturer. However, the semantics of the number eleven are the most powerful attribute of the Marshall brand essence. As a rule, scales from 1-10 tend to suffice. This range encompasses all areas- from nothing, all the way to everything. Eleven? Eleven is more than everything. The sound emitted from a Marshall amp is of such quality and presence that the standard scale is restrictive. By using the number eleven as a semantic device, Marshall has broken the conditioned rationale. By numbering the dials up to eleven, there is a semiotic assumption that the amplifier is a better product than one with a dial from 0-10. Within marketing, this is a powerful vehicle. This has shown to be true for Marshall, as the notion of “volume up to eleven” has proven synonymous with the company since Spinal Tap aired in 1984, when Tufnel’s Marshall amp was “one louder” than other equipment.

Brand Essence Going one louder. The joy of creating a sound that gives others goose-bumps should come from playing with a Marshall amp. The temptation to want to do so is equally important. Marshall products want to be used, because they won’t disappoint. A Marshall has to have this effect. Everytime. In the words of Slayer’s Kerry King, “If I stand in front of my rig, if my nuts ain’t shaking then I ain’t satisfied…” This feeling is intangible, but holds a great amount of importance. The connection between the user and product is created, and a relationship begins. The amp is the audible expression of musical creativity. The user must have enough confidence in the equipment to trust it with their emotion. A Marshall has the legendary tone. It is the fundamental sound of Rock. They are the amps of choice for icons that defined music for generations. Collaborations and endorsements from some of the biggest names in music give Marshall an enviable level of credibility within the market. The Marshall legacy adds to the brand value. The fact that the company is a culmination of a lifetimes work for its founder makes every amp a piece of history, with a character that can only be attained from such a business.

A Marshall is unmistakable. The aesthetic characteristics of their products have a defined language, and a restricted palette. Full-grain leather, brass fascia, capped corners and mesh fabrics are finished with the stylised Marshall signature. These are requirements of every product in the line, from headphones and pedals, to stadium-spec stacks costing several thousand pounds. The unadulterated delivery and expression of Rock music is Marshall’s greatest attribute. It is this that has made the brand memorable. The style of Marshall products reflects the golden-years of Rock.

“Marshall is by far the best there is and the only company I can trust to get the crushing tone I need.” Corey Beaulieu, Trivium

SURVEY ANALYSIS A survey was conducted to gain a greater understanding of Marshall’s public perception within a wider market. The response of the survey totalled to 44 persons, all of which have varied knowledge or experience with Marshall products and are of different age ranges and genders. 77% of all respondents are familiar with the Marshall brand, this illustrates the strength of the brand identity, making Marshall a household name that is instantly recognisable. 64% have owned or experienced a Marshall product, showing that Marshall reach a vast audience with their current product portfolio. The majority of those surveyed believe that Marshall is a timeless brand which conveys the strength and consistency in their product design. Also highlighting the importance for future products to continue this trend. With 95% associating Marshall products with the Rock genre, 58% Metal, 39.5% Indie and 21% Pop, this illustrates the types of bands and artists that are most commonly associated with the brand, correlating to the power and quality of loud music that all four of these genres hold as a key characteristic. When asked who they thought were the market leaders of the music industry in terms of amplification, Marshall was selected 80% of the time, with the other 20% voting for Fender.

Other competitors included Mesa Boogie, Gibson and Randall, representing the pure power that Marshall has over this particular industry, when considered as the market leader over some infamous and global amplification companies. However, when asked where Marshall would rank in terms of technology with other existing brands, 45% of respondents answered ‘level with’, with 21% opting for ‘slightly ahead’. This demonstrates the scope that the company may have for developing their technology to fit with the modern times and staying on the top of their game with the competition. This is something that can be considered when conducting the direction for Marshall in 2020. The three brand words that were asked of the survey participants proved to give the key insight into the perception of Marshall from a consumer or prospective consumer point of view. These formed the basis of the brand word map, a sample of responses are shown below: • • • • • • • • •

Does the Business Great Old-school Sound Rockin’ Classic FundaMENTAL Classic, Big, Old Quality, Loud, English! F***in’ Sweet Amplification Raw, F***ing, Power Classic, Timeless, Dependable Iconic, Innovative, Passionate

• • • • • • •

Reliable, Professional, Popular Sound, Quality, Stack Retro, Ionic, British Music, Market Leader, Rugged Classic, High-gain, Timeless Black and Gold Reliable, Aesthetically Pleasing, Sun

When considering the purchase for future Marshall products, 52% of those questionned would definitely buy a Marshall product in the near future. With 12% making a purchase if the product was of high quality and Marshall branded, showing scope for a future market population based on their values and representation of the Marshall brand to date. Finally, when asked if the respondents played a instrument that require an amp, 47% answered ‘yes’, the majority of which played to a novice or semiprofessional level. This outlines the need for such products to continue to be manufactured in the future and the need for further addition to the product portfolio to further improve the musical needs of the Marshall, and future Marshall, consumer.

REVIEW â&#x20AC;&#x153;The purpose of the opportunity venn is to determine where the opportunites lie in developing the Marshall brand further with regards to a wider product portfolio. The intergenerational bridge is key to the direction that we as a group will use to take the Marshall brand forward in the next ten to fifteen years.â&#x20AC;?

Credibility

Y T LI I

Maintaining Marshall’s existing brand values and consumer loyalty whilst expanding on product portfolio and company growth.

ST R E

Stretch

TCH

CRED IB

OPPORTUNITY VENN

Increasing Marshall’s product range and market population to allow for a wider consumer market. Relevance

Creating an intergenerational bridge between Marshall’s current consumers and the younger generation through the love and sharing of music alike.

R O T TIA

Differentiator

LE V A 47

Maintain high positioning and market presence within the music and audio equipment industry so that Marshall remains one of the key competitors in such industries.

DIF

FE R E N

REVIEW Key Words to take forward: Live is... Active, Interactive, Reactive, Engagement, Participation, Involvement, To do... to act... With attitude... To be there.... Loud is... Easily heard, Extreme volume, Deafening Emphatic noise, Presence, Charisma, Powerful Attitude is... Feisty, Cool, Confident, Aggressive, Relaxed, With a sense of style....

INITIAL DIRECTION EXPLORATION ‘Marshall: Louder Than Life’ Marshall’s days as the definitive amp brand are in decline. While Marshall’s legacy to live music can never be forgotten and as Marshall continue to influence; in today’s amp market, other brands who specialise in amp and digital diversity are taking a larger chunk than Marshall would like. Marshall may not be as commanding as they once were, but one of it’s slogans ‘Louder than Life’ provides a clear and unequivocal message of intent to survive and through diversification into other products that reflect the Marshall brand’s characteristics and quality, it will succeed in refreshing its products and emerge live and loud. Marshall is an aspirational brand. It portrays many characteristics: a sense of adventure, excitement, attitude and loudness – these echo the feelings of being on stage. An important aspect of Marshall is showmanship, and with that comes confidence. It enables a regular person/musician the opportunity to emulate their Rock heroes by blaring out music with the same equipment, even if they don’t possess the same guitar playing ability. Overall, Marshall permits the average person to be larger than life. Its legendary aura and boldness transcend the limitations of the ordinary. Marshall is ‘Louder than Life’! Not These Directions Marshall is Rock ‘n’ Roll. The majority of people would agree with this statement even if they had no use for or knowledge of their products. Marshall is a household name. Thus the prospect

of extending the Marshall brand further and to project the ‘Rock n Roll’ lifestyle into a new direction is a challenging task due to the pitfalls of brand slapping and natural progression. A couple of Marshall directions are shown below yet these solutions have been discarded on the grounds of their predictability and the stigma of ‘brand slap’. 1) Clothing Marshall already produces a range of merchandise which consists of: shirts, jackets, caps and hoodies. The clothes have a limited market, appealling to Marshall advocates, roadies and guitarists. A simple and obvious step therefore would be to turn Marshall into a lifestyle brand, incorporating a redesign and development of their fashion line. The notion of a Marshall clothes range is easy to imagine, they would be fashionable, comparable to the brand identity and fashion movement of the sparkling Stones shirts sold in shops such as TopShop. However, this direction was dismissed as the group felt that this could be categorised as ‘brand slapping’. This direction was opposed because it was judged to be an inappropriate product design direction that would conclude with fashion products and therefore unsuitable for our academic course profile. In addition to this, the Marshall logo is not the most legible brand logo and is difficult to translate. It may work on one t- shirt, but it becomes problematic when scaling. However, in its favour, Marshall clothing would appeal to those hard core fans enabling them to immerse themselves within

the brand as a fashion statement, this would allow them to instantly recognise others with the same interests and encourage association without too much commitment or money. The group felt the current merchandise, which includes T-shirts, fulfilled this goal. 2) Online music store / Record label A Marshall online music store that would emphasise the Rock music genre, i.e. music with attitude was proposed. As an online music store, Marshall could position themselves as a ‘virtual record label’ bringing new, up and coming bands to the public’s attention. While it was felt that this would be a progressive step for Marshall, it was thought to be 10 years too late. The online music market is now so vast and competitive that this idea is a ‘no go’ area as Apple itunes dominate this market. While Marshall has the potential to diverge into many fields, realistically, it is challenging to choose any particular direction, Marshall being on the one hand such a clearly defined brand, but on the other, full of potential, change and evolution. At this point the group considered Marshall’s values. Marshall’s association with a ‘Rock ‘n’ Roll’ lifestyle and its bold statement of “with attitude” are just as imprinted in the heritage of the brand as it’s amplifiers. Consequently, it was decided that the solutions for Marshall should evolve around the key words and characteristics of Marshall in order that the products created incorporate and express the qualities that form this highly distinctive brand.

CONTEXTUAL CHALLENGES In order to identify a new direction for Marshall, we researched into several contextual issues that could affect society and may generate a new path and new opportunities for Marshall. Security - Identity Theft In the last decade, identity theft and street crime, has risen dramatically. People`s identity and personal information are valuable to criminals. Criminals who find out your personal details can use them to open bank accounts and get credit cards, loans, state benefits and documents such as passports and driving licenses in your name. Daily news reports of murders, rapes and assaults, the rise in gun and knife crime, have all entered the human consciousness, society needs safety, the issues need addressing. Could Marshall create products that could tackle these issues? The safety of personal belongings, personal information, could Marshall create a range of security products in a Marshall orientated way? Bands require protection, their possessions require protection, the scandal of the intruder in George Harrison’s house is one example. Could a range of products be designed to prevent intrusion, to keep identity safe? Initial ideas ranged from a safe designed to look like a Marshall Amp to store personal information and precious belongings, other ideas evolved around surveillance and swipe card access systems, all designed with ‘Marshallness’.

Unisex Marshall In order to widen Marshall’s appeal and market range, is there an opportunity to break into the exclusive female sector. Marshall currently focuses on very masculine elements; the music genre of hard Rock, the colour scheme of black and white, the endorsements of male artists and the essence of attitude all portray a masculine look and feel. Could this represent a new opportunity that would create economic benefits for the brand? Could a range of products be designed to entice female consumers that could counter balance Marshall’s association with men? Marshall creating products that would appeal to couples, men and women, but ones immersed in Marshall values. The Rise in Digital Music The technological rise of digital music and its illegal downloading is reducing the numbers of true bands who play instruments, and perform live and loud. Musicianship and live performance is being replaced by the rise in a computerised generation of music. This will have an adverse effect on Marshall sales due to the reduction in the number of people learning to play instruments which will reduce the market for amplifiers. Thus an opportunity has been identified, to aim products that will generate a new burst of enthusiasm for playing and learning music, by targeting the youth

in order that they grow up with an appreciation for ‘real’ music to generate the passion for real instruments and form bands. In this way a child’s or teenager’s Marshall musical product could lead to future purchasing of Marshall’s main equipment ranges and a life long association with the brand. Life The social issue of children spending far too much time listening passively to music instead of learning to play instruments, creating their own music and interacting with others in groups could lead to a range of Marshall products that aim to engage young people and to get them to experience the production of music at first hand. The original ‘Marshall Man’ is now over 60 years old and has children, if not grand children of his own; could a range of products be introduced to forge creative links between generations within families? With the Rock genre becoming ever more challenged in recent years by increasing musical diversity and styles, Marshall needs to reposition itself in order to build on its loyal fan base by attracting a younger audience. Children would be introduced to Marshall products that incorporate the Marshall look and feel; Marshall products could be made available to all age groups through inclusive designs or a wider range of products, in this way Marshall connects the generations and creates a legacy that can be passed on from father to son, mother to daughter.

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“The initial adcepts represent the direction that the group see Marshall following in ten to fifteen years time. The focus stems mainly towards life, children and an intergenerational bridge, incorporating the younger generation into a new era of ‘Marshallness’. The adcepts were discussed at length as a group and developed further at

OUR DIRECTION Marshall Amplification oozes quality. Marshall values are high fidelity, high quality, highly amplified sound with robust speakers that are virtually indestructible and a reliable level of performance that can be trusted. Unfortunately, with this durability and the decline of Rock music, the demand for new Marshall Amps is not growing as it once did. Market forces with the increase of repetitive, digitally mastered, computer manufactured sounds have also reduced demand for Marshall Amps, as live musicians and live performances decline. Marshall would benefit from a new direction, one that would combat the decline of live music, encourage people of all ages, but especially the young, to get engaged in music making and to increase live performances which ultimately will refresh and reinvigorate demand for its core products, i.e. amplifiers. Our direction, therefore, is to target a youthful market, (as described on the contextual page) to challenge the passive listening to music by encouraging action. Our aim is to design products that will engage a youthful audience by encouraging them to play for pleasure and in this way encourage them to learn to play instruments properly. To create products that are inclusive so that, while the target market is young people, everyone, people of all ages, all abilities and all levels of interest can use the product to entertain themselves and their family and friends. The ultimate aim is to generate more live musicians and to encourage more live

events. And so, our idea is to produce a range of Marshall products that accommodate not only the loyal fan base of Marshall but reach out to the key players of the future, the youth. However, so as not to narrow our field too much, we decided to base our direction on our Marshall slogan of: Born with Attitude, with a secondary caption: Live and Loud. Our aim is to create products that will appeal to youngsters but with the intention of hooking them into an affiliation with Marshall that will last for generations. In this way Marshall may reposition itself in the marketplace by diversifying into a new product range that hopefully will ensure the success of the brand and ensure it will continue to grow in the 21st century. Placing products in a new market may sound daunting to those at Marshall, yet it is essential to recognise that none of the characteristics, values or identity associated with Marshall will be lost, the product direction will be based on everything that has kept Marshall at the pinnacle of its market since 1962. The products will aim to incorporate all of the old traditional values of Marshall Amps, their look and feel, their robust reliability, their precision. The legacy of Marshall products will connect the generations, to form a truly intergenerational product, as grandparents and parents buy these products for their children in the hope that they one day they will play...live and loud...and that their children will be â&#x20AC;&#x2DC;BORN WITH ATTITUDE.â&#x20AC;&#x2122;

OUR REFERENCES Books Doyle, M. (1993) A History of Marshall: The Illustrated Story of The Sound of Rock. Milwaukee, WI: Hal Leonard Corp.

Premier Guitar (2003) Jim Marshall. Available at: http://www.premierguitar.com/archive/ interviews/jim_marshall.htm [Accessed 20th October 2010].

Electronic Article - Internet Only Gerhardt, G. (2008) â&#x20AC;&#x2DC;Promsumers: A New Growth Opportunityâ&#x20AC;&#x2122;. Available at: www.cisco.com/go/ibsg [Accessed 10th October 2010]. Websites Bass Middle Treble (2008) Mapping Marshall. Available at: bassmiddletreble.wordpress.com/2008/04/23/ mapping-marshall-update/ [Accessed 18h November 2010].

Survey Monkey (2010) Marshall Amplification Survey. Available at: http://www.surveymonkey.com [Accessed 5th November 2010]. Vintage Guitars (2010) Marshall Advertisements 1950s-1980s. Available at: http://www.vintageguitars.org.uk/ advertisements/marshall [Accessed: 25th October 2010].

Marshall Amps (2010) Marshall Amps. Available at: www.marshallamps.com [Accessed 15th October 2010]. Marshall Headphones (2010) Marshall Headphones. Available at: www.marshallheadphones.com [Accessed 30th October 2010].