MMR September 2009

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w w w. m m r m a g a z i n e . c o m

September 2009

It’s an iWorld – You Just Live In It.

Show Report: Summer NAMM What’s Right with Keyboard Sales


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Contents Cover design by Laurie Chesna.

38

SEPTEMBER 2009 VOL.168 NO. 9

Features 26 What’s Right With Keyboard Sales Piano and keyboard sales have been trending downwards in recent years and the country’s across-the-board economic woes have certainly not helped matters. There are those retailers who have been finding success, however, and some who are downright thriving in a down market. MMR spoke with eight of these success-stories to learn how they’re doing it.

38 It’s an iWorld – You Just Live in It Everyone seems to have an iPod or iPhone (or both!) and with an increased number of MI hardware and software specifically designed for use with Apple’s compact digital media powerhouse and an increased number of music making “Apps” being created and sold online, a substantial new market has emerged.

26

48 Direct Sound Headphones MMR sits down for a chat with John Gresko, creator and owner of Direct Sound Headphones.

52 The Evolution of iMSO 54 Show Report: Summer NAMM Numbers were down, there were noticeably fewer parties and concerts, and a number of “big names” opted to stay away, but it’d be inaccurate to label Summer NAMM ’09 a failure. Though it’s impossible to put a positive spin on a 26 percent decline in attendance compared to last year, the scaled-down show did allow for a number of smaller suppliers to shine and, almost without exception, the dealers and exhibitors we spoke with in Nashville reported that the get-together was “better than expected.”

66 Best & Worst of Show Awards

54

70 Industry Voices: Scott Davies American DJ’s Scott Davies provides an overview of the new generation of LED products and the impact such breakthroughs are having on the lighting business.

72 Denver Folklore Center

Departments www.MMRmagazine.com

4 6 18 20 22

Editorial Upfront Financial Stats People

78 85 89 96

New Products Supplier Scene Classifieds Advertisers’ Index

MMR Musical Merchandise Review® (ISSN 0027-4615) founded in 1879, is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orchestra, Choral Director, Music Parents America and JazzEd. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: U.S.A., US possessions, one year $32; two years $40. Canada one year $80; all other countries one year $159. Single issues $5 each. May Supplier Directory $35. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to Musical Merchandise Review, P.O. Box 8548, Lowell, MA 01853. Periodicals circulation is directed to music dealers and retailers, wholesalers and distributors, importers and exporters and manufacturers of all types of musical instruments and their accessories, related electronic sound equipment, general musical accessories, musical publications and teaching aides. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competion. No portion of this issue may be reproduced without the written permission of the publisher. Copyright ©2009 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

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AUGUST 2009



Editorial

®

Volume 168, Number 9, September 2009 PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com ASSOCIATE PUBLISHER Rick Kessel rkessel@symphonypublishing.com

Ring Up The Sale

EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com

“W

hat’s a clock company doing at a music show?” That’s the question I once posed to the sales rep for the Howard Miller Clock Company, a NAMM stalwart during the early ‘80s. I was told there was a natural synergy between the acoustic piano and the grandfather clock, as well the ability to generate additional store trafc and a different revenue stream. Who was selling the clocks? The list of dealers included both chains and independents in most regions. Some three decades later, after a cursory glance at the Howard Miller dealer locator, this observer was hard pressed to nd a dozen music dealers still in the game; Fred Myers, Henderson Music, Mitchell’s, Piano Trends, The Piano and Clock Shop, Central Music and Rogers, among them. In this particular instance, it may be time to turn back the clock… In another vein, later in the same decade, a spate of music software programs and companies emerged. While the companies exhibited and promoted to the music dealer, the majority of those early sales were made through computer outlets and mail order. In truth, many dealers viewed the product as being too complex to demonstrate and, lacking computers within the store, were content to concentrate on the familiar rather than the unknown. Within this issue, we take an in-depth look at some of the newest products for the retail arsenal: music hardware and software designed for use with the iPod/iPhone. Explains Jim D’Addario, whose Planet Waves division has two Applications (programs that can be downloaded directly to an iPod), “You can’t stop change, the iPhone and the Internet are paradigm shifts.” He also points out that these innovations will in no way eliminate the brick and mortar dealer. Instead, they can enhance a dealers’ prot picture, while keeping faith with their music clientele to bring new products to market. Another observation within the article from veteran supplier Jim Dunlop: “Many (Applications) are musician-focused, such as guitar tuners, music identication, music-making and even turning the iPod, or iPhone into a musical instrument… the platform has become an indispensable tool for working musicians worldwide.” Studio Six Digital founder Andrew Smith added, “People have in their pockets a pretty powerful computer with high quality stereo… as developers continue to gure out how to adapt the applications into their platform they will bring products and features that could not have been imagined…” Music suppliers are leading the way, dealers now can stake their claim and “ring up the sale.”

ASSOCIATE EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Denyce Neilson dneilson@symphonypublishing.com ADVERTISING SALES Iris Fox ifox@symphonypublishing.com CLASSIFIED AD SALES Maureen Johan mjohan@symphonypublishing.com PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNERS Andrew P. Ross aross@symphonypublishing.com Laurie Chesna lchesna@symphonypublishing.com CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Sanford Kearns skearns@symphonypublishing.com SYMPHONY PUBLISHING, LLC Xen Zapis • Chairman Lee Zapis • President lzapis@symphonypublishing.com Rich Bongorno • Chief Financial Officer rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300, Westlake, Ohio 44145 440-871-1300 www.symphonypublishing.com PUBLISHING, SALES & EDITORIAL OFFICE: 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310 Fax: (781) 453-9389 www.mmrmagazine.com

sdavis@ symphonypublishing.com

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SEPTEMBER 2009



Upfront Schimmel Files for Protection from Creditors Schimmel, Germany’s largest piano manufacturer, has filed for short-term protection from its creditors under the German equivalent of ‘Chapter 11.’ The aim is to fulfill creditor’s claims to a maximum by ensuring continuation of business and thereby a healthy future for the firm. Other German companies have previously used this method successfully, in similar cases. In recent years, Schimmel, established in 1885 and Germany’s largest piano manufacturer, has developed pianos for all sectors of the market, from beginners to demanding concert pianists, at competitive prices. Its success has been recognized by the achievement of many independent awards and the approval of world-renowned concert pianists. In common with piano manufacturers worldwide, Schimmel has suffered from the

Letters

I couldn’t help but notice that Steve Johnson’s guest editorial [MMR June 2009] provided the following equation: Brand Name = Manufacturer + Dealer. Isn’t there something quite obviously missing here, like the customer? Customers have decided in large numbers to shop at big box stores and on the Internet. This is their choice and they’ve made it without anyone putting a gun to their heads. Successful manufacturers are in the business of putting customers first and providing them what they want. In a demand driven economy such as ours, dealers who fail to realize this and opt not to adapt to their customers needs do so at their own peril. Michael Vosbein Bosphorus Cymbals USA 6 MMR

effects of the global economic crisis. The benefits of its swift reaction to the downturn, which included restructuring and adjusting production levels, could not be realized immediately due to the lengthy production times necessary for instruments of the highest quality – it can take between six to nine months to build a piano of this standard. The comprehensive program of instrument development coupled with the recent restructuring has been costly in the short term. This, combined with the traditionally quiet summer trading period, has lead to a shortfall in cash flow, despite a strong current order book. Schimmel has recently reported a surge in orders, demonstrating genuine goodwill towards the company within the industry. Asked why he believed the company could survive these trying times, Dr Robin Loat, managing director of Forsyth Brothers, which represents Schimmel in the UK, commented: “I’ve known Schimmel for 20 years now and I remember when it decided to upgrade and compete with the likes of Steinway. It took ten years to produce a piano of this standard, but once it did, Pianists of the highest caliber were as-

tonished and have since compared the instruments with those made by Steinway. “The economic crisis has certainly affected the piano industry and I visited the Schimmel factory to find out how it was dealing with it. I discovered that the firm had completely restructured the facility, with no expense spared, in order to produce a smaller number of pianos, to an even better standard, yet much more efficiently and economically. It has probably spent more than anyone else in this respect, but the result is that it is fully prepared for the future.” (Source: MIPro)

CORRECTION Ed Note: Kent Drum Distributing was inadvertently omitted from our August Wholesaler Guide listings: Kent Drum Distributing Co. 1520 Broadway P.O. Box 35 Buffalo, NY 14212-0035 (716) 892-2275 (800) 828-7676 (USA & Canada) Fax: (716) 892-2321 E-mail: kentdrum@verizon.net Jimmy Edwin, pres. Categories: S&F, ACC, BI, PRC Principal Brands: Company wholesales MI, BI, and perc. inst. & acc. brands.

NEA Announces Stimulus Grants The National Endowment for the Arts (NEA) recently announced their direct grants as part of the $50 million federal economic stimulus recovery package. The NEA will distribute $29.775 million to 631 nonprofit arts groups nationwide. This is in addition to the 63 state and regional sub-grants previously awarded in April, totaling $19.8

million. This recovery funding is a direct outcome of the impact made by the 100,000 members of the Americans for the Arts grassroots network who contacted their Members of Congress and wrote timely letters to the editors of local news media. For more information visit: www.artsusa.org.

SEPTEMBER 2009


Mason & Hamlin pianos are taking the stage... University of Alaska (Fairbanks, AK) • Stillman College (Tuscaloosa, AL) • Unitarian Universalist Congregation (Paradise Valley, AZ) • Mayo Clinic (Scottsdale, AZ) • University of California Berkeley (Berkeley, CA) • Zellerbach Hall (Berkeley, CA) • Ansel Adams’ Home (Carmel, CA) • Diablo Valley College (Concord, CA) • Sage & Sound Recording (Hollywood, CA) • Hutchins Street Square (Lodi, CA) • Nethercut Collection (Los Angeles, CA) • Brian Culbertson Studio (Los Angeles, CA) • Petaluma Women’s Club (Petaluma, CA) • CA State University Sacramento (Sacramento, CA) • KOVR 13 TV (Sacramento, CA) • University of CA San Diego (San Diego, CA) • University of the Pacic (Stockton, CA) • Blair House (Washington, DC) • University of Hartford (West Hartford, CT) • Danbury Music Center (Danbury, CT) • Smithsonian Institution (Washington, DC) • Church of Latter Day Saints (Boca Raton, FL) • Florida State University (Tallahassee, FL) • Avondale Baptist Church (Jacksonville, FL) • All Saints Lutheran (Port Orange, FL) • 2nd Ponce DeLeon Baptist (Atlanta, GA) • Andrew College (Cuthbert, GA) • Museum of Fine Arts (Boston, MA) • Briarlake Baptist Church (Decatur, GA) • 1st Methodist Church (Lawrenceville, GA) • Silver Hill Baptist Church (Lilburn, GA) • Christ the King Lutheran (Norcross, GA) • Roswell 1st Baptist Church (Roswell, GA) • New Hope Baptist Church (Senoia, GA) • 1st Baptist Church of Indiana University at Bloomington, (Bloomington, IN) • Reinhardt College (Waleska, GA) • Raue Center for the Arts (Crystal Lake, IL) • Joliet Jr. College (Joliet, IL) • Elkhart Central HS (Elkhart, IN) • Kansas State University (Manhattan, KS) • Wichita State University (Wichita, KS) • Jose Mateo Ballet Theater (Cambridge, MA) • The Piano Museum (Hopkinton, MA) • 1794 Meeting House (New Salem, MA) • AA Scottish Rite (Baltimore, MD) • First Unitarian Church of Baltimore (Baltimore, MD) • Baked Beans Recording (Harrison, ME) • Hope College (Holland, MI) • Hormel Mansion (Austin, MN) • Tripolis Lutheran Church (Kandiyohi, MN) • Mayo Clinic (Minneapolis, MN) • w Fine Arts Center (Mounds View, MN) • University of Lowell (Lowell, MA) • Prior Lake Fine Arts Center (Prior Lake, MN) • First Baptist Church (St. Louis, MO) • Third Baptist Church (St. Louis, MO) • Saint Stephen’s Episcopal Church(Durham, NC) • Nebraska-Wesleyan University (Lincoln, NE) • Westminster Presbyterian (Lincoln, NE) • The MacDowell Colony (Peterborough, NH) • Absegami High School (Mays Landing, NJ) • Meadowmount Music School (Essex, NY) • Saratoga Performing Arts (Saratoga Springs, NY) • Grace Christian Academy (Merrick, NY) • The Doghouse NYC (Brooklyn, NY) • Watchtower B & T S (Brooklyn, NY) • University of Findlay (Findlay, OH) • St. Anne Chapel (Lake Oswego, OR) • PDX-Portland Airport (Portland, OR) • Marylhurst University (Marylhurst, OR) • Cedar Crest College (Allentown, PA) • Brigham Young University (Provo, UT) • Dr. Edwards Memorial Congregation (Edwardsville, PA) • Settlement Music School (Philadelphia, PA) • 1st United Methodist Church (West Pittston, PA) • 1st Presbyterian Church (Wilkes-Barre, PA) • Kings College Chapel (Wilkes-Barre, PA) • Middlebury College (Middlebury, VT) • YMCA (Wilkes-Barre, PA) • WJAR Radio & Television (East Greenwich, RI) • Marble House (Newport, RI) • Applebutter Inn (Woodstock, VT) • Trinity Lutheran Church (Vermillion, SD) • 1st Congregational Church (Charleston, SC) • 1st Presbyterian Church (Greenville, SC) • Marble Church (New York, NY) • Furman University (Greenville, SC) • First Baptist Church (Abilene, TX) • 1st Unitarian Universalist Church of Austin (Austin, TX) • North Texas State (Denton, TX) • PianoTexas Int’l Academy & Festival (Ft Worth, TX) • University Christian Church (Ft. Worth, TX) • Granbury Opera House (Granbury, TX) • Carnegie Mellon University (Pittsburgh, PA) • LeTourneau University (Longview, TX) • The Muenster Museum (Muenster, TX) • College of William & Mary (Williamsburg, VA) • Waterford Old School (Leesburg, VA) • Harvard University (Boston, MA) • Princeton University Graduate School (Princeton, NJ) • Saint Michael’s College (Colchester, VT) • Central WA University (Ellensburg, WA) • University of Puget Sound (Tacoma, WA) • St. Norbert College (De Pere, WI) • Waukesha County Conservatory of Music (Hartland, WI) • Oconomowoc Arts Center (Oconomowoc, WI) • North Carolina State University • Masonic Temple (Dumbarton, Scotland) • Lincoln Center (New York, NY)

Website: www.masonhamlin.com Tel: 1-800-566-3472 Fax: 916-567-1941


Upfront Les Paul, 1915 - 2009 Les Paul, the pioneer guitarist and technical inventor who changed the course of 20th-century popular music, died on August 13th, in White Plains, N.Y., due to complications from pneumonia. He was 94. Paul pioneered the shift from acoustic to electric guitar and invented multi-track recording, as well as having recorded a string of hits himself. In the 1940s and 1950s, Paul, along with his wife, singer Mary Ford, recorded hits such as “How High The Moon,” “Nola,” and “Lover.” They had 11 number ones on the charts. He also played guitar alongside leading jazz and pop musicians. In the 1930s he began experimenting with guitar amplification, and by 1940 he had built what was most likely the first solid-body electric guitar. He is credited with many recording innovations, including overdubbing, delay effects such as tape delay, and phasing effects.

Les Paul, whose original name was Lester William Polsfuss, was born on June 9, 1915, in Waukesha, Wis. His creative endeavors started early; at the age of 10 he made a harmonica holder from a coat hanger. By the time he was in his teens, he was playing the harmonica, guitar, and banjo. Not long after, Paul made his first amplified guitar by opening the back of a Sears’ acoustic model and inserting the pickup from a disassembled Victrola. In 1940, Paul attached strings and two pickups to a wooden board with a guitar neck. He referred to this creation as “the log,” otherwise known as the first solidbody electric guitar. Paul approached the Gibson Guitar Corporation with his idea of a solid-body electric guitar, and they showed no interest until Leo Fender created his own solid-body in the late 1940s. In the early 1950s, Gibson designed a guitar incorporating Paul’s suggestions and presented it to him to try. He was pleased

enough to sign a contract for what became the “Les Paul” model. At his home recording studio in Los Angeles, Paul experimented with recording techniques. Playing around with an old Victrola, he discovered that changing the speed of a recording could alter both pitch and timbre. He altered instrumental textures through microphone positioning and reverberation, realizing that technology and studio effects were instruments themselves. In 1948, with his hit song “Lover,” he made elaborate, multilayered recordings, using two acetate disc machines, which demanded that each layer of music be captured in a single take. From discs he moved to magnetic tape, and in the late 1950s he built the first eight-track, multi-track recorder. Each track could be recorded and altered separately, without affecting the others. Paul’s creation ushered in the modern recording era.

Ivey Presented with NAMM’s Music for Life Award NAMM recently presented its “Music for Life” award to Bill Ivey, founding director of the Curb Center for Art, Enterprise and Public Policy at Vanderbilt University, for his efforts to support music and the arts for people everywhere. The accolade was given to Ivey at the July 18th breakfast session held during the 2009 Summer NAMM show. Presented to celebrities, government officials and company leaders, the award is the highest honor that NAMM can bestow on an individual organization, and recognizes extraordinary contributions to NAMM’s mission of creating more active music makers. Previous “Music for Life” award recipients include Bob McGrath of “Sesame Street” and Yoko Ono. The Curb Center for Art, Enterprise and Public Policy is an arts policy research center with offices in Nashville, Tenn. and Washington, D.C. Ivey also directs the Center’s Washington-based program for senior government career staff, the Arts Industries Policy Forum, and serves as 8 MMR

senior consultant to Leadership Music, a dent of the American Folklore Society. professional development program servIvey holds degrees in history, folklore, ing Nashville’s music community. and ethnomusicology, as well as honorIvey served as team leader for arts and ary doctorates from the University of humanities in the Obama-Biden presidenMichigan, Michigan Technological Unitial transition. His book, Arts, Inc.: How Greed and Neglect Have Destroyed Our Cultural Rights, was published by the University of California Press in the summer of 2008. From May 1998 through September 2001, Ivey served as the seventh chairman of the National Endowment for the Arts. Ivey’s Challenge America Initiative, launched in 1999, has to date garnered more than $15 million in new Congressional appropriations Lamond and Ivey. for the Arts Endowment. Prior to government service, Ivey was versity, Wayne State University and Indidirector of the Country Music Foundaana University. He is a four-time GRAMtion in Nashville, Tenn. He was twice MY award nominee (Best Album Notes elected board chairman of the National category), and is the author of numerous Academy of Recording Arts and Sciences articles on U.S. cultural policy, and on (NARAS), and is immediate past presifolk and popular music. SEPTEMBER 2009


CRAZY EIGHT At Yamaha, naturally we’re proud of the Disklavier and its

the success of this groundbreaking instrument. We’re not

features. But we never dreamed that it could

about to rest on these laurels, though. As the

win the music industry’s top prize — the

introduction of the Disklavier E3 at NAMM

MMR “Product of the Year” award — eight

proves, there’s more excitement to come.

years in a row! We’re incredibly honored and we gratefully acknowledge our dealers’ role in ©2009

Yamaha

Corporation

of

America.

All

rights

reserved.

www.yamaha.com

www.disklavier.com


Upfront Music & Arts Donates Instruments to Mr. Holland’s Opus Fdn. Music & Arts recently donated 510 musical instruments to the Mr. Holland’s Opus Foundation to assist school music programs that cannot sustain the cost of replacing

Students from the Mr. Holland’s Opus Foundation awarded program enjoying donated instruments.

instruments due to attrition, depreciation and wear. The instruments donated consisted of violins, violas and cellos. The Mr. Holland’s Opus Foundation provides young people across the country with an average of 10,000 new and refurbished instruments per year. The increase in available instruments allows additional students to experience the benefits of learning to play music in a structured environment. Research shows that students involved in music programs have fewer disciplinary problems, higher attendance and a higher rate of graduation. “The opportunity to help Mr. Holland’s Opus Foundation allows

Hailun Piano New Logo Hailun Piano Company is releasing a new logo that will become the central symbol of its corporate identity and marketing and advertising promotion. The new logo unites several symbolic expressions that are deeply related to Mr. Hailun Chen’s vision and drive for his company. The name Hailun in Mandarin means “human relationships” and “sea, ocean”. Anchoring around this core meaning the logo incorporates two dynamic waves that form the letter H. The design also allows for interpreting the logo as the musical notation ff (fortissimo or as vibrations of sound that allow human communication. “We took a lot of time to consider our new logo”, explains Basilios Strmec, CEO of the U.S. distributing company Hailun USA, who guided the efforts towards a new corporate logo, “and wanted to find a symbol that communicates Hailun’s own identity as well as showing the market that Hailun is a Chinese company that stands completely behind its product and that operates worldwide on values of quality and integrity. The new logo should help with that. Our ultimate commitment, however, is to continue to present the fi nest instruments that are produced in the Far East to the market.”

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us to assist a greater number of students across the nation and improve the quality of their education through music,” said Ken O’Brien of Music & Arts. “We are proud to partner with such a worthwhile foundation and influence the lives of so many students.”

Tobias Partners with Dana B. Goods Michael Tobias has chosen Dana B. Goods to globally manage his MTD Kingston brand (www.mtdkingston.com). In this capacity, Dana B. Goods will remain as the exclusive U.S. distributor for MTD Kingston basses, MTD strings and accessories, but will take on the responsibility of overseeing and coordinating the development of the Kingston brand worldwide. Michael Tobias states, “After knowing the folks from Dana B. Goods for so long it is a pleasure to have them as the global manager of the Kingston brand. Their organizational skills, professionalism and infectious enthusiasm are going to elevate the full Kingston line to new heights.” “We are extremely excited to be working with distributors all over the world to help grow the MTD Kingston brand,” says Dana Teague, CEO for Dana B. Goods. “We are in the unique position to understand the challenges and opportunities facing distributors today because we are a distributor. I am sure the international distributors that we are working with will appreciate that.”

SEPTEMBER 2009



Upfront Music for All Adds to Board of Directors Music for All has added three members of the business and music communities to the national not-for-profit’s board of directors: James D. Bickel, Michael Kumer, and Marlene A. Miller. James Bickel is president and CEO of Columbus Regional Hospital and received a Distinguished Hoosier award in June. His professional history includes a number of management positions with the hospital since 1991, as well as serving for 10 years in the manufacturing industry at AR Industries, Inc., Cincinnati. Bickel holds a master’s degree in business administration from Ball State University and a Bachelor of Science degree in business management from the University of Cincinnati. Marlene Miller of Miamisburg, Ohio, is the cornerstone of success in Fred J. Miller, Inc. (FJM), a leading designer

and supplier of costumes, uniforms and other supplies for color guard, marching bands, and drum corps. The matriarch of the Miller family for more than 50 years, she has been active with her husband Fred Miller in all aspects of the pageantry arts and has designed costumes for groups at every level of performance. Marlene and Fred Miller are both Winter Guard International Hall of Fame Honorees, with Marlene’s induction taking place earlier this year. Marlene Miller attended Wright State University, majoring in business education, and served as treasurer of the Ohio Color Guard Circuit for more than 30 years. Michael Kumer is the executive director of Duquesne University’s Nonprofit Leadership Institute (NLI) and associate dean of the University’s School of Leadership and Professional Advancement. He

has produced countless NLI programs that have helped thousands of board members, staff and volunteers from hundreds of nonprofit agencies pursue organizational excellence. Kumer is a frequent guest speaker on the topic of nonprofit governance at all local, regional and national conferences. He also serves as program director for Dusquesne’s Community Leadership online Master of Science degree program through the university’s School of Leadership and Professional Advancement. In addition, Kumer shares his expertise as a member of a number of music and arts organizations’ boards and advisory councils in the Pittsburgh area and beyond.

SBO Scholarship Winner

Rotosound Partners with David Phillips, A & R Marketing Rotosound has appointed David Phillips of A & R Marketing to handle their worldwide public relations. The appointment builds on the tremendous growth in international sales and comes on the back of the company celebrating its 50th anniversary last year.

David Phillips specializes in music industry marketing using his expertise to gain global media exposure. David started A & R Marketing Limited five years ago and most recently worked with the London International Music Show 2009. Joe Bader, band director at Five Forks Middle School in Snellville, Ga., SBO scholarship winner Ashleigh Cox, and Aubrey Carwile, the owner of Gwinnett Discount Music in Lawrenceville, Ga.

Mel Bay Launches eCommerce Powered by Shopatron Shopatron recently announced Mel Bay Publications as the newest addition to its roster of high-end music industry clients. Shopatron will provide secure online checkout services, which will attach seamlessly to Mel Bay’s existing product 12 MMR

catalog. Products in Mel Bay shopping carts will be purchased in a Shopatronhosted checkout process. Mel Bay retailers will be engaged as order fulfi llment partners, enabled through Shopatron’s Coex Freedom order exchange. Initially,

Mel Bay will make products available for purchase with shipment or in-store pickup in the United States. The company expects to launch Shopatron-powered eCommerce in the United Kingdom later this year. SEPTEMBER 2009


Introducing

the silent rehearsal studio

Play anywhere, anytime.

Unprecedented 3-time Best in Show Winner

Neighbors can’t hear it. Parents can’t hear it. Cops can’t hear it. But you won’t believe what the band can hear. Every band has the same problem: rehearsing is too loud for most locations and studio space is expensive. But now you can play anywhere, anytime virtually silent to the outside world: quietly enough for your bedroom, dorm room, apartment or hotel room. JamHub™ was created to let you play more, and the experience rocks. Just pick a color section and plug in your instruments, mics and headphones. Then control your own individual mixes with new clarity, and no volume wars. You’ll hear yourself like never before, and improve faster. JamHub is also portable and affordable. And whether you’re a garage band or touring professionals, there’s a JamHub model designed for you. So start jamming more without disturbing the peace. ©2009 BreezSong LLC.

JamHub.com


Upfront Trade Regrets: Jim Chapin Jim Chapin passed away on July 4, 2009 at the age of 89. In 1942, Chapin had the revolutionary idea of writing a method book for the beginning drummer that would provide clear examples and illustrations. He gathered little hints and simple examples for the book that has become one of the best selling methods in the business. As a player, he toured and recorded for decades, but found the most satisfaction sitting down with a drum student and providing them with tools to improve their playing. Jim was a fi xture at the NAMM show where he kindly providing advice and an encouraging smile to each and everyone who came up to him for advice.

George Fullerton George Fullerton, a longtime associate of Leo Fender who played a crucial role in the electric-guitar innovator’s extraordinary success through his broad-based skills as a musician, artist and technician, has died. George passed away on July 4, just weeks after the death of his wife.

Atsunori Abe Atsunori Abe, former General Manager of Audio-Technica Corporation International Department (Japan), passed away on July 10, 2009 in his native Japan and is survived by two brothers, a sister, his wife and their three daughters. Atsunori Abe (pronounced AH-bay) joined A-T in 1978, and in addition to holding the position of the General Manager of Audio-Technica Corp. International Department, he also served on the company’s Board of Directors. He retired in 2005. 14 MMR

SEPTEMBER 2009


EXPRESS THROUGH TOUCH IMPRESS THROUGH SOUND Privia redefines the digital piano category by introducing the PX-330 and PX-130. With Casio’s superior engineering, the sleek, lightweight and supremely portable Privia digital pianos boast an authentic piano touch that captures every detail and nuance of your performance and offer an unmatched level of realism and expression through unprecedented sound quality.

The versatile PX-330 and PX-130 are designed for a grand piano experience whether on stage, in the studio or at home. Experience the grandness of Privia for yourself, and get ready for an encore.

FOR MORE INFORMATION PLEASE VISIT WWW.PRIVIAPIANO.COM ©2009 CASIO AMERICA, INC.


ducers, Inc. © 2009 Fishman Trans

It’s hard to believe how perfectly the new Aura Spectrum DI reproduces the subtle uniqueness of your acoustic instrument. But this is no ordinary direct box. Powered by Aura technology, it gives you the eye-opening sound quality of a recording studio – anywhere you plug in. And it’s loaded with everything from a tuner and 3-band EQ to compression and auto feedback control. Yup, it’s pretty unbelievable.

Now you’ve heard everything.

Fishman.com



In 1964, it was simply about

In 1964 at the age of 14, Tom Bedell (above) developed his own line of acoustic guitars to help a generation explore their musical passions. Over four decades and two inductions into the Iowa Rock ‘N Roll Hall of Fame later, Tom Bedell introduces his new line of namesake acoustic guitars (opposite).


sharing a passion. It still is.

Times change. Passion doesn’t. In the sixties, Rock ‘n Roll changed the world, revealing a passion for expression through music. As a teenager Tom Bedell was filled with that passion and sought to share it with the world by introducing his line of namesake Bedell acoustic guitars. Today Tom remains as passionate about music and fine guitars as he was all those years ago. He again shares that passion by introducing Bedell Performance Series Guitars. Beautifully designed in all solid wood and precisely handcrafted of the finest materials available, Bedell Guitars let you share your music and your passion. It’s your music… Perform it on a Bedell.

HANDCRAFTED, ALL SOLID WOOD GUITARS

Experience a Bedell at your local dealer. bedellguitars.com | 877.264.3356


Stats MI SalesTrak Snapshot: Average Retail Selling Price Trend - Electronic Keyboards $2,000 $1,800 $1,600 $1,400 $1,200 $1,000 $800 $600 $400 $200 $0

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Feb 09

Mar 09

Apr 09

Aug-08 Sep-08

Oct-08

Nov-08 Dec-08 Jan-09

Feb-09 Mar-09 Apr-09

May 09

Jun 09

Jun-08

Jul-08

May-09 Jun-09

Q Digital Console Pianos $1,568

$1,738

$1,515

$1,866

$1,887

$1,671

$1,393

$1,612

$1,600

$1,533

$1,759

$1,765

$1,642

Q Digital Slab Pianos

$705

$684

$729

$713

$677

$707

$573

$645

$662

$657

$695

$730

$732

Q Synthesizers

$748

$811

$795

$776

$745

$758

$620

$726

$709

$705

$778

$764

$781

Q Workstations

$1,743

$1,648 $1,726

$1,672

$1,580 $1,471

$1,440

$1,540

$1,407

$1,542

$1,440

$1,538

$1,531

Q Portable Keyboards

$299

$318

$310

$305

$306

$318

$257

$317

$330

$316

$325

$325

$293

Q MIDI Controller Keyboards

$186

$190

$194

$177

$181

$163

$165

$167

$164

$159

$167

$168

$164

The numbers represent US retail sales in music stores, based upon sku-level POS data from a sample of over 500 online and brick-andmortar outlets. For further information contact: info@misalestrak.com

20 MMR

SEPTEMBER 2009


T H E N E W F R E T L I G H T G U I TA R P O I N T- O F - P U R C H A S E D I S P L AY

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Showing Off the Fretlight Has Never Been Easier. For years, guitar dealers have loved the Fretlight—but wondered how to sell it. Our exciting new point-of-purchase display instantly captures your customers’ attention and gets them talking! And with the holidays right around the corner, there’s no better time to become an authorized Fretlight dealer. Call today for complete pricing information.

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People Yamaha Corporation of America has promoted Garth Gilman and Yoichi Oba to the position of assistant general manager for the Pro Audio and Combo Division. They will report Gilman to senior vice president Rick Young and take on increased involvement in budgeting, organizing, strategic planning and executing the division’s business plan. Their expertise will lead to Oba enhanced efficiencies for Yamaha’s dealers and consumers. Gilman began his tenure at Yamaha in 2003 as the administration manager of the Band & Orchestral Division, where he played a key role in helping to relocate the division from Grand Rapids, Mich. to Buena Park, Calif. In September 2007, he was promoted to the Pro Audio & Combo Division’s Director of Administration, where he ran the day-to-day operations of 16 departments within the division. Oba joined Yamaha in 1990, beginning his career in sales in Tokyo for Yamaha Corporation of Japan. He then moved to the company’s guitar marketing division before taking a position with Yamaha Canada Music in 2004. He joined Yamaha Corporation of America in 2006 as the planning manager for Pro Audio & Combo Division. Shure Incorporated announced that James Ahlborn has joined Shure as vice president of finance and Chief Financial Officer (CFO). In this position, he will lead the Company’s Finance Division Ahlborn and have full responsibility for all of its functions, including internal auditing, financial planning and analysis, treasury, payroll, financial reporting, cost accounting, customs, accounts payable and receivable, tax analysis, and credit. He will also provide strategic counsel as a member of the Executive Staff. Before joining Shure, Ahlborn served as vice president of finance and CFO at 22 MMR

Tuthill Corporation. Before that, he worked at Deloitte & Touche, where he held various finance and auditing positions.

The Avedis Zildjian Company has announced the addition of John Roderick to its Senior Management Team. As vice president of New Business/Product Development, John will lead Roderick the development of new products outside Zildjian’s existing core cymbal business. John has been consulting for Zildjian since February and officially joined the company on July 1, 2009. John has spent the last 25 plus years developing brands and managing marketing and R&D teams. Fender Musical Instruments Corp. (FMIC) has appointed Jon Gold to a new and expanded role as senior vice president of International Sales & Market Development. Gold Gold will take on the leadership role of driving Fender’s growth plan in high-potential markets. These markets include Asia/Pacific, Europe distributed markets, Latin America, Africa/Middle East, India and other international markets, as well as FMIC’s direct European territories. Additionally, Jon will be the key driver of FMIC’s integration of KMC products and the distribution of Taylor Guitars in Europe, and will become the primary liaison between FMIC and their partner companies: This is to ensure full communication of issues and opportunities, and to make sure FMIC’s strategic direction is known and aligned with all involved parties. Prior to his appointment, Gold was responsible for managing all European/ International efforts for FMIC and held the title of senior vice president of International Sales and Marketing. Gold will continue to supervise the teams leading

Latin America, Asia and other FMICdistributed countries.

Point Source Audio (PSA), a specialty manufacturer of wireless ear set and earworn microphones, has announced the appointment of Yvonne Ho as vice president of marketing. Ho brings extensive marketing expertise and industry knowledge to this position, and will play a pivotal role in Point Source Audio’s growth forecast. Prior to joining Point Source Audio in 2008, Ho served as marketing director for Phonic Ear (now known as Front Row). Kala Brand Music Co. has appointed Rick Carlson to the position of director of sales and marketing for U.S. and international markets. Carlson’s M.I. background includes ten years Carlson as the sales and marketing director for SWR Engineering Inc., vice president of sales for ACE Products Group, and sales and marketing director for Power Group Ltd. Hal Leonard Corporation has announced Joseph Martin as the director of sacred publications for Shawnee Press, the choral and instrumental music publishing company it ac- Martin quired in June. Martin will be responsible for the overall publishing for the church market, for Shawnee and its prestigious imprints such as Harold Flammer Music, GlorySound and Mark Foster Music. He will report to Emily Crocker, vice president of choral publications for Hal Leonard. M & M Merchandisers in Fort Worth, Texas welcomes Ben Cole as their new national sales manager. Ben spent the last 11 years as sales manager with GHS Strings/Rocktron and has over 15 years experience in the music industry. Ben also studied Music Education at Michigan State University and is an accomplished drummer and keyboard player SEPTEMBER 2009


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Financial Steinway Reports Quarterly Results Steinway Musical Instruments, Inc. (NYSE: LVB) recently reported results for the quarter and six months ended June 30, 2009. Dana Messina, Chief Executive Officer, said, “We continue to navigate well through a very uncertain market. We planned our business carefully and are managing our operations around the world in a disciplined manner. By executing on areas under our control, we have succeeded in dramatically reducing our cost structure. As expected, difficult sales trends carried through the second quarter as global consumer spending remained weak. We continue to operate our factories at significantly reduced production levels to reflect the weak demand.”

Second Quarter Results • • • •

Sales of $72 million, down 27% Gross margin decreased to 26.2% from 29.5% Operating expenses reduced by 22% Loss per share of $0.07

Segment Information Piano Segment Second Quarter • Sales of $42 million, down 26% • Gross margin decreased to 29.9% from 34.9%

YTD

YTD Results • • • •

nificantly and we are seeing higher sell through levels at retail. With the lending markets easing and dealer inventories at low levels, we expect to see some recovery in the fourth quarter." "We have seen a few competitors fail and we expect more to follow," said Messina. "As a result, the supply of manufacturing capacity is likely to shrink over the next year. The tough decisions we made to reduce costs dramatically have given us the needed flexibility to weather this difficult economic environment. We remain confident that we will emerge an even stronger competitor."

Sales of $142 million, down 26% Gross margin decreased to 26.4% from 29.3% Operating expenses reduced by 20% Earnings per share of $0.05

Balance Sheet Highlights • Cash of $46 million • Revolver availability of $74 million • Working capital of $229 million Messina added, "The softness in our band business has been more dramatic than we anticipated. Dealers are reducing inventories, purchasing clearance product from other manufacturers, and pushing on the supply chain to carry larger inventories. That said, we do not believe that industry sales will decline further. Our superior products, including our new woodwind models, will help us maintain our competitive position as we move through this cycle for the remainder of the year." Mr. Messina continued, "While we remain cautious with our outlook, our products are highly desired and we believe we will increase market share. Our dealers have reduced inventories sig-

• Sales of $80 million, down 29% • Gross margin decreased to 30.7% from 34.7%

Band Segment Second Quarter • Sales of $30 million, down 28% • Gross margin decreased to 21.0% from 21.8%

YTD • Sales of $62 million, down 23% • Gross margin decreased to 20.9% from 21.7%

UAW Decertification The Company also announced that the union has been decertified at its Elkhart brass instrument facility. John Stoner, president of Conn-Selmer explained, "We are pleased that a majority of our employees voted to terminate their relationship with the UAW. We look forward to the future with our skilled team of brass instrument workers who continue to improve the quality and efficiencies in that plant. I have no doubt that we will be better able to satisfy customers by delivering the fi nest brass musical instruments and customer service in the world."

Breaking News Find it in the Hot News section of MMR’s Web site,

www.MMRmagazine.com 24 MMR

SEPTEMBER 2009


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KEYBOARD

What’s Right with Keyboard Sales A look at eight retailers who are doing well

“We are taking advantage of a down market, so when the market comes back, we’ll be in a good position.”

26 MMR

I

t’s not all doom and gloom. (Or in the case of those selling German-made pianos, drang und strum.) Pianos are selling and some salespeople and retailers are doing well. A handful are even expanding and opening new stores.

“Ori Bukai [of Allegro Pianos] is always the expectant salesperson realizing a tremendous percentage of sales and success,” says James Reeder of Blüthner. “Despite the ‘rumor’ of a recession, he has completed a new showroom. Anyone doing what he has done has got to be doing everything right!” Leslie Buttonow of Korg reported that many of their dealers are managing well, especially Steve Locke of Evans Music City, who she says is “on fire.” “Steve Smith of Triune Music is doing an outstanding job with organs,” says Rodgers’ Jennifer Brandlon, adding that Smith and team’s ability to connect with customers and continue to build their business is an inspiration. Studying the history and current sales technique of eight of the best yields two immediate observations: one, there are many roads to success; and two, not one dealer said they were just “doing what they always have done.” Here are their stories. SEPTEMBER 2009


Ori Bukai Allegro Pianos Stamford, Conn.

“I do everything different than the rest of the industry,” shrugs Ori Bukai. “That works because we are doing fine.” Bukai immigrated to this country from Israel in the mid 1990s, and the piano technician soon began to not only repair pianos, but sell them out of his home. He started modestly enough with the common names, but soon saw the potential of the German pianos popular in Europe, but not as well-known here in the states. Recently he has moved into a beautiful new showroom, and today he is: the largest Blünther dealer in the world; the largest Estonia dealer in the world; the largest Steingraeber in the world; and the largest Bösendorfer in the U.S. “We do good business with the higher end, and not much with the lower end. My heart lies with the quality pianos,” says Bukai. His approach to selling is based on challenging assumptions. Steinway has long been thought of as the “holy grail” of high-end instruments. “The piano industry’s higher end is dominated by Steinway, partly for historical reasons, and of course they are good pianos backed by good marketing,” he says. “It’s a nice combination.” WWII helped Steinway’s dominance, and Bukai offers a quick history lesson: The war decimated european piano makers. After the war, while those companies were beginning to put their factories back together, Steinway wisely came in and donated hundreds of pianos to concert halls all over Europe. “In the 1920’s the biggest piano makers were Bechstein and Bluthner, Steinway was maybe fourth and it took 20 years to rebuild the German factories.” Bukai’s success is partly based on a simple principle which is giving the customer a lot of choices. “I review all the options and take the time to explain the difference among the our selection of products.” This is where being a technician comes into play. “Unfortunately, people are eiSEPTEMBER 2009

ther musicians who don’t understand the technical aspects, or technicians who don’t understand the musical aspects. I happen to understand both. And I am able to explain the differences.” An accomplished pianist, he is sure to perform for his prospective customer, too, which allows him to show the differences between pianos. Also, “people stay longer.” Also he’s quick to debunk that it’s “just” rich people who buy high-end pianos. Perhaps blaming the “victim,” he maintains that if you show someone an $8,000 black piano and an $80,000 black piano, they will buy the $8,000 one every time. In May 2009 Bukai opened a new showroom with a music school. He did it by paying upfront for the building, so it’s his, cutting leasing costs. He is still “the technician” and works on all his pianos, himself. The building houses 60 high-end grand pianos. Here’s a kicker: to tickle any of these ivories you have to make an appointment. That’s right, you just can’t walk into his showroom. “It’s a crazy setup. It’s different. Can everybody do this? I don’t think so. But this is the way it works for me.”

Steve Locke Evans Music City Houston, Texas

Steve Locke is GM of an MI operation that isn’t afraid to sell a wide variety of keyboards including Korg, Kurzweil, Yamaha, and Roland. The operation was founded in 1947, and specializes in electronic and live recording, keyboards, guitars, and drums. Locke started working at Evans Music City in 1977 and was named by Korg as being someone on top of his game. Locke is modest about his success: “We’ve been around such a long, long time, and have such a large footprint, that if anyone in the music making or ministry music segment needs anything, they come to us.” “There’s not too many people who do what we do out here.” And obviously not as well – at least as far as serving such a diverse population,

“Father always taught me that if you make 10 to 20 phone calls a day, the law of averages say you will happen onto one or two who are still thinking about a piano. When times are tough, you have to get back on the phone.” MMR 27


something Locke understands. He says that the diversity of music, from music for worship to music for dance, from formal to jazz, all needs to be served. There’s a keyboard for each. “A keyboard does whatever the artist wants it to do. You just have to listen [to the customer] and provide the right [tool].” The Korg M1 is one model that is doing particularly well for him. He sites being “blunt” as an attribute, particularly when dealing with houses

of worship. “There’s only one way to do something, and that’s the right way,” Locke says. “I’ll tell a church that something will last them 10 or 15 years when something else won’t. You encourage them, make them understand why A is better than B in the long term.” Locke says he trains his sales staff on one word: Listen. “When you go out to buy anything, when you have a particular need but you’re not sure what to get,

Keyboard Sales Tip Sheet: 9 Tips for Success Speaking to a few of the industry’s top salespeople it quickly becomes clear that there is no one-size-fits-all path to success. Also, their personal stories have as much influence on their accomplishments as whatever their approach to the business is. Still, we’ve mined it all to come up with a “greatest hits” of sorts. ³

Take on a new high-end quality line that offers your upscale customers more choices and something different. “A good product mix attracts great people.”

³

Reinvigorate or start a music school. One said that 80 percent of those who sign up for his school end up buying an instrument.

³

³

Be the ultimate keyboard dealer and have something at every price point, even less expensive keyboards. Customers today see them as all the same, and those who take to a modest instrument will inevitably want a better one. Spruce up the store with fresh paint, new signage, and new displays. Keeping the store looking extra sharp creates positive energy. “People recognize when you’re putting money back into your store. Too often you walk into a [neglected] music store and it feels like a funeral parlor.”

³

Expand efforts to get institutional and house of worship sales. The current down market has largely not affected them.

³

Hit the phones. “Father always taught me that if you make 20 phone calls a day, the law of av-

28 MMR

erages say you will happen onto one or two who are still thinking about a piano. When times are tough, you have to get back on the phone.” Even consider a telemarketing campaign. ³

Take a fresh approach to outside sales events. Try partnering with your local Costco. Try festivals or stage them at smaller outlying towns. Also, get your player pianos out where people are: The airport, the upscale mall, the bank, and/or the model home in a new development.

³

Update or expand your Web site. A recent Luxury Institute survey found a little over one-half of wealthy customers start their purchase with a search engine. Additionally, 84 percent of these consumers rely on sites with ratings and reviews.

³

Don’t assume that customers aren’t willing to spend money on a keyboard, piano, or organ. “If you show someone an $8,000 black piano and an $80,000 black piano, they will buy the $8,000 one every time.” Also, think of the times you’ve seen a $60,000 car parked in front of a modest two-bedroom home or apartment. If the case can be made, the sale will follow.

hopefully you’re standing in front of someone who knows.”

Todd Heid Heid Music Appleton, Green Bay, and Wisconsin Rapids, Wis.

Peter Heid founded Heid Music in 1948 and, when son Paul took over, he expanded the operation greatly over the decades. Just recently, grandson Todd became president. It’s a true “full line” store in that it carries acoustic pianos. It’s also unique in that it’s a Yamaha and a Steinway dealer. They also carry Kohler & Campbell pianos. Todd has been working for the operation since he was old enough to wash the windows. When he was big enough he helped move pianos and after college he sold pianos and then managed that department. Generally, piano sales account for 30 percent of their business. “We’re also full line in the sense that we do education,” he says, and maintains that education is key in this economic climate. “One thing that we’ve realized lately is just how important education is – it drives traffic. We’ve been getting back to basics in promoting both our Yamaha Music School and the private lessons we provide. Our promotions have focused on our education system. We do really well with people taking lessons here. About 80 percent of the people who enroll in our Yamaha Music School end up buying a piano or keyboard from us.” To emphasize this further, they have created a new recital space in their Green Bay store. Heid also says they’ve long sold lesserpriced keyboards under the same roof as their acoustic pianos with success. “Eventually customers are going to upgrade. That’s a big part of my business. “You have to have something at every price point. You can’t turn people away. And once they buy that $199 keyboard, you have them in your database. A lot of people don’t look at the value of carrying [those keyboard products].” As far as the lower margins on them… “we’re used to smaller margins because we’re an MI dealer!” Fresh back from the Summer NAMM show, Heid was reminded how important keeping up with the basics is. There’s a renewed effort in keeping up with thank you notes, for example. Fresh paint, new displays, and extra attention to keeping the store looking sharp are also paying SEPTEMBER 2009


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off. “People recognize when you’re putting money back into your store. Too often you walk into a [neglected] music store and it feels like a funeral parlor.” Finally, they have renewed their efforts on institutional sales and aggressively gone after church business.

Maurice Unis Classic Pianos Portland, Ore.

Apparently Maurice Unis didn’t get the memo about the “great recession.” Not only is his Portland, Ore. operation humming, but he’s opening new stores in Bellevue, Wash. and Albuquerque, N.M. “We are taking advantage of a down market, so when the market comes back, we’ll be in a good position,” Unis says. Unis says his grandfather was a piano technician and as a young boy he worked along-side him in his shop. His father would end up on the Washington State Supreme Court and, while he hoped his son’s future would involve the law, Unis followed his passion for pianos. He would work for ShermanClay and in 2000, he opened up Classic Pianos with his three sons. “Our company used to make business plans out 12 to 18 months, and now we plan monthly to make sure the message were sending out parallels the current economic conditions,” says Unis, who is also a retail consultant. That plan always includes an emphasis on being straightforward with the customer and offering even better service then they previously thought was possible. They are promoting value, building a rapport, and maximizing the amount of customers they can get. “As a salesperson, I position myself as a higher authority on the instrument, and the entire team has to be in sync. The other thing I’ve learned is that a good product mix attracts great people.” Classic Pianos only sells Yamaha keyboards and Clavinovas, and is planning on adding slat keyboards soon. The rest of the products are strictly acoustic and include Yamaha, Mason & Hamlin, Schimmel, and Charles Walter. They also carry a large collection of vintage pianos including Steinways. 30 MMR

Classic Pianos showroom.

He’s purposely made his store’s operation unique. When you enter, a receptionist greets you. Nearby is an accessory department. There’s a Yamaha Room, and an American/European room. Downstairs there is quite literally a “bargain basement.” While his business is doing well – it’s their best year so far – Unis felt they needed to expand. “When the opportunity became available to go into these other markets, we jumped at it. We will still receive all the pianos here, and keep our current crew busy. “The main thing is our sales team has embraced the economic situation. Recognized it, and used it to form a better, more direct relationship with the client. Understand what it takes to move forward and get him or her the piano of their dreams. We’re more attentive to the customers and know that it’s not always about price.”

Steve Smith Triune Music Elmhurst, Ill.

Steve Smith says Triune has actually added staff and expanded business. They are on track to have there best year in history. Out of college, Smith taught choral music at a local high school. Only four

years older then some of the kids, the challenges of dealing with groups as large as 60 was daunting. Having one steal his car also contributed to Smith considering a career change into his family’s construction business. Many were disappointed about his decision to leave teaching, perhaps most of all the local keyboard dealer who was negotiating with him to get the school a new organ and piano. “They asked me to come in and we talked for two hours,” Smith recalls. “Then they hired me on the spot. I wasn’t sure about it because I was an educator, not a salesperson. But actually what I learned is what we do here is education. It’s been a very good fit.” Seven years after joining, the owner retired and Smith bought Triune, taking it over in 1987. They sell full pipe, digital, and hybrids, working in three states. While Rodgers is their most prominent line, they also represent Walker Technical and Marshall & Olgletree, plus pipe maker Fratelli Ruffatti. Smith says that while “there is no single reason for this upsurge in our 22year old business, however there are SEPTEMBER 2009


many contributing factors.� He recently made the decision to invest heavily in a new Web site. “When I looked at competitors in the area, the Web sites were sorely lacking. One didn’t even have pictures.� Max Longin, who previously worked for Yamaha, designed their site, and the results allow them to tell many stories. It’s sophisticated, yet flexible enough that they can upload updates and new photos. “We started as an electronic organ company, but we’ve done over 70 pipe installations. We’ve become one of the largest organ dealers in the Midwest. There’s no better way to communicate that than through the Web site.� And it’s not just one-way communications: “We find that clients love staying in touch with us, and love talking to others about the superb way they’ve been treated by us.� They’ve launched a telemarketing program that is providing positive results, and they’ve lowered margins to be more competitive. Even making their office more energy-efficient has added to their bottom line. They also renegotiated their lease. “For over ten years we have provided reasonably-priced rental instruments for the finest musical ensembles performing concerts, church conventions, and other special events,� Smith says. This has given them priceless exposure, and The Chicago Tribune music critic noted in one of the reviews of such an event how “splendid� the pipe organ sounded. “You couldn’t afford to pay for such an endorsement from such an expert.�

Willem Van Suijdam Pianohouse Burlington Toronto, Ontario, CANADA

Willem van Suijdan is fi lled with aphorisms: “Salespeople don’t sell pianos; pianos sell pianos� and “It’s easy to sell a piano, but hard to sell the right piano.� But he can back his verbal cleverness with proof of success. His Pianohouse Burlington has built itself into Canada’s grand piano superstore, with a large inventory and an aggressive business plan that includes many outside events stretching across the country. Suijdam is a concert pianist and organist as well as a conductor of choirs and orchestras. He immigrated to Canada from Holland in 1986 and founded the operation shortly thereafter. SEPTEMBER 2009

“If you want to know why I’m doing so well, it’s because I never borrowed a penny,� van Suijdam tells. “I came here with $50 and I still have it.� And then some. Starting out with three pianos, he sold those and bought four; then sold four and bought five. But these were all used and reconditioned. “The biggest problem was that no one wanted to give me a line because all the lines were already represented in the Toronto area.� His answer was to start importing hundreds of used Yamaha and Kawai instruments and selling them at outside sales. (Which did not endear him to the local piano retailing community.) He’s aggressive, and doesn’t sit and wait, to say the least. “I pick up my showroom, put it in a big truck, go to a city, and rent a spot by a local landmark.� At these events he “works like a dog,� but his philosophy is people won’t come to him so he has to go to them. “If you don’t, you have no hope in heaven to survive.� In addition to quality pianos, he also has imported some Chinese instruments that he’s not as fond of selling, but does so because some are driven to buy by price only. “People buy what they deserve, and most people don’t deserve a piano,� he quips. Eventually he was awarded a line: Mason & Hamlin. “They are the pianos of pianos,� he declares. “I’ve never met a piano that is as good as a Mason & Hamlin.� He is quick to tell customers that in addition to their many other attributes, Mason &Hamlins seem especially suited for Canada’s harsh winters because, while other pianos need to be rebuilt after 10 years, the Mason & Hamlin is still solid. “People come in and play a Steinway side-by-side a Mason & Hamlin and, guess what? They choose the Mason & Hamlin.� He takes the “soft sell� approach to an unlikely extreme: When a customer walks in, he stays seated and let’s them walk around for a while. “Too many salespeople get too aggressive too quickly.� He does eventually approach them, and then etablishes himself in a position of great authority – by sitting down and playing. Van Suijdam isn’t afraid to show his sense of humor, either. Typically when asked what they are looking for, the customer response with a meek “I don’t know.� “Oh, so you’re going to buy a $100,000 piano today?� he asks. When

“When I looked at competitors in the area, the Web sites were sorely lacking. One didn’t even have pictures.�

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MMR 31


they smile and decline he says, “So you do know what you want.” He qualifies first the budget. “I tell them they will make everyone’s life easier if they tell me what they want to spend. I have 150 pianos here – once I have a budget I can eliminate 140 of them.” Having such a huge selection (and personal appreciation) of so many different brands is a major factor to his success. “The first mistake that most dealers make is they speak badly of the brands they don’t carry. Whatever they represent is the best! Well, that’s why I have everything.”

David Straight Straight Music Austin, Texas

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Straight Music was founded in 1963 when Dan Straight moved his family to Austin to open a Baldwin piano dealership. Over the years, he expanded beyond keyboards and today they are a full-line operation. The Memorial Day flood of 1981 nearly did the operation in, as much of its inventory was damaged. The father then decided to turn the store over to his children. Eldest son Robert manages the store. The other children have all been active in the business, particularly David, who manages the piano department. David began in the business by cleaning pianos, then moving them, and since 1982 he has worked in the keyboard department. “We’ve been a Yamaha dealer for 30 years and have had Wyman pianos since they began five years ago,” Straight says. “Right now we’re looking at the new [Osla] digital pianos Wyman is offering, and we also have some portable keyboards in addition to Clavinovas.” Straight says they have keyboards and digital pianos mixed in with their acoustics because “not everybody can afford a $2,000 piano, and a keyboard will get them going. After six months or so they usually trade it in and get a piano.” His credits his sales skills not only to growing up in the business, but also having the opportunity to watch how others did the work. “Two great salespeople that worked for my dad, Katherine Cole and Dal Farris, were terrific. They’ve retired and passed on, but I was watching how they sold pianos since I was eight.” Straight’s approach is “friendly, persistent without being pushing.” They have been consistent with following up, and have found their clients appreciate a SEPTEMBER 2009


call back as long as it’s not high-pressure. “We concern ourselves about what they are looking for and their budget. That’s the basics that I’ve learned.” Personal charisma helps, too. “Looking back, the business has grown an average of 10 percent of a year,” he says. Their history of service and product knowledge brings customers from other parts of the state. Today, he returns to the basics more than ever before: “Father always taught me that if you make 10 to 20 phone calls a day, the law of averages say you will happen onto one or two who are still thinking about a piano. When times are tough, you have to get back on the phone.” They are also getting out of the store. They did a couple of Costco events, which did okay; other promotions include setting up one of their pianos in model homes. “Even at some of the banks, we have our pianos in the lobby. And we donate pianos for special non-profit events. A piano at a good cause, like fighting cancer, is a good thing to do and let’s people in the community know we care.” They’re even using the Texas heat as a marketing opportunity. They’ve decorated their pianos with signs that say: “Stay cool! Stay inside and play piano!”

Glenn Woodruff The J-B Piano Company San Rafael, Calif.

Tried everything else? How about faith? Glenn Woodruff tells a story that goes something like this: He came in one day, and the bookkeeper pounced on him with a discouraging fact: The company needs $30,000 today or it would face dire consequences. Woodruff took his sons and said a prayer. A few hours later came a phone call. “A man was inquiring about a piano and I encouraged him to come in. He did, and I sold a $30,000 piano.” Woodruff grew up in the central coast of California, near Hearst Castle, and took it upon himself to tune pianos first, and play jazz on them second. But knowing the instrument inside and out is what Woodruff is about. “I frankly have to say I can’t imagine selling pianos and not being able to work on them. Even during the course of a sale, you’ll hit a key that doesn’t sound SEPTEMBER 2009

perfect, or some customer will ask a specific question … being a technician isn’t mandatory, but it can help. “Sometimes I know too much! [laughs] As technicians we have to be careful [of information overload].” J-B does a lot of restoration work, including a recent 1890s Steinway. Another project of note was a 1911 Packard piano. (Using humor as a marketing tool, he noted on it that this company “made automobiles too.”) A woman wanted to rent a piano and, on a hunch, by the sound of her voice, he let her have this Packard for six months. At the end of that time she bought it. “I don’t generally believe in doing something like that, but I have been trying different things.” They represent Grotrian pianos. “They have always been our top of the line instrument, a magical piano,” he says. “They have all the nuances and smooth action that is the very best. If you’re going to play Debussy, it needs to be on a Grotrian.” Being excited about what is on his f loor is paramount to his success. “I have a contagious love for the piano,”

he admits. “That excitement level transfers.” This includes other pianos, like August Forster (“somewhat a sleeper on the market”) and Blüthner (“dark and beautiful and melodic, like Brahams”). Like any artist, Woodruff makes it seem simple. First, honesty. “Never misrepresent anything, and do what you say you’re going to. That way you can sleep at night, too.” The times have not shaken one fundamental principle: Since opening in 1954, J-B Piano has never had a piano sale. They don’t put the word “sale” on their pianos or their signage. “I treat pianos as an instrument of value, a collectable. Sometimes we bargain and make deals, but I personally don’t believe in the “sale [concept].” Finally, he just has faith. “I’m a Christian, and I remember going to a church as a kid and hearing ‘Praise God from whom all blessings flow,’ and I look at things that way,” Woodruff says. Maybe when we’re right with God, things are good. “Sales are always a miracle.”

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MMR 33



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NAMM Resources to Grow Your Business You know about the NAMM Show, where the industry gathers to network with peers, learn valuable business strategies at NAMM U and Idea Center sessions, and conduct buyer meetings to build your inventory. But did you also know that NAMM provides savings on everyday business services like shipping and merchant credit/debit processing? Or that NAMM is encouraging the general population to become active music makers? These efforts help bring customers right to your door each day. During these people ng lpi he challenging economic times, be sure to take en be s ha Schmitt Music since 1896. life for advantage of these great opportunities‌ rs ke ma sic become mu in Minnesota and res sto ten te era op We Midwest with Member Services six stores across the many of whom es, ye plo em nearly 400 On behalf of its Members, NAMM has ians. It’s our are professional music 0 negotiated with companies to provide the ,00 10 n tha re privilege to help mo or most competitive business products, rates and nd ba l oo sch ir the children join er ov services possible. You can participate in one ch tea and orchestra each year, th wi en or more of NAMM’s endorsed business service ev t Bu . ek we 5,000 lessons each d a great base programs, including merchant credit/debit an e nc rie pe ex of our many years ing a business be t tha say y processing, check services, gift cards, shipping stl ne can ho all of loyal customers, I e these that challenge lik es and freight services, store-branded consumer tim It’s w. no n we ever owner is tough right r business better tha ou ďŹ nancing, workers’ compensation insurance, of ect asp ery ev of us to manage school lease/purchase plans, and NAMM’s e. have befor newest Member beneďŹ t: access to health yees, r customers and emplo ou of insurance options through Mercer. re ca od go ing sm and I’ve found that tak dedication, enthusia th wi ess sin bu r ou r conducting es that help ou ng products and servic Public Affairs and Government integrity, and providi all been keys to our ve ha ms ir musical drea ve ha MM NA customers pursue the hip in Relations our years of Members success. In addition, grown the strength ’ve We s. rce ou res of alth NAMM actively represents the needs of g provided us with a we g NAMM shows, sittin our brand by attendin business owners on Capitol Hill by addressing d an ers ny pe pa r ou com th r wi ou of sion, networking ses U MM NA causes that affect our industry, such as ble ssi r-building in on every po association’s custome the of healthcare reform, sales tax issues and ge nta sic va mu ad the and taking helped grow programs, which have Internet purchase legislation. Additionally, nt me lop ve de et rk ma ross the nation. NAMM campaigns for music education, making population ac which not only helps kids grow and learn, man of the ume the role of Chair ass to but also supports the growth of me for of r ed no ho ind It’s an again rem ors and, as I do, I am our industry. all to le ab ail av NAMM Board of Direct s ilding resource -bu ess sin bu ul erf to nd y the many wo e this opportunit MM. I thought I’d tak active Members of NA se, all of us can use the e lik ter all, in times Af ll. we as u yo ind rem it from me—NAMM is ort we can get. Take all the help and supp here to help. Tom Schmitt Sc n of hmitt Music President & Chairma Board of Directors Chairman, NAMM

Note from Joe Tom


Market Development Initiatives One of NAMM’s many goals is to provide Retail Members with marketing tools and opportunities to help increase store traffic, broaden and strengthen your customer base, and encourage community involvement through direct-to-consumer marketing. Programs like Vans Warped Tour, Drum Corps International, the John Lennon Educational Tour Bus and SchoolJam USA are all designed to help drive brand-new potential customers into your store. Be sure to get involved today.

Wanna Play? NAMM’s consumer-facing Wanna Play? campaign shows the 82 percent of people who think they can’t play but would like to that they can! This PR-based initiative puts music making into the media spotlight. Member stores can benefit from this effort by participating in Wanna Play Music Week activities each May and by promoting Wanna Play? contests and events throughout the year. Hangtags and brochures can also help inspire would-be musicians to pick up an instrument and play. Order materials for your store and see all the cool initiatives NAMM is a part of by visiting www.wannaplaymusic.com. Not sure which programs are right for you? Visit www.namm.org for program information and to order support materials, or call NAMM’s Member Contact Specialists at 800-767-6266 and they will be happy to help.

ber 2009 NAMM News Septem industry news, latest breaking -to-date on the up ep org. ke m. To am . MM tal@n published by NA r at playbackdigi NAMM News is gital e-newslette Di ck ba AY PL r sign up for ou


SPOTLIGHT

It’s an iWorld – You Just Live In It.

S

ince its introduction in 2001, more than 100 million iPods have been sold. In the process, Apple’s compact digital media player has revitalized that company’s fortunes, helped to reshape popular culture, and (along with iTunes) almost single-handedly destroyed the traditional-model recording industry. Sure, there are other compact players out there – some marginally successful, too – but the iPod is king, with over 70 percent share of the market. It’s an icon, an all-purpose synonym for any product with similar functionality: Much as one might say, “Do you have any Scotch Tape?” or “Pass me a Kleenex,” for most of the world “iPod” = “portable media player” and that’s just all there is to it.

If you add in the millions of iPhone owners out there (and, since iPhones incorporate all the functionality of iPods, you can) that means that a lot of people – a lot of potential customers – are in the iPod Army. Oh sure, just because 100 million iPods have been sold in the past eight years doesn’t mean that there are 100 million users/owners out there – people upgrade to newer models, older units break, and so on – but conservative estimates would tally the current total of domestic iPod/iPhone users as being in the high millions. Again, that’s a lot of potential customers. You’re not a phone store, you’re not an electronic gadget store – what do you care? One of the fastest growing segments in the contemporary MI world revolves around hardware and software designed for use in conjunction with the iPod/iPhone (from now on we’ll just say “iPod,” but 38 MMR

“The iPhone and the Internet are paradigm shifts and will in no way eliminate the brick and mortar retailer and his ability to make a profit.”

SEPTEMBER 2009


you’ll know we’re talking about both the iPod and the iPhone since, for the purposes of this article, it’s the same difference. Cool?). In addition to DJ Gear and Recording/Pro Audio hardware specifically generated to work with the iPod, if you add in the larger world of music making via iPods that is created through “Apps,” the number of products in this category becomes staggering. For those not in the know, “Apps” (applications) are programs that can be downloaded directly to an iPod Touch. The “App Store” has become wildly popular and, while most of the available programs have nothing to do with music – GPS Apps, Games, Tools, et cetera – some are all about turning the iPod into a music making device. If Apps are downloaded directly to the iPod and, thus, can’t be sold in a store or on a retail outlet’s Web site, why do you care? Well, you don’t. Directly. What matters is that certain of these Apps turn an MI product that might not be inherently compatible with an iPod into something that iPod owners who want to create music would want to purchase. The potential synergy between items that can be sold in-store (or online) by MI retail outlets and the iPod is beyond huge and quite literally ever-changing – the only way to stay on top of it all is to really stay on top of it all. That means a lot of work, particularly if you’re not exceptionally “tech-savvy” or interested in that kind of thing, but even a cursory knowledge of the market may suggest

SEPTEMBER 2009

some new approaches to selling and some new products to consider stocking that might, in turn, lead to heretofore unexpected profits. This article truly only barely scratches the surface of the “iWorld” for MI dealers to navigate (and, hopefully, exploit) – and, given the sheer volume of product out there, it’s a pretty feeble scratch, at that. Read on, though, and see what some of the key players in the iPod game have to say about the specific products they’re fielding, their takes on iPod-related gear in the MI marketplace, and what they expect the future holds:

An App a Day Andrew Smith, the founder and head of Studio Six Digital is operating smack dab in the middle of the iPhone revolution. “People have in their pockets a pretty powerful computer with high quality stereo audio in and out,” says Smith. “As developers continue to figure out how to adapt their applications into that platform, they’re bringing products and features to the masses in a way that people could never have dreamed of before.” Smith notes that the iPhone has “lowered the bar, it’s lowered the point of entry – more people have access to acoustic analysis functions than ever before and I think that’s a trend that’s just going to keep increasing.” Studio Six digital currently has nine different audio applications available in the iTunes store. “Our most popular App is RTA,” says Smith “It’s a real time analyzer which does 1/3 octave band room analysis, and has as many advanced features as any hardware platform based RTA.” Some of RTA’s features include, “saving graph files, overlaying noise curves and cursor readout.” Smith is proud that his little $9.99 app “has more than the standard hardware RTA systems have.” “They’re all my concept,” says Smith

“People have in their pockets a pretty powerful computer with high quality stereo audio in and out.” “I’ve been in the audio and acoustics analysis world for about ten years and previously, had built all the audio toolbox products for Terrasonde. When I got my first iPhone and started playing and writing programs for it I realized that almost every function that we had put into previous products would be able to be put into this iPhone.” After coming to this realization, Smith immediately began to write programs. “The fi rst one I did was our speaker polarity tester,” says Smith. “From there I went on to build the SPL meter and then RTA and FFT.” Even with nine Apps in the iTunes store, Smith is still writing programs and even plans to introduce a hardware device. “We’ve got a lot more on the drawing board that we’re continuing to work on. We’re just in the final stages of developing a hardware product called iAudio interface.” Smith tells us that the product, which will be released in mid-September, will have a calibrated microphone, balanced line ins and outs and a headphone jack. “It’ll work with our acoustic analysis apps and actually any other iPhone apps including the recorders that are out there,” says Smith. “Musicians and engineers will have access to a high quality audio interface that’s not limited by the microphone in the iPhone.” For Studio Six, the Apps have been a hit. “They sell really well,” says Smith. “We started doing iPhone Apps parttime last September and we went full time with them in January. The top seller in numbers is the SPL meter and then the biggest revenue generator is RTA which is a more expensive app but one that a lot of people are buying.” Smith MMR 39


tells us that up to this point, he’s never had spend a dime on advertising. “We’ve been expanding mostly virally - people have found us and told other people and so on. In the future, I’m not sure -- it’s kind of a new world for us and I don’t really know what avenues to reach a wider market might be. At the moment, we’re reaching a pretty big market but there’s probably a larger market out there.” Planet Waves is also tapping into that market and the company currently has two applications available and several more in development. “In December of last year we decided to look into porting the Chordmaster which was a handheld computer over to the iPhone. We were fortunate enough to find some good developers and launched the app sometime in March,” says Jim D’Addario of Planet Waves. With over 7,800 chords, D’Addario notes that the Chordmaster “is the most extensive chord library ever assembled. Even though there were several other chord libraries available at the iTunes store, D’Addario says, “ours was so much better that it received quick recognition and shot up to number one in the music category for almost six weeks. It even hit number six over all for applications on the phone. We were selling as many as 4,500 a day.” At the time, D’Addario was working on a scale program that was initially set to launch on their website guitar.com. “We ported that over to the iPhone and called it scale wizard,” says D’Addario. “That’s done very well also. So we have these two apps that have been selling quite well.” As a result of D’Addario’s success with its applications, they were contacted by Apple. “Prior to their World Wide Developers Conference [WWDC] when they were launching the operating system 3.0 for the phone, Apple wanted to know if we had anything in development that would use the features,” says D’Addario. “We started speaking with the Apple folks and came up with an idea for controlling MIDI instruments from the phone.” After contacting some of his friends at Line 6, D’Addario decided to push ahead with the project. The program by Planet Waves is called Rig Remote and it works in conjunction with a device produced 40 MMR

by Line 6 known as the MIDI Mobilizer. “Our fi rst effort is to control most of the Line 6 amplifiers, Pods and Variax guitars,” explains D’Addario. At the WWDC, we managed to control a Variax guitar and a Veta amplifier. Now we are developing the fi nal product with Line 6 and we’ll branch out and offer the platform to any other MIDI instrument, synth or effects device manufacture.” While some dealers and suppliers have been apprehensive of the application abilities of the iPhone, D’Addario thinks that it’ll improve the business. “You can’t stop change,” he remarks. “The iPhone and the Internet are paradigm shifts and will in no way eliminate the brick and mortar retailer and his ability to make a profit. Movie theaters feared that the VHS would put them out of business; it didn’t. They had to reinvent the paradigm. The industry evolved and the movie business did not go away, in fact, it went up,” explains D’Addario. “Over the last 15 years or so we have not grown the amount of music makers proportional to the population. As an industry, we have not done a good enough job. If we want to try to protect our old little business as we have, we’re going to limit that growth potential. Let’s try to figure out how to use the iPhone to give people cheaper and better tools, so they buy more instruments.” Rather than viewing the iPhone as a threat, Jim sees it as a means to broaden his market. “We used to sell a good quantity of hand held Chordmaster devices but nowhere near the quantity of $1.99 Apps that we sold in six months. It opens the market up to many more people and when you make things more available at a lower Jim D’Addario

price you make it easier for more people to become music makers. They then become customers for guitars, strings and amplifiers – that’s stuff that’ll never be sold through the iPhone. If I can make more people play guitar, then I’m going to sell more strings,” explains D’Addario. “The guy’s gotta buy strings; he can’t pull strings out of his iPhone! He’s got to go to a store.” When asked about the threat to hardware devices and brick and mortar retailers, Douglas Wright, president of Sonoma Wireworks, is quick to respond and his take differs somewhat from D’Addario’s: “We also make a desktop application which we offer as both a direct download and is distributed in a box to dealers worldwide. I would say that the threat was there before the iPhone came. The threat being that people are going to stop driving to the store to take a dusty box off the shelf when they can go to the Internet, download the demo, try out the software and decide to buy it without ever setting foot in a store.” “If you compare the iPhone to the computer that I first had when I was in 5th or 6th grade, it’s a super computer in your pocket,” says Wright. “I don’t see it slowing down. Moore’s Law says it will double in two years and I see it doing exactly that. They’ve already doubled the RAM, so the iPhone3GS with 256 Meg on board makes App development much easier and more powerful. 32 gigs – that’s enough space to record an entire album in 24 tracks!” Wright tells MMR that his “primary product is FourTrack. It’s exactly like it sounds: a four-track recorder on the iPhone. We’ve continued to add features since its original release back in November and I’m about to do an update that includes master effects and mix down, plus song title and track naming for the WIFI sync.” The co-developers of FourTrack is a company called Retronyms. “They just released a new App, that’s the first member of our Global Audio Product Integration Program,” says Wright. “The idea is to get all these little audio Apps on the phone talking to each other so you’ll be able to do more interesting things and be able to bring SEPTEMBER 2009


loops or audio from other applications into FourTrack.” In addition to working on his flagship product, Wright continues to develop new ones. “Today we submitted an app to the app store, InstantDrummer: Part Breaker. Basically we took the loop content that we create and sell for the desktop in Riffworks and we built an iPhone app that plays tempo adjustable sliced recordings of drum loops and gives you quick browsing by song part -- verse, chorus, bridge, lead ins, endings, etc. It automatically plays fi lls, lets you adjust the tempo by tapping or dialing in the tempo and lets you sequence a song and then WIFI sync the completed sequence,” says Wright who hopes to integrate the new app with FourTrack in an upcoming update.

Hey Mr. DJ, Put a Record(?) On… Alesis, Numark and ION Audio have a ton of experience with iPod related products. Alesis fields eight different iPod-integrated mixers, recorders and speaker systems, Numark has targeted DJs with seven different iPod products and their consumer audio arm, Ion Audio features

six different products. As the guys at Alesis pointed out, just about every musician on the planet has an iPod. “We’ve created that link, so musicians can take their iPod and connect it directly to their source of music and either record or playback directly from their iPod,” says Kurt Heiden, Marketing Communications man- Kurt Heiden ager at Alesis. “The implementation of an iPod from the Numark perspective is to make it easier for the DJ,” says Chris Roman, Numark’s Product Development manager. “Somebody might walk up to you with an iPod and say, ‘Can you play my song off my iPod?’ You just plug the iPod right into the dock on your mixer and play it back.” “The recording capabilities on the Alesis side are designed to take advantage of software that’s inside the iPod itself,” says Roman. “When you plug it in you can record your sets directly to the iPod and then go listen to them later on.”

Chris Roman

“I think it was a natural progression,” says Heiden. “It was very easy for our company to look at an iPod and say, ‘Hey, iPod looks like a really good thing. Let’s go talk to Apple.’” Talking to Apple inevitably involves a lot of R&D. “It’s not like you can plug it in, flip a switch and it just works,” says Roman. “There’s a lot of engineering that goes forth within our walls to insure proper compatibility. If you’re not a company that does R&D like we do, then iPod integration is just not going to work. It’s an ongoing, work-

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ing relationship. Hopefully in the future we’ll be able to do bigger, better, greater things.” Heiden points out that Apple is not their only partner in this endeavor. “iProRecorder for the ProTrack is a perfect example of partnering with a company, explains Heiden. “BIAS, Inc. is well known and respected throughout the MI industry, so they were a logical partner to work with to make sure that the ProTrack had a professional grade recording software that would work with our hardware. We create complete solutions for the customer. If there’s an application out there that makes sense, why reinvent it?” In addition to partnering with other companies, Numark and ION Audio have had a couple of homegrown software solutions. “The EZ Vinyl Converter software, was created by our brand MixMeister. It’s a one step solution for getting vinyl onto an iTunes collection and your iPod,” says Heiden. While Alesis / Numark / ION Audio won’t divulge precise numbers, they do say iPod related product sales have been very good. “They do very well. As a company with four separate hardware brands, we have several different distribution channels. Especially with iPod related products, every MI retailer on the planet should be selling Alesis and Numark products,” says Heiden. “The ION products are sold through mass merchandise retailers like Costco, Best Buy, Target, and Wal-Mart.” Numark/Alesis/Akai/ION Audio intend to broaden their market through

42 MMR

innovation. “We look for ways to innovate based on what’s available to us. We look at ways our customers use their iPods and what kind of people are using iPods. We think they’re very successful tools for both the consumer and for the DJ. “Technology just keeps on growing and growing and hopefully the innovation will continue as well.” Jason Davies, the Vice President of Sales and Marketing at Bias Inc. tells MMR that the iPod and iPhone “offer a lot of users a whole new platform for both gathering and developing audio content. We’re augmenting what used to be confined to the desktop in terms of the power of being able acquire and develop content,” explains Davies. “Its really a liberating thing, users are able to take a very small, portable device like an iPod or iPod touch and are actually able to get work done. In the past, people would need to buy dedicated hardware devices to do portable field recording. Now, you can simply use an iPod or iPhone and you can acquire high quality audio. Plus, you have the advantage of software interfaces that can be updated as new things develop.” Davies is excited about the iPro Recorder App for iPhones and iPods. “The application actually interfaces directly with our Mac audio editors, Peak Express Peak Le and Peak Pro,” says Davies. All of these versions of Peak support direct WIFI fi le transfers from the iPro Recorder. Users can use our recorder

in the field to record whatever sounds they choose and then send them via WIFI directly into our audio editor.” The iPro Recorder and was originally developed by Steve Berkley, the company’s president and CEO. “Steve was the genesis for much of the initial concept for the product,” says Davies. “We wanted to make sure that it was professional in terms of its feature set, so we looked at various hardware devices that were out there and we modeled it after some of those hardware recorders.” When asked about their relationship with Alesis, Davies tells us that Bias “got an early version of their product and were able to confi rm compatibility ahead of its release. We have a good co-marketing relationship in that we’ve insured that both our products work well together.” As of the writing of this article, the iPro Recorder held the Number 5 spot on the iTune store’s ranking of recording applications. “It’s doing very well,” says Davies. “It’s consistently been in the top ten to twenty. We’ve slipped a little bit on occasion, but never below 50.” Bias has found that most people will start out using Apple’s voice memo recorder before migrating to the iPro App. I think they realize very quickly that there are a lot of features that they wish they had. I think it’s going to be a real asset to people that want to become more portable with their efforts,” says Davies. “More and more people are going to be able to do more portably and then integrate whatever they’ve done at their desktop or portable computers.”

SEPTEMBER 2009


Reaching the Larger Market “The iPod seems to be setting us on our ear a little bit,” says Lester Batts, product manager of ProCo sound. “In the MI industry it’s sort of setting the pace. Even in the pro market, which is what we deal with, a lot of pros are using iPods in their daily endeavor to do their jobs and I think that that’s what we’re seeing as the biggest change.” ProCo has recently introduced a professional interface for sound systems to interact with line level devices such as iPods. “We obviously bundled that with the iPod because they are so popular and obviously gaining in popularity,” says Batts. “We gured out how those devices work best coming off the headphone outputs and we created a professional interface for it.” ProCo came up with the concept through its dealer network. “When we have people ask us how to interface things, we either present them with a solution we already have or we design a new solution,” explains Batts. We had dealers that were asking for some sort of decent interface for these devices and so we put our engineering team together and this is what we came up with.” Batts says that although the product is a decent seller, “there is still a lot of misinformation in the market. Typically the way I sell a product is to have someone use it to understand what we’re doing for them,” says Batts. “They’re not the majority of our sales by any means, but they’ve been a pretty steady seller since we’ve created them. Right now, they’re being sold through our dealer network both nationally and internationally,” says Batts. ProCo’s dealer network “consists of many different facets from retail to mail order and internet sales.” One of Batts major goals is to “increase sales through education and word of mouth.” Although ProCo doesn’t spend a lot of time or money on advertising, Batts notes that the company relies “pretty heavily on our rep and dealer network.” When asked about the changes that the iPod and iPhone will bring to the MI industry, Batts is quick to answer. “I think it’s going to do two things: Number one, these devices are going to allow people to transport a lot of information with them; Number two, I think you’re going to see a lot of other sidebar things, such as automation, especially with some of the products that we build. We’re lookSEPTEMBER 2009

ing at automation software with those devices so that through Bluetooth or WIFI, users can access automation into other systems and integrate them seamlessly.” For Batts, the future is where the action is. “It’ll be interesting to see where it goes from here.” When Jim Dunlop, the owner and founder of Dunlop Manufacturing Jim Dunlop

 rst recognized that, “new applications for the iPod/ iPhone are introduced to the market on a consistent basis,” he decided to get in on the action. “Many are musician-focused, such as guitar tuners, music identication, music making, and even turning your iPod/iPhone into a musical instrument,” says Dunlop. “The iPod/iPhone

MMR 43


“Because of the things that you can develop from a software standpoint… I think that the potential is very high for products that make life easier for musicians.”

44 MMR

platform has created a portable and convenient way for musicians to listen, transport, store, record, and learn music and has become an indispensable tool for working musicians world-wide,” says Dunlop. “Because of this, the MI industry has reacted by creating musician-specic products to enhance their experience with them. The D65 was designed by Dunlop Manufacturing to provide a exible way for guitarists and other musicians to hold their iPhone and iPod touch. The unique feature of the D65 is its ability to attach to the front of your guitar and display lyrics, chords, or music in the ideal position,” explains Dunlop. One of the unusual features of the D65 is that it’s not just aimed at the MI market. “The high-powered suction cup will hold rmly to any at, clean, non-porous surface,” says Dunlop. “Use it on your coffee table, computer desk, airplane tray table, your car, or anywhere you need an extra hand.” Jim explains that the product is available trough both “online and traditional retail outlets world-wide and is selling successfully due to the fact that many musicians own iPods/iPhones, and Dun-

lop is a trusted brand name.” Dunlop also explained that while his company is “mostly focused on the guitar/bass market and the band/orchestral market with the Herco line, the D65 is the musical accessory that will allow us to expand into even more genres and types of players.” With the D65 Jim is looking to expand his accessory market, by merchandising the product in such a way that it will attract just about anyone with an iPhone or iPod. “This will allow us to expand out of the MI market with several non music-related applications that can help everyone enhance their experience with their iPod/iPhone,” says Jim. “For example, the D65 can hold the iPhone or iPod while driving as it plays music or displays GPS mapping or attach it to a coffee table or airplane tray to watch a video,” says Dunlop. “As the technology advances, it will bring with it even more musical tools for musicians and users which, will only be limited by the amount of new applications and hardware introduced.” “We’re all iPod users,” says Mark Wilder of Samson Technologies. “They’re ubiquitous. They offer a lot of versatility

SEPTEMBER 2009


for musicians. Our products tend to be PA oriented products and it made a lot of sense to add iPod compatibility. It’s like putting an RCA adaptor on a mixer when you want to use a CD player,” explains Wilder. It just makes sense – It’s what everybody’s doing, it’s what everybody’s using, so it’s just something you can’t really avoid.” Wilder doesn’t necessarily think that the iPod has changed the MI industry. Instead Wilder tells us that “it’s added a new dimension to our R&D and marketing thinking.” So how much has it changed the R&D process? “Quite a bit,” says Wilder. “You’ve got to work with Apple to be an ofcial user with their made-foriPod and made-for-iPhone programs. It adds a whole other layer of basic back and forth and their programs are pretty rigorous in terms of testing.” Although Samson hasn’t yet developed products that are aimed at the application-bearing iPhone and iPod touch, Wilder is excited about the future. “We were really thinking of it as a music storage and playback device and it’s kind of evolved since these products were  rst in development,” says Wilder. “The iPhone thing is a whole different deal because of the things that you can develop from a software standpoint. And certainly you can do that for the iPod Touch as well. I think that the potential is very high for products that make life easier for musicians.” Wilder tells MMR that their iPod and iPhone related products fall into one of two different categories. The  rst is their expedition series of portable PA systems with iPod docks built in and the second is a line of USB speaker systems called the studio dock. “They sell well,” says Wilder. “We’re very pleased with both the PA and the studio monitor business that we’re doing right now. I think that there is still a lack of awareness on a lot of peoples part about them — it’s kind of weird because, pretty much every musician has one but maybe they’re not thinking of ways to integrate the iPod into their music making life beyond a music player,” explains Wilder. “I think that our job on the manufactures side is to make the consumer more aware that these products are out there and that they simplify their life in some way. The future is very bright for these products,” says Wilder. These products are here to stay.” SEPTEMBER 2009

“The MIDI mobilizer is the rst MIDI interface for the iPhone and iPod touch,” say Marcus Ryle of Line 6. “It enables you to use your iPhone to communicate with potentially any of the millions of MIDI devices that have been produced since 1983. A musician can show up at a gig with a hired back line of Line 6 or any MIDI gear and have all of their sounds stored in their iPhone,” explains Ryle. “Instead of having to haul their own amps out to a gig, they can just load their sounds into the amps and guitar that are available and they’re ready to play.”

Ryle explains that the development of the MIDI Mobilizer began when “Apple announced the possibility of 3rd parties being able to develop hardware peripherals with their iPhone OS 3.0.” At the time, several companies including Line 6 and Planet Waves started thinking about what might be possible in the music industry. “Planet Waves was already doing some applications and together we were discussing what might be possible with some hardware,” says Ryle. “We realized that the iPhone would be an extremely portable device with

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MMR 45


which you could store your own sounds and edit parameters for all your Line 6 gear.” Although the product is still in development, Ryle is excited about the possibilities. “Already it’s proven to be very valuable for musicians,” says Ryle. “Much like computers have had a dramatic impact on music creation and music products, I think the iPhone is going to be able to have a similar impact for portable music applications.” “I think Apple has become a market leader because they are concerned about every aspect of their products and the customer experience,” says Ryle. “That does mean that there’s going to be more constraints than with an open architecture where everyone can do whatever they want but the great benet is the fact that customers genuinely have a great experience with Apple products. I respect the fact that Apple has tight controls over what they’ll allow to be implemented and how they expect people to implement it because that’s really what guarantees that the customer going to be able to have a great experience with the end result.”

“The iPod, and the iPhone have always had the ability to record top notch audio,” says Skipper Wise, the president and founder of Blue Microphones. “However, Mikey is the rst professional stereo microphone that can be hooked up to the iPod. We are the Rolex of microphones and when you take that knowledge and trickle it down to the consumer side your bringing a vast amount of knowledge to table. That’s something you just can’t acquire,” says Wise. “Microphones are a timeless commodity its not as if it’s going to’ become trendy and go away. You can’t plug a USB connector into your larynx so it’s something that’s always going to be around.” “Back in 1995, a half million bucks for a recording studio was considered to be a mid- room. Today GarageBand [music creating/editing software] is free with your iMac and features probably 90 percent of what that $500K studio was back in the ‘90s,” says Wise. Today with over 9 million artists on MySpace, the market has changed and Blue is changing with it. “We realized that we were speaking to a whole different gen-

eration,” says Wise. Just as we came up with products that were revolutionary back then, we’re doing the same thing for consumers and for people who are recording on their own in their home or on the road.” Brian Bigget, the chief technology ofcer at Blue is excited about what he calls the “recording revolution.” “One of the reasons we’re so excited about the Mikey is that it’s legitimately a professional recording tool that’s also simple enough to be a great consumer product and Apple totally gets that about us.” Blue’s relationship with Apple began about four years ago when Garage band was starting to catch on. “We went to work and developed the snowball which has been a huge hit,” says Wise. There’s no direct contract, saying we’re going to guarantee you this or that. But, if you go into the Apple online store or even if you walk into an Apple retail store, Blue has eight products, which is quite a bit.” “Its exciting for us because we have products that range from about $60 to about $2,000 all represented by the same

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brand, and the reason that they’ve done that with us is that we’ve been a good partner in terms of developing products that t with what the Apple user wants,” says Bigget. “We wanted to facilitate and be the creator of the hardware that supports the revolution of making high quality recording accessible to all,” says Bigget. “Ten years ago digital photography was not relevant to many people, the technology was there, but it wasn’t accessible. Audio has been the exact same thing since recording was created. Today, anybody can create a Web site or take a digital image and edit it in Photoshop – we want to do the same thing for audio.” Although Blue is working on the hardware side of the recording “revolution,” Bigget is excited about the possibilities that applications are starting to provide. “I think what you are already beginning to see, is a lot of really great helper apps. You’re going to see a pretty big revolution in terms of how easy it is to do these things, and therefore, how often people are doing them.” “We actually have videos on our Web site that show how to do this,” says Wise. “With an iPhone, a Mikey and a ve dollar App from the iStore, you can literally cut a demo track in about two hours and the quality is actually better than what most people could do with a reel-to-reel recorder ten or twenty years ago.” Bigget agrees wholeheartedly. “If you can provide people with something that’s fun and easy, something they can just plug in, hit a button and instantly be doing high quality audio recording, then I believe that that can become a much more signicant part of a lot of peoples lives.”

Breaking News

Find it in the Hot News section of MMR’s Web site, www.MMRmagazine.com SEPTEMBER 2009

MMR 47


Direct Sound Headphones I

n the 1980s John Gresko, the creator and owner of Direct Sound Headphones, had a problem. His headphones couldn’t handle the volume of his drums and, when cranked, would bleed sound into the mics. His solution: isolation headphones. “It was probably the first isolation headphone in the industry,” says Gresko. When he started Direct Sound in the ‘80s, the company was a one-man shop. This past year alone, Gresko has more than doubled the size of his operation and is planning on expanding even more.

When John sat down with MMR, he told us that his favorite part of the job is “talking to musicians. I handle all of the customer service and the most exciting thing for me is having drummers call me to verbally thank me for saving their hearing. Some of them have been using the headphones for years and think it’s a fantastic idea,” says Gresko. “That’s very rewarding.” Recently, while visiting some of his dealers, Gresko stopped into a store in Nashville. “I went in and they said, ‘Jim Riley from Rascal Flatts was just in here the other day and he raved about these headphones.’ It’s nice to know that people are out there promoting them,” says Gresko. “Sometimes it’s hard to gauge how much business you get from that, but I think a lot of my artists found the headphones on their own and then contacted me about being an endorser after they realized how much the headphones helped them. It’s nice to have those people interested in your product,” he explains. “Even though I was 48 MMR

in the recording industry, I didn’t run into some of these people and to have them calling me is kind of fun.” But Gresko didn’t always have rock stars knocking on his door. “We came into the marketplace in the year 2000, but I invented them in 1985. It took awhile to get there.”

Getting There Back in the 80’s, John Gresko was just your average studio drummer. “I was in a studio band here in St. Louis, and traveled along with a band called ‘Mirage’ that was a kind of a fusion jazz/rock type band and just a blast to play with” says Gresko. “Then, I got an offer in LA at a recording studio in West Hollywood. Within a few years, I was working in four different studios doing jingles and demo albums for people.”

“I tried to turn the headphones louder and louder while thinking, ‘there’s got to be a way... I wish I could put my head in the other room while my body was on the drum set.’” SEPTEMBER 2009


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One day, while trying to lay down a drum track in his home studio John Gresko noticed that the “drums were so loud that I couldn’t hear what I was trying to play. I tried to turn the headphones louder and louder while thinking, ‘there’s got to be a way... I wish I could put my head in the other room while my body was on the drum set.’ That’s how I came up with the idea.” In solving his predicament, John created the first isolation headphones.

Necessity is the Mother of Invention In the beginning of his quest, John tried ripping apart some of his favorite studio phones to see what made them tick. The trouble is “nothing really sounded quite right once you took them out of what they were made to fit in,” laughs John. “So, I fi nally came up with my own design. It’s really hard to get a speaker to sound good in an isolation chamber because it’s soaking up the highs and the mids,” he explains. In the search for the ultimate speaker / headphone combination, Gresko tried “about seven different combinations of parts” before he was satisfied with the sound. Still, John kept tweaking the design. “I’ve had one upgrade in speakers since the beginning and now this is probably the best fidelity I’ve ever had in isolation headphones,” says John. Even today, he’s still testing out his own designs. “I’m always testing... I take headphones out of the factory every few days. I bring them home to my studio and test them out to make sure that they’re still up to par,” explains Gresko. “These are the only headphones on the market that will not bleed sound into a live microphone while you’re recording a vocal track. It’s something that took a lot of time and energy working in my own home studio.”

name on them,” says John. “People would look at them and say ‘those are different can I try them?’ I’d say ‘sure, why not?’. They’d just rave over them and I thought, ‘Wow, I’ve really got something here.’” So, John did the one thing that most musicians would never even dream of doing. “I quit my studio job and came back to St. Louis to get this headphone business going. A lot of people never get the chance to be in the studio in LA,” says Gresko. “But, I knew I had something and decided to get them out on the market. I had a gut feeling and went with it — it’s paid off.” That was in 1985, and it’s taken Gresko a long time to get to where he is today. “Kind of like that Rod Stewart song ‘I wish I knew then what I know now,’” says Gresko. “It would probably have saved me a lot of time. You know it took me from 1985 to 2000 to get these on the market, and it was slow learning along the way because it was totally the opposite end of the business that I was in. The good thing is I’m still in the business.”

Still in the Business “I actually started on the internet.” said Gresko. “I got a computer and started to go on the Internet to learn how to use it. Eventually, I got a Web site built and started selling.” That first Web site has

paid off big time for Gresko. “This year, the whole industry has been down about 10% in the markets I’m in,” he explains. “Nevertheless, we’re up. Last year, we estimated that we would grow 50% and we grew 110%! It’s been hard to keep up and have enough headphones built, but we did. We expanded our office, doubled its size, and outgrew it in five months. Now we’re renting warehouse space just to keep things going.” The expansion into new markets has opened new doors for Gresko’s operation. “We’ve gotten a lot of overseas people and a lot of distribution. It just seems like it’s growing all the time,” say Gresko. “It’s been a pretty good ride and very unexpected. I knew the headphones were a good tool and I knew I could sell them to drummers but I never expected to players of all types in 23 countries all with the same concern of preserving their hearing. When talking to pro audio people I found that most home studios and large studios own multiple sets of extremes. That was pretty shocking.” While he isn’t about to give away any of his secrets, Gresko told MMR that the most important thing is to “believe in what you have. You have to go by your gut feeling,” he explains. “I learned a long time ago that if I don’t go with my gut feeling, I’d end up wishing I did.”

Time Well Wasted The funny thing is, John never intended to sell his headphones. “When I built them, I built them for myself,” laughs John. Gresko brought the phones with him to his day gig in the LA studios. “I had these headphones with me with no 50 MMR

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iMSO Evolves

Original Mantra: “Not a Buying Group” Becomes “Maybe ….”

I

t’s a fundamental principle of business to listen to the customer. The Independent Music Store Owners’ board has listened to theirs – independent MI retailers who, in addition to sharing tips and opinions on their oft-visited forums, continue to “clamor” to unite as a group on another level. While not officially a buying a group (yet), at Summer NAMM they announced their “iBuy” program, which is certainly a step in that direction.

iMSO Founders Victor Himbaugh (Doo Wop Shop, Louisville, Ky.); Chris Lovell (Strings & Things, Memphis); Gordy Wilcher (Owensboro Music, Owensboro, Ky.); Harry Gillum (Showtime Music, The Villages, Fla.); with Korg’s Ken Fuente. 52 MMR

In another eyebrow-raising move, iMSO also appears getting into the instrument making business, offering a new mid-priced guitar line that was designed by founding member Chris Lovell. In addition to that, private label string and brass instruments are being made available exclusively to members. For two days of the NAMM show the group held an open house that was bustling with activity. Plenty of dealers were coming in to learn more about the group, and even more telling, a parade of manufacturers were anxious to sit down and discuss how they could work together. This included Korg, Peavey, Aquarian, Cort, Revival, Ultrasound Amps, Samick, and Heil Sound, among many others. “This is an absolutely great group of people, and I’m excited about what they are doing,” Bob Heil said, noting that he was an independent MI retailer himself, running one of the most famous music stores in the Midwest in the 1970s, Ye Old Music Shoppe. “I’m looking forward to working with as many members as are interested in my microphones.” “[The iMSO] has been needed for a long time,” said founding iMSO member Harry Gillum, who is also owner of Showtime Music of The Villages, Fla. “One SEPTEMBER 2009


dealer who joined almost two years ago spent time on our forum learning how others did their educational programs – how they handled no-shows, how they recruited [et cetera]. Because of what he learned, this year he increased his intake $20,000.” But knowledge isn’t enough, apparently. “Members were begging us for ways to work with manufacturers better during these economic trying times,” he adds. “We have some stores that are doing great and some that are struggling.” He says that the group continues to grow, adding five members a week, and as of the first day of Summer NAMM, they had 338 members and their Web site forums boasts 2,450 posts.

iBuy “I was not prepared for the response iBuy and the iMSO received,” said Gordy Wilcher, iMSO president. “Our meeting room was really busy the entire show. Thank goodness we had many of our great members there to help. Even greater were the largely positive responses we received. The 25 or 30 vendors who came by were as diverse as our iMSO member-

hold our strength in numbers out like a carrot on a stick and entice unreasonable and short-term low-ball deals from our vendors, suppliers, and manufactures. If it’s not something that we can offer our members for a 6-12 month period or beyond then its not going to work.” While the iMSO forum is still free, iBuy will be available only for due-paying members. Gillum also weighs in to clarify: “iMSO will never buy inventory, never write a check.” He says this effort comes out of the need to find some better working model for independents and is solely about the ability for the music storeowner to survive. He sites the recent NAMM report that concluded the cost of doing business dictates products should be sold in the 35 to 39 point range. “Too many manufacturers think it can be done in the 20 to 25 point range.” He adds that manufacturers are getting this and gradually raising MAP prices. But dealers need larger margins – and fast.

Lovell Guitars, Private Label Products No doubt that many dealers and manufacturers weren’t sure what to anticipate

“One dealer spent time on our forum learning how others did their educational programs. Because of what he learned, this year he increased his intake $20,000.” ship, and we fell honored that all of them took the time to visit our open house.” During this time “iBuy” was announced. “iBuy is a work in progress,” admits Wilcher, co-owner of Owensboro Music, Owensboro, Ky. “We’re working to create and build a long-term win-win relationship for our members and the suppliers who want to work with us.” The challenge is to cobble together something that is the flexible, fair, and feasible as “this is not a one-size-fits-all group.” Organizing members by regions, considering proprietary “Google-able” lines of product, and taking on discontinued and thus discounted products are all on the table. Manufacturers are also making suggestions of possible scenarios and the group has their collective ears open. “The key for me is a long term win/win relationship with a capitol R,” Wilcher says adamantly. “I do want everyone to know what iBuy is not. This is not an attempt to SEPTEMBER 2009

when they showed up to the iMSO open house, but they surely weren’t expecting to see a line of guitars and an assortment of string and brass instruments. Turns out Gillum and other key members have been visiting China to procure private label instruments that members can take advantage of the benefits of that. The big news is the Lovell line of guitars. Chris Lovell is a founding member of the group and owner of Memphis’ Strings & Things. But not all know of Lovell’s history as a guitar maker. He founded S&T Workshop in the 1970s and built custom guitars for the likes of Eric Clapton, Billy Gibbons, Jeff Beck, Joe Walsh, and Mark Knoffler, among many others. In 1975 he worked with Gibson to create a reissue of a Les Paul Standard. In 1985 he founded St. Blues, creating guitars that were played by Albert King, Bo Diddley, and Richie Sambora. Now he is designing Lovell guitars exclusively for iMSO members. While they

Harry Gillum with Lovell Guitars.

are being made in China, the guitars are to be maintained by the retailer to keep them at their original factory specifications through the terms of the warranty set-up required for each guitar sold. Gillum stresses that Lovell is not just slapping his name on some pre-made instruments. “These are designed by Chris for us, and a group of the guitars will MAP at $299 with a second group MAPing at $399. “Most importantly, the instruments far exceed the minimum point frame work and are very profitable.” Gillum stated that the group of directors is still all-volunteer, and just sincerely trying to navigate the laws, the economy, the needs of their members, and the vendor community to create a viable, profitable, even pleasant business model. A lot of dots have to be connected and holes need to plugged, but they are determined to do it and encouraged by the response so far. “iMSO signed up another 15 new members at this NAMM show,” Wilcher said. “We were just thrilled to meet more likeminded indie dealers. We expect membership to continue on a steady clip. “As I look forward, I see iSMO continuing to grow and work with NAMM and our vendors to improve the relationships of the MI community. I never doubted that the independent dealer is the best solution to grow this industry. Selling the instrument is only the beginning – we need to teach, we need to be part of the community, and that’s what Independent dealers do best. It’s these folks and their passion for music making that will sustain our industry.” MMR 53


SHOW REPORT

NAMM Summer Session 2009 Numbers Down, Spirits Up

T

here’s no getting around the smaller tally of exhibitors and the lack of some “big names” normally present at Summer NAMM, but the numbers truly don’t tell the full tale of this year’s get-together in Nashville… Small Names Do Big Business

“We got so busy on Friday, I was making appointments for dealers to return on Saturday and Sunday,” says Ken Haas, sales director for Reverend Musical Instruments. “We’ll be back to Nashville without question.” The sentiment was shared by many, especially smaller, companies: “We didn’t 54 MMR

know what kind of expectations we should come with this year, but we were happy,” notes Phil Bettete of Yorkville Sound. “We wrote orders, saw the buyers we wanted to see, and did very well. I think, because some of the larger brands decision to stay home, companies like ours did even better.” Indeed, the reduction in foot traffic and absence of some industry heavyweights provided many exhibitors with opportunities to showcase their products more effectively and for dealers and suppliers to engage in real conversations (instead of super-rushed, two-minute chats) and conduct real business. “Due to the absence of several large ‘destination’ exhibitors, the attendees looked for alternatives and there we

were,” observes Santa Cruz Guitars’ Richard Hoover. “Even though the numbers were down, we never lacked for booth traffic.” However, Richard voices a concern shared by many at this year’s Nashville Show: “I do hope that non-attending companies considered the long term cost of their non-support, as without it the summer show may not be available in the future.” “The attendance was obviously down in terms of both exhibitors and attendees,” concedes Chaim Rubinov of FreeHand Systems. “Some may see that as sign of a bad show, but in my opinion, it was an opportunity for attendees to see more of the show, and spend a little more time at each booth.” SEPTEMBER 2009


The reason for fewer exhibitors and convention-goers is a secret to nobody, of course. During his State of the Industry speech on Friday morning, NAMM president and CEO Joe Lamond spoke in detail about the economy and its recent impact on all aspects of the industry. “No one really knows the answers to our global economic crisis,” he said. “Those who call for a fourth quarter recovery, when the recession will have reached 23 or 24 months, could be right. But we’ve been here before. It’s something that will repeat and we need to plan for it.” As the third and fourth quarters of ’09 will, doubtless, hold their fair share of challenges, Lamond also noted that such a climate also affords unique opportunities which music products professionals should be prepared to take advantage of. Overall, NAMM is reporting a 26 percent decrease in registration from last year’s Show. However, of the 383 companies displaying products, a large number

“We didn’t know what kind of expectations we should come with this year, but we were happy.” (reportedly more than 145) were newcomers to Nashville. “As we had not shown at NAMM before, I didn’t have a point of reference as to the amount of traffic in the hall,” acknowledges David Terrell of DARE Music Group, “but I can tell you that most of the time we were swamped! We were very happy with the interest level and feedback we received from retailers, distributors and artists. We are entering negotiations for distribution rights in Canada and the U.S as a direct result of the NAMM show. We also met with one of our European distributors that had already signed up with us previously at MusikMesse and this distributor tripled the initial order.”

Tracy and Jamie Leenman of Pecknel Music Co. with NAMM president, Joe Lamond.

Scott Wunschel, Rob Turner and Scott Ferrara, EMG Pickups.

Skip Maggiora of Skip’s Music and AIMM.

Wayan Zoey and Thilo M. Kramny of PPV Medien, with Harvey Levy of Levy’s Leathers Limited

Mike Putnam, PZtronics.

Mike Sales of Reliance Intl., with Rick Young of Yamaha Corp.

Joe Husak and Tim Pfouts of SIT Strings.

Lee Averwater, Amro Music Stores, Tabor Stamper, Mapex USA, and Dex Johnson, Mississippi Music.

John Norris and Pat Bovenizer, Peterson Strobe Tuners.

Dennis Houlihan of Roland Corp.

MIDC’s Paul Pinchuk.

R.S. Berkeley’s Gina Fragner.

Ken Fragner of K&S Music.

The Breakfast Club As in previous years, the popular NAMM University Breakfast Sessions provided attendees both a free-of-charge SEPTEMBER 2009

Perry Pinto of AIM Gifts.

Don Lace of Lace Music Products.

MMR 55


full meal and valuable insight into the MI Industry, making the sessions truly the most important meal of the day. Saturday’s breakfast saw the presentation of the Music for Life award to Bill Ivey, longtime music advocate and former chairman of the National Endowment for the Arts, The National Academy of Recording Arts and Sciences, and director of the Country Music Foundation. Previous winners include Sesame Street’s Bob McGrath, former Governor and Presidential candidate Mike Huckabee, and actor Richard Dreyfuss. In his acceptance speech, Ivey noted, “We don’t want to overlook the value of the music store as the center for learning, a place to imagine.” He expressed optimism about the resilience of the MI industry, stating, “Innovation combined with a sense of affordability and creativity will usher in a new era.” The featured speaker for the session was Bob Negen, an expert in small business and retail. Negen provided a detailed look into many aspects of achieving success in sales, from creating an atmosphere of positivity to building a

customer base and understanding price points. In response to the nation’s current economic situation, he states, “You have to focus on what you want, not what you fear. Focus on opportunities, not problems.” Many of the practical tips focused on his three ways to grow a business: get new customers; increase

Not Too Shabby… In addition to visiting booths, attending concerts and receptions, and enjoying the daily Breakfast Sessions, attendees took advantage of the standard array of professional development sessions held at the Idea Center and NAMM University education seminars that show “regulars” have come to rely on. All in all, while certainly a reflection of the troubled economic times in which we live, the 2009 Nashville experience would have to be considered a success – albeit a triumph based more upon sentiment and attitude than cold, hard numbers. The positive vibes put out by those who did choose to exhibit or attend have many already looking forward to the next convention. “Both GuitarGuard and NeverKink had unprecedented sales success at the Summer Show,” says Larry Post of GuitarGard. “We are already looking forward to Winter NAMM.” The 2010 NAMM Show will take place January 14–17, 2010, in Anaheim, Calif. For more information about 2009 Summer NAMM, interested parties can log on to www.namm.org/summer.

“The attendance was obviously down in terms of both exhibitors and attendees. Some may see that as sign of a bad show, but in my opinion, it was an opportunity for attendees to see more of the show, and spend a little more time at each booth.”

Rick Johnson, Johnson Guitars displaying his “machine gun” guitar. We are told it’s the only guitar endorsed by the National Rifle Association. 56 MMR

the size of the average sale; and increase the number of transactions. “Marketing is the what drives business,” Negen insists. The final Breakfast Session engendered perhaps the most “audience participation,” as Mt. Zion Baptist Church Gospel Choir performed and successfully encouraged most in attendance (even one very sleepy MMR editor…) to clap and sing along.

Lava Cable’s Mark Stoddard and Tony Cole.

Jeff Kylloe and Larry Goldstein, Westheimer Corp.

Holly Anzalone-McGinnis and Daniel Frohnen, Alfred Publishing.

Torry Butler and Kal Kostrzewski of Xcel Drumsticks.

Rick Hubbard and Stephen Murray of Kazoobie, Inc.

Josh Touchton and Brian Vance of D’Addario & Co. SEPTEMBER 2009


Joe Naylor with Penny and Ken Haas of Reverend Musical Instruments.

Danny Rocks of The Company Rocks with MMR’s Sidney Davis.

VJ Rendano Music Co’s Chip DiFiore.

Kevin Cranley and Incoming Chairman Tom Schmitt of NAMM’s Executive Committee.

John Broermann, Music Dealers Resource Group.

Marc Ingber of Score Marketing.

American Way Marketing’s John Musselman and Phyllis Kohlenberg.

Steve McIntosh of Roc-N-Soc Inc.

Kedra Morris and Bill Stouraites of New Sensor.

Raymond McGlamery, Glenn Derringer, Alan Galbraith, David Caron, and David Terrell of Dare Music Group. SEPTEMBER 2009

Ron Marquez, Roy Burns and Chris Brady, Aquarian Drumheads.

Martin Ritter and Jeffrey Nixon of Creative Bags and Cases, Ltd.

Lauren Wallace, Hailun Pianos.

Steve Smith and Paul Chu of America Longxing.

Audio 2000’s Rafael Gutierrez, Haw Ren Chen and Hu Chen.

Tony Guarriello, TREGAN guitars.

Devin Dougherty and Dennis Reamy of TKL.

Dominick, Nick, and Dom Gagliano of Amedia Cymbals USA.

Schatten Pickups: Rod Rose and Les Schatten.

George Li, Merano Musical Instruments.

Sesame Street’s Burt and Ernie with MMR’s Jeff Weinstein.

Yamaha’s Joan Mackeben. MMR 57


Voices from the Show Floor

I

n addition to speaking with a number of suppliers and exhibitors at this Summer’s NAMM Show, MMR also sought out feedback from dealers present in Nashville this July. With the economy the clear topic on everyone’s mind and the numbers at 2009 Summer NAMM reflecting the bleak climate, we asked a handful of retailers: “What’s your take on this year’s show in Nashville, and what is your outlook for the rest of the year?”

“We aren’t looking for anything in particular; we never miss a trade show. We think it’s so important to be at the trade show regardless of whom other people might think will be there. We feel it’s important to our business to come and build relationships with vendors and see what’s going on in the industry.

“So far this year, I’m up about 25 percent over last year. I’ve been growing about 25 percent a year since we’ve been around, which is about seven or eight years. Things are looking good.” Paul Bolduc The Guitar Hut Knoxville, Tenn.

“The numbers are down here. That’s obvious and you can see it when you walk onto the convention floor. But the people who are here are serious about their business and the vendors here are serious, too.” “I’m just looking around for new technology to see what’s out there in amps and guitars. Naturally, there are thousands of things to look through. It’s kind of overkill, but I’m just trying to find things that pique my interest, and check out pricing and economy: how much you’re going to get for your money. If guys are out playing, are they really going to spend two or three thousand dollars on an amp or a guitar that they’re going to take into some dirty club? I’m looking around and finding guitars that are only $500, but they’re made in that vintage style. It’s incredible. “Like anybody else, we’re just taking it day by day. A lot of what we’re looking for in this economy is pricing and quality. That’s really going to be the big question over the next couple of years.” Albert “Skip” Benicky Sonic Sound Productions Winnetka, Calif.

58 MMR

“Things are looking good for us. We’re a big band instrument rental dealer and we think we’ll be okay. We’re excited about the fall. We’re positive about things, though cautious. “The numbers are down here. That’s obvious and you can see it when you walk onto the convention floor. But the people who are here are serious about their business and the vendors here are serious, too. It’s a great opportunity to have a conversation without the stress and anxiety of the really crowded shows, like Anaheim usually is. It’s been productive for us. We’ve seen some new things and we’re glad that we came.” John Tarpley Tarpley Music Amarillo, Texas “I’m just checking out new products, seeing if there’s anything I’m interested in. I’ve found a few things – banjos, dulcimers, pedals. Everything looks nice here. There’s a bunch of new dealers here. I’m fairly impressed.

“We are a very small music store. We try to be full service, but we focus a lot on beginners. One big thing we are looking for is really good products in terms of entry-level material. Good, specialized products. We’ve been very pleased. I know everyone talks about this show being smaller, but I’m well pleased with the experience that we’ve had here. We came here because this show is where we get a lot of new ideas and see a lot of new products that may not be here next year, but they’re here now. We have a pretty high hit rate as far as the new stuff, taking it back to the store, and getting some things going. “I think we’re still in for a rough ride. Historically, where we are, because we rely on music students and band instrument rentals, as well as our regular sales, the summers are always slow. But we are anticipating some good signs in August and September. I still think everyone is SEPTEMBER 2009


going to be kind of spooky until the first part of next year, maybe even until next summer.” Allen Hinnant Leonard’s Music Sumter, S.C.

Center. That’s what I come for. I learn so much; it’s great.” Paul “Rick” Hamilton Amy Eshelman Drums Etc. Lancaster, Pa.

“We’re here because of the great time we have here at night, and a little bit because of the show. Usually, I want to see the smaller manufacturers, new inventions, and things like that, more so than the big

“This show gives us a time to hone in on certain small and useful products. I’m stocking a small music store from scratch in Holly Springs, Mississippi. The economy is bad, I know that, but I feel confident because

I didn’t know whether I would, since there aren’t as many exhibitors here this year. On the other hand, the slower pace affords you a little more time with each vendor, when the crowds are a little smaller. “Overall, my impressions are mixed. I think NAMM could have done more with the Idea Center. They could have done more classes

“I’m pleasantly surprised. I expected this show to have less impact on me, as far as being a business owner, but I’m coming out of it with a lot of ideas.” players, so this year, we have a lot of that. We actually had time to have a beer this afternoon, and I had the chance to get out and check out a music store today; in the past, we’ve always been too busy for that kind of thing. “Overall, I feel like the NAMM summer show is dissolving. I am still having a great time here and I’m making the best of it, but it needs to pick up. I’d still come back next year if I knew it was going to be this small, but a lot of that is because of the town.

“At our company, we’ve seen really good times and we’ve seen low times, so this is just how it goes. We are going to weather the storm and we’re always looking for new ideas. The best part of this show is the Idea SEPTEMBER 2009

I’ll be the only store within 45 minutes in any direction. Providing band instruments to the schools, and giving lessons and knowing what my price market is and staying within that, I fell pretty good. I’m not going to be carrying thousand-dollar guitars, you know? $700, maybe, 3-500, maybe, but knowing what my price market is, I think I’ve got a good shot. “Things seem to be a little bit quiet at the show right now. Some instruments are a little pricey, but that happens.” Charles Long Marshall County Music Holly Springs, Miss. “As with every year, this is the way that we stay in contact with our vendors, check out new merchandise and products that we can put on our floor. We’re looking for piano and related instruments, and I’m happily surprised with what I’ve found some new things.

that maybe fit the core of what people are going through with financing and things like that. The classes that they have had are pretty good. Sometimes the classes repeat every year, so I’d like to see them change it up a little bit, but overall, as far as the exhibitors are concerned, things have been really positive. I’m pleasantly surprised. I expected this show to have less impact on me, as far as being a business owner, but I’m coming out of it with a lot of ideas. “In the next six months or so, I see things moving at our store, I see positive flow. I tend to have a very optimistic viewpoint. At this point it’s like, ‘Okay, we’re in a recession. We’ve got to keep going. If we’ve made it this far, we’re going to keep going.’ You have to be creative. You have to get your eight hours of sleep every night, and then wake up believing that every day is a new day. I’m keeping track of the finance market and I’m seeing some positive signs there. We should all eliminate the naysayers from our lives.” Bobbi Paul Piano Trends Music Company Crystal Lake, Ill. MMR 59


Tim Laskey and George Benson, Wyman Pianos with Piano Disc’s Allen Guyot.

Pat Odenius and LJ Mechem, LM Products, Inc.

Brian LaRue of Dream Cymbals.

Lorne Graham and Gene Garb, NEMC.

Bryan Paige and Amber Slade, Paige Capo.

Schatten Design’s Les Schatten.

Eric McGregor of Alesis/Akai/Numark.

Karen and Hap Kuffner.

The Music Link: Ashley Atz, Steve Patrino, Travitz Atz. 60 MMR

WaveAngle: Sean and Shelly Michaud and Frank Paschal.

Rick Carlson and Mike Upton of Kala Music Co.

William Taborn and Michael Griffin of Essential Sound Products, Inc.

American DJ’s Tom Freret.

NAMM’s Joe Lamond and Pat Martin.

MMR’s Rick Kessel and Joe Fucini, Fucini Productions.

Liliana Urosevic, Saga Musical Instruments

Mark Stone and Jerry Freed, Gator Cases, Inc.

Jonathan Tai, Pamela Liu and Pei Chun Chou of Peak Music Stands.

John Norris, Peterson Electro-Music Products Inc.

Gail Rose and Stan Morgan, Austin Guitars

Tommy McCoy of Microphone LLC with Barbara George and Jodi Ann Parker of Players Products. SEPTEMBER 2009


Ron Chenoweth of Ken Stanton Music and Mark Ragin of J.S. Band and Orchestra Supplies/St. Louis Music.

Andy Ellis of The Guitar Show and B-Band, Inc’s Pekka Rintala

Melissa Bailey Scarborough and Craig Theorin of W.L. Gore & Associates.

Michael Farley and Dustin Cheatham of 0.

Kyle Eggum and Colin Besancon of Beedlove Guitar Co.

Coil Guitars: Justin Ahmanson, Joe Gross, and Tim Babich. SEPTEMBER 2009

NAMM newcomers, Leo Kopelow and Dave NGO of Stagetrix.

Tunerguard’s Ken Smith and Jessica Deciver.

Kirby Riegelmeier of Epilog Laser.

Theresa Tai and James Hairston of Sonicson Saxophones.

Lee Averwater, Amro Music Stores, Tabor Stamper, Mapex USA, and Dex Johnson, Mississippi Music.

Michael Renwick and David Lienhard of Dean Markley.

Music for All’s Scott McCormick

Shubb Capos’ Gary Mobley.

Paul Snyder and Randy Smith of Four Star Wire & Cable.

EMD’s Bill Filek, Dan Barker and Marc Jacobs.

Pat Graham of Hoshino USA Inc.

Mark Badger of Belcat Co., Ltd.

Jennifer Davies with Scott Davies of American DJ.

Bridgecraft’s Brad Weinholtz with music dealer Warren Pummill of D&W Music, Bowling Green, KY. MMR 61


The Aurora Strings Team: Walter Deselius, Chris Peletier, John Coniglio, Cindy Overton, and Bart Comiskey.

Anthony Perri of Perri’s Leathers.

Peter Choi of Kahler Intl.

Al Ingallinera of Beamz Int. with Kurt Slep of Sound Choice.

Guy Petty, Grant Deaton, and Joe Bevins of SHS Wholesale.

Ace Products Group’s Dave Andrus and Alan Poster.

Dominick Gagliano of Amedia Cymbals.

Rich Mackey and Mark Aletto of Guistar Picks.

John Pearse Strings-Breezy Ridge gathering of the clan. 62 MMR

Nicholas Palmer and Randall Williams of Kyser Capos.

Jupiter’s Tabor Stamper.

Kris Twomey and Brian Martin of The Guitar Folks.

William Strumm, Jim Hennessey and Russell Pace, The Music People.

Indiana State music business professor Ted Piochienski with Kathy Johnstone, Alfred Publishing.

Breezesong LLC’s Steve Skillings

NAMM Board Members Joe Vasko (Mapex) and Robin Walenta, (West Music).

Joey Arias of Crafter USA, Inc.

Marianne McAlindon with Iain Wilson of IBC Trading.

Supernatural Percussion, Inc.: John Pitruzzello, Shawn McCain, and Steve Spratt. SEPTEMBER 2009


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Chris Lovell of MottAudio LLC, Doug Nestler of Korg USA, Gordy Wilcher of Owensboro Music Center, and Harry Gillum of Showtime Music Company at the iMSO open house.

Kim Lorz, Sarah Shreve, and Chaim Rubinov of Freehand Systems.

Joe Medine and Mike Mulqueen of Major Music Supply.

Roland’s Dennis Houlihan and Hal Leonard’a Larry Morton.

Marty Harrison of Access Bags and Cases.

John Gresko and Dave Trout of Direct Sound Headphones.

Larry Post of GuitarGuard.

Flaxwood Guitars: Ed Klein, Harry Orlove, and Rick Nelson.

John Tomaszewicz of JT Sound, Inc. SEPTEMBER 2009

WD Music Products’ Eric Lewis.

Gator Cases’ Mark Stone, Jerry Freed and Dustin Pesnell.

John Pirucello of Hanson Guitars.

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Blue Book Publications’ Zach Fjestad. MMR 63


David Jahnke, Larry Morton and Brad Smith, Hal Leonard Corporation.

Mark Badger of Belcat Co., Ltd. and Deanna Passarella of Pro Stage Gear.

Sonic Distribution’s Bob Reardon.

Mike Upton, Phil Slight and Rick Carlson, Kala Brand Music.

Dennis Capiga and Scott May of Hammond Organ Co.

Orin Portnoy of CE Distribution.

Jim Shippey and Jessica Deaver, Tunerguard.

C.F. Martin’s Dick Boak with MMR’s Christian Wissmuller.

Tri-Technical Systems’ Pat Murphy and Brett Stoffel.

Jim Bustamante of ShelFactory LLC.

Ludwig Drums’ Grant Henry and Kevin Packard.

Doug Williams of FleaBass.

Jody Dankberg and Rudy Schlacher of Washburn/U.S. Scott and Chris of The Music Link. Music Corp.

Nick Isasi and Bob French, Music Freight.

Mike Matthews and Kendra Morris of New Sensor.

Mike Renwick of Dean Markley Strings with Phil Thomas of Shem Creek Music Ctr., Charleston, SC.

Roy Vogt, Barbara Crossman and Patrick Henry of The Learning Dock.

64 MMR

Hap Kuffner of Kuffner Intl. with Jay Hostetler of Stewart MacDonald, Stan Werbin of Elderly Instruments – Enrick Coleman of Stewart MacDonald.

Dave Ingham, Marianne McAlindon and Iain Wilson, IBC Trading Ltd. SEPTEMBER 2009


Bob Yerby and Brian Levan of Remo, Inc. with Gary Forkum of Fork’s Drum Closet.

Brad Baker and Ron Allman, Avedis Zildjian Company.

George L’s Musical Products: Leesa Gifford, Sandy Richter, Kimberley Lewis, and Susie Merritt.

Dana Bourgeois of Bourgeois Guitars.

Kevin Dougherty of TKL Products Corp. and Dennis Reamy of Cedar Creek Cases.

Harry Koski and Eero Kilpi of Mad Professor Amplification.

Dana B. Goods’ James Garza.

Pete Dixon of Morrell Music.

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Jim Mullins of Musicians Wholesale.

Bernie Selditch of Tropical Music Corp.

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Hammond Suzuki, USA: Scott May, John Gamino, Dennis Capiga, Phy T. Nguyen, and Jay Valle. SEPTEMBER 2009

Bulletproof Guitars’ Brian Zimmerman.

Michael Ferrucci of Voyage-Air Guitars.

www.tycoonpercussion.com tel: 909-393-5555 Log on to learn more about Tycoon’s full line of top-quality percussion instruments.

MMR 65


Best & Worst of Show Awards

Best &

Best View The sunset from the porch at the lakeside house where FleaBass hosted a small gettogether on Friday offered a glimpse of rural tranquility well outside of the Nashville city limits.

Best Buffet Item

The “mashed potato bar” at the pre-show party on Thursday night was a glorious tribute to everyone’s favorite starchy paste. Diners strove to discover just how much “stuff” (bacon, chives, candied walnuts, sour cream, cheese, olives, mushrooms), in addition to a potato base, could be forced into a large cocktail glass.

Best Dinner on a Budget At a distance of .73 miles from the Convention Center (thanks, Google Maps!) and with a total charge of under $3.25 for three burgers (one each of: cheeseburger, jalapeño cheeseburger, and bacon cheeseburgers), a walk to the White Castle on Broadway provided both an economical meal option, as well as a decent cardio workout (because walking around on the show floor all day wasn’t enough…)

Best Coiffure The trio of MI lawyer Ron Brenstock, Hap Kuffner, and MMR’s Rick Kessel share a gleaming above-the-neck aesthetic.

Best Unexpected Excitement Best Use of Space The folks at The Learning Dock made sure that their 5’ x 10’ booth got as much attention as larger displays, via a colorful, unique design. 66 MMR

The “hottest place to be” in Nashville on Friday night momentarily appeared to be the Renaissance Nashville Hotel, which at approximately 8:30pm was forced to evacuate its guests due to the activation of the hotel’s “life safety system” (In my day, we just called them “fire alarms” – go figure). As the hotel noted in an official document later that night, “The emergency was quickly determined and rectified by the hotel supported by the local Fire Department.” Kudos on some swift and efficient work, guys!

SEPTEMBER 2009


Worst

&

Best Family Ties For whatever reason, Summer Session 2009 seemed to bring industry families together more than usual.

Worst Realization Hall Crystal Flutes family affair, daughters Trisha and Kendra with Jenny and Jim Hall. Larry and Wendy Davis with Eric Lewis, WD Music Products.

Though hardly surprising, just one trip to Jack’s Bar-B-Que reconfirmed that even the best pulled pork available in MMR’s home stomping-grounds of Boston doesn’t hold the tiniest, most pathetic, mini birthday candle to the BBQ offerings down South. Sigh…

Worst Attendance

Mike and Irwin Berg of Humes & Berg.

Shelley and Sean Michaud, Waveangle.

Dealers and exhibitors who skipped the morning breakfast sessions. NAMM provided food for body and soul... including some of Nashville’s finest entertainers.

Worst Appearance

Mitchell, Marc, and Michael Harris, Harris Musical Products, Inc.

Long leather coats, suspenders and belts with rolled up short sleeves, fishnet stockings, multi-colored hair. Welcome to Music City USA!

Worst No-Shows… Ernie Ball: Brian, Sterling, and Scott Ball. Jeffrey Weinstein Larry and John (grandson) and Lashbrook of Sidney Davis of MMR. Lashbrook Guitars.

No need to mention these folks by name (but they know who they are…). While the lack of some of the bigger players in the MI world did allow for smaller suppliers to shine at this summer’s show, the dearth of support from many of “the big kids” wasn’t exactly a strong show of solidarity. Step up to the plate, fellas – think big picture, here.

Worst Weather! Jerry and Jennifer Landrum of Calzone Case Co.

Paul Sheldon Global Productions: Paul Sheldon, with his son, Seth.

Dominick, Nick, and Dom Gagliano of Amedia Cymbals USA. Marty and Colt Harrison, Access Bags and Cases. SEPTEMBER 2009

This may not be a popularly held opinion (everyone else seemed to be gushing about the “pleasant” temperatures in Nashville…), but when you never take more than a four-day weekend each summer and a trip to the NAMM Show is one of your few opportunities to enjoy some sunny, hot weather – maybe even lounge by the hotel pool for a bit – the mid-70s, breezy, partially cloudy weather that distinguished the ’09 trip was a major letdown. MMR 67


Santa Cruz Guitar Co.: Lizabeth Gray, Richard Hoover, Tom Walzem, and Rick Fagen.

Maria Schneider, Beverly Hoeft, and Jeff Ponte of Mel Bay Publications.

Rob Manning of Hosa Technology, Eric Lacorara of George’s Music Store, Berwyn, PA, Jose Gonzalez (Hosa), and Mike Neuman of Caig Labs.

Bob Negen speaks at the NAMM U Breakfast Session, Saturday, July 17th.

Sesame Street’s Bert and Ernie with MMR’s Eliahu Sussman (center).

Yamaha Piano featured at the Gaylord Opryland Hotel

David Terrell of Dare Music Group.

Kyle Eggum of Breedlove Guitar Co.

Steve McCreary of Collings Guitars.

The Levy’s Leathers team: (back) Brett Marcus, Larry Greene, Chris Markle and Ben Myron (front) Garth Giesbrecht, Harvey Levy, and Corrinne Hunt.

Aaron Pearson, Charles Shrader and Jim Mullin, Musician’s Wholesale.

Chuck Yamek of DPA Microhpones.

Mike Connolly, Bobby Cochran (artist) and Greg Farres of Ultrasound Amplifiers.

Shubb Capos’ Dave Coontz, Gary Swallows, and Gary Mobley.

68 MMR

Bob Terry and Rick Young, Yamaha Corporation of America with drummer Logan Salter. SEPTEMBER 2009


going to be kind of spooky until the first part of next year, maybe even until next summer.” Allen Hinnant Leonard’s Music Sumter, S.C.

Center. That’s what I come for. I learn so much; it’s great.” Paul “Rick” Hamilton Amy Eshelman Drums Etc. Lancaster, Pa.

“We’re here because of the great time we have here at night, and a little bit because of the show. Usually, I want to see the smaller manufacturers, new inventions, and things like that, more so than the big

“This show gives us a time to hone in on certain small and useful products. I’m stocking a small music store from scratch in Holly Springs, Mississippi. The economy is bad, I know that, but I feel confident because

I didn’t know whether I would, since there aren’t as many exhibitors here this year. On the other hand, the slower pace affords you a little more time with each vendor, when the crowds are a little smaller. “Overall, my impressions are mixed. I think NAMM could have done more with the Idea Center. They could have done more classes

“I’m pleasantly surprised. I expected this show to have less impact on me, as far as being a business owner, but I’m coming out of it with a lot of ideas.” players, so this year, we have a lot of that. We actually had time to have a beer this afternoon, and I had the chance to get out and check out a music store today; in the past, we’ve always been too busy for that kind of thing. “Overall, I feel like the NAMM summer show is dissolving. I am still having a great time here and I’m making the best of it, but it needs to pick up. I’d still come back next year if I knew it was going to be this small, but a lot of that is because of the town.

“At our company, we’ve seen really good times and we’ve seen low times, so this is just how it goes. We are going to weather the storm and we’re always looking for new ideas. The best part of this show is the Idea SEPTEMBER 2009

I’ll be the only store within 45 minutes in any direction. Providing band instruments to the schools, and giving lessons and knowing what my price market is and staying within that, I fell pretty good. I’m not going to be carrying thousand-dollar guitars, you know? $700, maybe, 3-500, maybe, but knowing what my price market is, I think I’ve got a good shot. “Things seem to be a little bit quiet at the show right now. Some instruments are a little pricey, but that happens.” Charles Long Marshall County Music Holly Springs, Miss. “As with every year, this is the way that we stay in contact with our vendors, check out new merchandise and products that we can put on our floor. We’re looking for piano and related instruments, and I’m happily surprised with what I’ve found some new things.

that maybe fit the core of what people are going through with financing and things like that. The classes that they have had are pretty good. Sometimes the classes repeat every year, so I’d like to see them change it up a little bit, but overall, as far as the exhibitors are concerned, things have been really positive. I’m pleasantly surprised. I expected this show to have less impact on me, as far as being a business owner, but I’m coming out of it with a lot of ideas. “In the next six months or so, I see things moving at our store, I see positive flow. I tend to have a very optimistic viewpoint. At this point it’s like, ‘Okay, we’re in a recession. We’ve got to keep going. If we’ve made it this far, we’re going to keep going.’ You have to be creative. You have to get your eight hours of sleep every night, and then wake up believing that every day is a new day. I’m keeping track of the finance market and I’m seeing some positive signs there. We should all eliminate the naysayers from our lives.” Bobbi Paul Piano Trends Music Company Crystal Lake, Ill. MMR 59


INDUSTRY VOICES

Get On The LED-ing Edge MI Dealers Can Make Their Lighting Sales Shine With The New Generation Of LED Products By Scott Davies, General Manager, The American DJ Group of Companies

H

aving been in the DJ/club/musician lighting business for over 25 years, I have had the opportunity to witness many changes in the industry. Perhaps none has been as profound or has as many exciting possibilities for MI dealers, as the change that’s occurring now – the shift from halogen to LED (Light Emitting Diode) lighting effects.

With the price of LED technology coming down, working DJs and small bands are now starting to join this major trend, which has been taking place in our industry among larger lighting customers for several years. Lighting manufacturers are creating more portable, easy-to-use and affordable LED lighting effects for this smaller mobile-entertainer market. For example, there are now LED-powered chase effects, pin spots, par cans, moonflowers, black lights and more – many listing for around $100 retail or less. This, in turn, is driving sales – and creating new opportunities for you, as an MI dealer, to profit from the lighting category. From your customers’ standpoint, there are many benefits to be gained from switching to LED lighting. In fact, many of the DJs and musicians who come into your store for gear and instruments are probably already curious about LEDs 70 MMR

and may even be thinking about replacing their old halogen lights with this cutting-edge technology. By stocking and displaying products aimed specifically at this market, and making your staff knowledgeable about the selling points of LEDs, you will be in a position to tap into the huge profit potential of this mega lighting trend.

LEDs: The Basics First, a little background on LEDs. Light Emitting Diodes are an electronic light source. They create light through the movement of electrons through a semiconductor, unlike incandescent lighting such as halogen, which produces light by heating a metal fi lament to a high temperature with an electric current. Because they contain no fi lament to burn out, LED lamps last much longer than halogen. Many of the DJ/musician LED

effects on the market today can run from 50,000 hours upwards of 100,000 hours depending on the intensity – virtually eliminating the hassle and expense of changing lamps. The money your customers save on replacement lamps will help them easily recoup their initial investment in LED products – something your sales staff should defi nitely point out. Without having to heat a filament to produce light, LEDs also offer the advantage of operating at a very cool temperature. Not only does this keep things more comfortable on the stage or dance floor, it also allows LED lights to be run all night without being shut down for duty cycles as required by many halogen effects. What’s more, mobile entertainers can pack them up right after the show – no more waiting for lights to cool down. LEDs are also incredibly energy efficient. An LED effect that produces an output similar to a 400W halogen lamp SEPTEMBER 2009


typically draws a mere 30W-50W of electricity! Aside from saving energy, this low power consumption means that DJs and bands will be able to run their entire light show on just one electric circuit. When they set up at a gig, they won’t have to worry about having enough power for all their lights and audio gear without tripping circuit breakers or blowing fuses – which is always a big concern for mobile entertainers. For instance, one 15-amp circuit, which would typically provide enough power for only 2 traditional halogen fi xtures such as American DJ’s Vertigo or Aggressor effects, can handle more than 20 of our new Jewel LED moonflowers. What’s amazing is that despite their stingy energy draw, LED effects really produce a knockout light show. They create ultra-bright, rich colors that won’t ever fade. Their built-in programs and chases are usually more exciting than those seen in halogen effects, because their individual LED lamps can be turned on and off independently to create more intricate patterns. Unlike many halogen effects, they even look great when used without fog machines, which makes them ideal for DJs and bands who work weddings, corporate events and other venues where smoke is restricted.

An Easy Sell With all they’ve got going for them, it’s easy to see why LED effects are quickly taking over the entertainment lighting market. By stocking and promoting the new, smaller LED products aimed at DJs/ musicians/mobile entertainers, MI dealers are in an excellent position to profit from this trend. Here are some added steps you can take to boost the sales of LED lighting effects in your store:

SEPTEMBER 2009

Create a display demo-ing an LED effect side-by-side with a halogen effect – Choose two effects of similar output, and put up signage showing how much less wattage the LED unit draws. Most customers who view this head-to-head comparison, even without knowing the power consumption, will fi nd the LED more impressive in terms of brightness, chase patterns and vivid colors. Show how sharp and bright LED beams are without fog – Another demo idea is to run a halogen effect with a fog machine focused on its beams and display an LED unit next to it with no fog. This will demonstrate firsthand to DJs and bands that LED effects can be the solution they’re looking for when performing at gigs where no fog is allowed. Merchandise an ensemble of different LED effects together at a special package price – Offering such a package deal will make it easier and more affordable for customers to switch their light show to LEDs. Choose 3 or 4 LED effects that work together to put on a great show, and give customers a price break over buying the pieces individually. At American DJ, we’ve had success with this type of pre-packaged LED kit, called the LED FX Pak II, which includes 3 different LED moonflowers plus an LED police beacon, and comes in a colorful box designed to stand out on the dealer’s sales floor. Plug into the “green” movement – It’s not only wise, but also very fashionable today to be environmentally conscious. Promote LED effects as an earth-friendly green product that reduces both energy consumption and the volume of waste in landfi lls by eliminating throwaway light bulbs. Train your staff to “think LED” and be ready to discuss the advantages. Any customer looking for a lighting effect should be shown an LED – not just for the immediate sale, but because it can plant the seeds for future business. If they buy an LED effect, chances are they’ll like it so much, they’ll soon be back to replace all their lights with this amazing new technology.

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MMR 71


FRETTED

Denver Folklore Center by Dick Weissman

T

he Denver Folklore Center was one of the first acoustic music shops in the United States. As far as proprietor Harry Tuft and I can tell, it was, in fact, the third acoustic music shop in the United States, opening its doors in 1962.

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At the time the two previously existing stores were McCabe’s Guitar Shop in Los Angeles, and the Folklore Center in New York. The New York shop sold some musical instruments, but was heavily involved in the sale of books about folksong and folklore. So in a sense the Denver Folklore Center was the second store of its kind in the Unit-

ed States. In a wide-ranging interview, proprietor Harry Tuft told us about the history of his store, the plethora of acoustic music shops in the metro Denver area, and also tried to help us unveil the mystery of why Denver Folklore Center has positioned itself in such a way that it has clearly survived the recession.

SEPTEMBER 2009


MMR: How did you happen to open the store? Harry Tuft: I’m originally from Philadelphia, but I’d grown disenchanted with the East Coast and went out to Colorado to ski in Georgetown and Aspen, with a sidetrack trip to the Bay area. I met a man named Hal Neustaedter in Georgetown. He owned a folk club in Denver called The Exodus, one of the first places that Judy Collins performed at. He told me that he thought there might be a good opportunity for someone to open a store in or near

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downtown Denver that sold acoustic music instruments and records. After my skiing adventures had ended and I’d spent some time in the Bay area, I decided to take him up on that idea.

MMR: Did he help you start the store? HT: He might have, but by a very sad coincidence, the night that I arrived in Denver Hal died in a plane crash. He was coming back from a convention of nightclub owners in Oklahoma City. I was driving on Route 40 to Denver when his plane was going down in Castle Rock, south of Denver. Anyway, Hal had mentioned two places near his club. If he had been alive, I might very well have opened in one around the corner from The Exodus. The rent was $75 a month. I had been to another part of town about a half dozen blocks away, going to a coffee house and performance space called The Green Spider. It turned out I could rent the space next door to them for $55 a month, so that’s what I did. There was street parking, and a small lot behind the store, and a bus stop in front of the store, so I knew I’d get some traffic. We were on 17th Avenue, six blocks east of Broadway, which is considered downtown Denver. SEPTEMBER 2009

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MMR: Tell us about how the store evolved. HT: I built a sleeping loft in the back of the store and I lived in the store, in the loft, for three years. For four months I drove a taxi all night, and opened the store during the day. Because I was driving the taxi, I got to know Denver really well and I found antique stores and pawn shops where I could find some instruments. The first company I dealt with was Coast Wholesale, that’s now Kaman. They had Aria Guitars, and later Takamine Guitars. They were the first Japanese guitars with solid spruce tops in the 1970s. I opened from noon to 10PM, and later cut that to noon to 8PM., and eventually from 10PM to 6PM. We closed on Sunday. I taught some guitar lessons in the back of the store. We initially had 585 square feet. I went to NAMM in 1963, and became a Martin dealer. At the time, Martin went through Coast, but when they started to sell direct, I had done well enough that they kept me on as a dealer. My store manager was David Ferretta, and he really built the Martin line up for us.

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MMR: What was the music store scene like in Denver then? HT: There were a bunch of stores right in the downtown area. There was Wells Music, Happy Logan and Knight Campbell, and a Baldwin piano store. They’re all gone now. Wells still exists, but at another location.

MMR: Take us through the next twenty years. HT: The teaching thing expanded. I hired Julie Davis as a teacher, and we added banjo to guitar. I rented a space up the street for a school. I used the technique that Bess Lomax Hawes pioneered in Los Angeles, and that Frank Hamilton used in Chicago. We’d do two-hour classes. There would be a banjo teacher and a guitar teacher. In the second hour of the class we’d assemble everyone, and they’d all play and sing together. I called it “The Denver School of Folk Music.” The other thing that happened was that I originally was one of about five stores on the block. As those other businesses moved on, I acquired their spaces and expanded my store. Pretty soon I had two spaces. By 1968 the Green Spider closed, and by then we had four spaces – all about 600 square feet. We had a concert hall on the corner that was double the size of the other stores. Lots of people played there, touring acts like Elizabeth Cotton and Taj Mahal and local artists too. By 1971 I had five spaces, and I also had a basement for storage. We did some live radio performances and we

SEPTEMBER 2009


even had a green room. I even went beyond the Concert Hall, and with the help of my mentor Manny Greenhill, brought in Joan Baez to do a concert at the Auditorium Theater. I was really green, and he walked me through the entire process of concert production. The show sold out. Later I presented the Mamas and Papas.

MMR: What was in the other spaces? HT: We had a record store, and also a sort of hippie arts ands craft shop. With some help from Bill and Irma Fleming, that also became the funk shop in 1968. We sold beads and old clothes. Irma would go to New York and buy hundreds of beads for nothing and mark them up and sell them. I even had a record store in downtown Denver that was part of a clothing store called the Fashion Bar. It only lasted nine months, though – kind of a failed experiment. MMR: Wasn’t there a period when you left the music business? HT: Yes. In 1980 my landlord leased the ground to 7-11 and they demolished the building. I had lost my enthusiasm

SEPTEMBER 2009

for the business and wanted to try something new. By that time, my former manager had opened his own store and I thought about shutting the business down or selling it. I’d been doing this for 18 years and I was tired. I tried to sell the business and even hired a broker, but I found that my biggest asset was my reputation and good name and I didn’t want to be involved in the new business. Rick Kirby, my repairman, took over the business and moved it to South Broadway. It lasted three years, but ultimately didn’t make it. The music school had evolved independently into a non-profit music organization called the Music Association of Swallow Hill. They began by giving lessons, and soon moved into promoting concerts. I felt that the things I believed in were in good hands. During my hiatus from the industry I worked as a music director for a progressive country music radio station, and in a housing renovation project. I also performed in a calypso band, and I was the executive director for the Denver local of the Musician’s Union.

MMR: What made you re-open the store? HT: I missed the daily contact with people, and nothing that I had done was as gratifying as having my own business. I went to NAMM, and thought it over, and started the whole thing over again in 1993. MMR: By that time wasn’t there more competition? HT: Yes there was. There was a store called Acoustic Music Revival not far away from my new location, which was in South Denver, and another in suburban Arvada called The Old Time Picking Parlor. A store called Folk Arts and Leather in Boulder was sold, and evolved into H.B. Woodsongs. There were also many shops that sold acoustic guitars as part of their overall business, like Rockley Music. MMR: What made you feel you could make it work again, given the competition? HT: There were lots of people who knew me from the old store. Also, by the time we opened, Swallow Hill had bought a building, and was literally across the

MMR 75


street from us. I felt that we could do lots of sales and rentals to the students taking lessons from them. Also my store had lots of music instructional materials, books and videos, and we also sell CDs of bluegrass, old-time music, blues and folksingers that the other stores didn’t carry. I felt there was a niche for me.

MMR: Let’s fast forward to 2008. You told us that it was your best year ever. Given the present economic climate, how could this be?

HT: There are a number of reasons for it, but I can’t really be entirely sure. First of all, we are selling lots and lots of Blueridge Guitars. The price points seem to fit our clientele. We have also increased our sales of Taylor Guitars dramatically. Ukuleles are extremely hot for us. We also do quite well with consignment instruments and music books. We really have a good selection of songbooks, and instructional books for guitar, banjo, mandolin and fiddle. Not just acoustic instructional material

either. We have quite a library of jazz and classical guitar materials too. The bottom line is that 2008 was about 20 percent better than any year that I’ve been in business. 2009 is down maybe 10 percent from that, but that would still make 2009 our second best year. Part of what makes it all work is the people who work here. My store manager is Jeff Jaros. He and Nick Amodeo are the ones who sell most of the instruments. Jeff has been here eight years, and Nick four or five. They’re both great players, too, and good at demonstrating a variety of instruments. Sam Burns orders and stocks the music books and accessories. He’s been here almost 15 years, and Mag Hayden who does the CDs has been here since 1993. You know, 2008 was going along pretty well, but the economy was going South, and so we anticipated a mediocre Christmas season. Actually it turned out better than we expected. Another factor is our Web site. We have a number of instruments up

“I never intended to do this, and maybe that’s why it has worked out.”

76 MMR

SEPTEMBER 2009


on the site, with photos. We have gotten orders not only from outside of Colorado, but from all over the world. Because I’ve been around Denver for years and have built something of a reputation, we get quite a few vintage instruments on consignment. We’ve done well with them. We don’t sell new instruments off of the site. Another source of sales is that about every three months we are visited by Asian buyers who buy vintage American guitars for their own market. It represents a boost in sales. About half the time that they come, they end up buying some guitars.

MMR: Over the years you must have accumulated some great stories about vintage instruments. Can you share one with our readers? HT: One time a woman came in with a Gibson F5 mandolin that had been her family for ages, and her brother had told her that he thought it was worth about $18,000. I took a look at it, and it turned out to be a Lloyd Loar Gibson. I asked her whether her heart was in good condition, and she said that it was. I then informed her that it was worth at least $180,000. She subsequently consigned it, and we have it on our Web site, listed at $225,000. When you get something of that value, of course you have to take some extreme precautions to be sure that it is not damaged or stolen. We don’t keep it in the store, and it is available for customers only on an appointment basis. Though obviously that’s an extremely unique example, I’d say that 15-20 percent of our business is in selling vintage instruments. MMR: Aren’t they increasingly difficult to find? HT: That’s inevitable, of course. However they do turn up. I just bought a bunch of instruments from an estate sale in Wyoming. I’m no longer a Martin dealer, but you’d think I was from the number of Martins in the shop right now. MMR: Do you do lessons and repairs? HT: Yes. We try not to compete with Swallow Hill, so we don’t do class lessons, only individual ones. We have a repairperson that works with us named John Rumley, and he has done a good job. Over the years I’ve discovered that finding a good repairperson is extremely important and difficult to do. SEPTEMBER 2009

MMR: Where do you advertise? HT: We advertise in the Dex Yellow Pages and in the Swallow Hill newsletter, as well as the newsletter of the Denver Musician’s Union. We also occasionally will donate instruments for appropriate events, or for schools. We also advertise on an occasional basis on radio stations. We do not charge for appraisals, and try to be fair to the customer.

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MMR: What product lines do you carry now? HT: Santa Cruz,. Taylor and Guild, Blue Ridge, Ibanez, Takamine and Cort Guitars, Deering, Ome and Goldtone banjos and Weber and Mid Missouri mandolins. We also do well with Kentucky Mandolins and we carry Trinity College and Regal Instruments We have over 50 ukuleles, ranging in price from $30-$1,000. MMR: What is it about Colorado that has made acoustic music so important, and has made it possible for so many acoustic music stores to survive? HT: There’s always been an association with acoustic music and the mountains. We have important acoustic music festivals in Lyons and Telluride, several blues festivals, we have a strong bluegrass community, a growing oldtime music community, the E Town syndicated radio show, and a strong music community in general. Each music store seems to have its own niche, and its own clientele. Honestly I also feel that our business has been something of a catalyst in creating the acoustic music community here. WE really try to serve the community, and the feedback that we get from people is that we fulfi ll; this role. I am seeing the children and even grandchildren of my original customers.

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MMR: Do you have any special plans for the future? HT: We hope to have an e-mail newsletter set up before too long. In 2012 we’re going to do a celebration of 50 years of being in business. We hope to present some special events, and even some preliminary concerts under the title, “Road To The 50th.” MMR Fifty years – that’s a long time. HT: I never intended to do this, and maybe that’s why it has worked out.

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Newproducts The Jensen Jet 10” Tornado Jensen Musical Instrument Speakers’ latest addition to the Jensen Jet series is the 10” Tornado, sister to the 12” Tornado, a modern speaker offering defi ned tone. The 10” Tornado features a tight, warm low end response topped with highs and is said to exhibit a bright and well-defined bite when presented with overdrive distortion. The 10” Jensen Tornado generates 100-watts of power using a neodymium magnet. The advantage of neodymium is its light weight (half the weight of ceramic speaker magnets). www.jensentone.com

Avid’s Sibelius 6 Music Notation Software Avid’s version 6 of Sibelius music notation software includes a toolset designed to provide musicians with a more efficient approach to music composition. Designed by musicians, Sibelius 6 offers a number of new features including a unique Magnetic Layout tool that cuts score preparation time in half. Previously, aligning individual score objects required timeconsuming manual adjustments which now occur transparently to the user. Students, educators, academic institution, and composers can also take advantage of Sibelius 6 workflow improvements that are said to facilitate greater collaboration, classroom management, and creative control, through the ability to track progress during review cycles and deliver smooth integration with Digidesign Pro

Tools systems and other Digital Audio Workstations (DAWs). Sibelius 6 enables educators to track student progress, spot plagiarism, and promote collaboration. Students can record progress and submit creative commentary with their fi nal coursework. Professionals can track changes or collaborations with copyists, orchestrators, and publishers by saving, manipulating, and comparing revisions of a work piece within a single fi le. Keyboard and fretboard windows provide a visual approach to the music education process, allowing musicians and composers to follow lighted key and finger positions as a score plays back, reinforcing the relationship between staff and tab notation with real instruments. These windows also create a new way for users to input music directly from an

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ToneGear’s String Cleaner for Bass

er into Levy’s metal-enriched strap, and features foam padding, soft leather backing, and a two-prong buckle adjustment. www.levysleathers.com

Gator’s Wood Laminate Speaker Stands Gator has released a new line of furniture-grade wood laminate speaker stands. The stands are sold in a pair with rubber trim edges for protection coupled with rounded corners for a stylish design. The GESPKR-ST Series is available in 36” and 42” sizes with 12” square platform and base pieces. www.gatorcases.com

The Lava Cable Center Lava Cable introduces The Lava Cable Center solder-free plug and cable combination. The capacitance of the Lava Plug SEPTEMBER 2009

ToneGear’s String Cleaner for bass guitar utilizes a 360-degree cleaning process to preserve and maintain the tone and integrity of guitar strings. This year’s introduction features an advanced design that additionally and simultaneously cleans the fret board. The String Cleaner for bass guitar is said to extend the life and preserve the tone of bass strings by up to four times more than untreated strings while cleaning and protecting the fret board. Created with specially designed microfiber pads that remove and hold debris without cleaning solution, The String Cleaner for bass guitar was created for long-term, low- maintenance usage. Users simply open the tool, slide it underneath the strings, close and secure the latches, and then slide the device back and forth along the full length of the strings and fret board. The String Cleaner should be used after each play to ensure optimum performance; to clean the device, simply hand-wash with warm water and a drop of liquid soap. The String Cleaner has one US patent, two patents pending and is distributed in 45 countries; The String Cleaner for bass guitar has one patent pending and will be available where The String Cleaner is sold with a list price of $19.99. www.thestringcleaner.com

Casio Adds to Privia Line Casio has added two new additions to the Privia line of digital pianos - the PX-130 and PX-330. When integrated with Casio’s Linear Morphing System, the PX-130 and

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Newproducts PX-330 are said to deliver a more realistic sound with seamless transitions and dynamic range. Tri-sensor 88-note scaled hammer action keyboard provides users with the weight, feel, and resistance of a grand piano. Both pianos have the ability

to handle demanding musical passages, layer sounds, and use the damper pedal without dropping notes. The acoustic resonance effect simulates the sound of dampers released off the strings with the sustain pedal. The duet mode allows for students and teachers to work in equal ranges simultaneously. The PX-130 and PX-330 work with computer applications,

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making each a dual purpose instrument for performance and the home studio. The USB port also allows the user to move music fi les between the keyboard and their computer. www.casio.com

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Tycoon’s Ralph Irizarry Signature Series timbales were designed in conjunction with Tycoon Percussion’s master drumcrafters. The Signature timbales feature, stainless steel shells with heavy-gauge, die-cast counterhoops, and a gloss black finish. Ralph Irizarry is currently on the road with Latin singer/songwriter Rubén Blades’ “Todos Vuelven” tour as a featured member of the “Seis Del Solar” band. Tycoon Percussion also announced additional endorsements by leading percussionists from the cultural centers

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Planet Waves’ Beatles Straps & Picks Planet Waves’ new Beatles straps and picks feature retro, vegan-friendly designs.

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My First Guitar Book My First Guitar Book from Mike Christiansen, features a guitar method for young, beginning students. This method would be valuable to private instructors who teach in a private studio, or classroom instruction to young students through a music dealSEPTEMBER 2009

ership. It is not meant to be a self-instruction method and should be used with the help of a teacher. Therefore, there is not a lot of text explaining holding position and definitions. It is assumed the teacher will do this. To assist the teacher, there are photos of a young student showing the parts of the guitar and holding position. There are also a few guidelines. The book can and should be used as the primer to any beginning method book. The methodology used in this book is based on the premise that learning the guitar requires physical and mental development. With many traditional methods, these two requirements are present simultaneously. The students can become overwhelmed with remembering what to play, and then trying to physically do it. With this spoon-fed approach and the use of colors, students can concentrate on developing the physical component of learning to play the guitar. Then, gradually, they are taught what (by traditional music standards and notation) they are doing. Throughout the developmental process, the student is playing and continually adding to their repertoire. This is fun-learning and does no damage. It does just the opposite. It excites the students and gets them playing, which is why they began playing the guitar in the first place. The use of colors is a unique feature of this book. Throughout the book, the color red is used for the first string, blue for the second string, and green for the third string. The use of these colors is employed on the note-by-number introduction, the chord diagrams, the tablature, and the standard notation. The use of colors is gradually eliminated and the students make the transition smoothly to reading traditional chord diagrams, tablature, and standard notation. Along the way they have developed their motor www.mikechristiansen.com

Graph Tech’s Supercharger Posters Graph Tech Guitar Labs’ new in-store posters highlight their Supercharger Kits for electric and acoustic guitars. Graph Tech Supercharger Kits are easy-

www.AmericanMusicAndSound.com MMR 81


Newproducts to-use upgrade kits containing a mix of Graph Tech’s performance enhancement products in one package. Supercharger Kits are a great way to increase store sales and satisfy the demands of your customers by providing simple upgrades in one package. Three acoustic kits are available and include TUSQ highperformance saddle and bridge pins. Electric kits are available for Tele, Strat (American, import, or offset), and for guitars equipped with 4mm or 6mm post Tune-O-Matic bridges. They include black TUSQ XL nuts and String Saver Original saddles. Four ResoMax Bridge color choices - chrome, nickel, gold, and black nickel - are also available for guitars equipped with 4mm or 6mm post Tune-O-Matic bridges. The Supercharger posters feature vibrant colors and included unsolicited testimonials. www.graphtech.com

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Aim Gifts’ Rhinestone Necklace Designs Aim Gifts has added rhinestone necklaces to its jewelry line. The new necklace designs feature musical instruments and musical notes. Aim Gifts has no minimum order. www.aimgifts.com

McCormick’s Premier Band Room Sound System McCormick’s Premier Band Room Sound System features a sturdy and secure design and can handle playback from DVD, CD, MP3, iPod, or a laptop, which connects to the mixer via USB. The system can be plugged into microphones to record directly to a laptop. Speakers can be mounted on the wall with the included mounts or placed on tripod stands for mobility. The system also features the Raxxess ECR-ST steel rack. Under the key-lockable and retractable steel top is a 12-space rack unit mixer section that can be moved to any of eight different positions. Behind another key-locked, steel door on the front is a 16-space rack unit section for mounting electronic components. The steel rear door also locks and provides easy access to the back of components, plus ventilation when the unit is closed. Extra heavy duty casters are included. The ERT-ST is fi nished in durable silver and black powder coat. www.mccormicksnet.com

New Reunion Blues Merino Wool Guitar Strap Colors Reunion Blues has unveiled three new natural fiber guitar strap colors, made from 100 percent merino wool. These new additions come in black with red or blue pinstripe, and nutmeg beige, all trimmed with full grain leather. www.reunionblues.com

Antique Electronic Supply Releases 2009-2010 Catalog Antique Electronic Supply has released its 2009-2010 catalog. This full color 156-page catalog with glossy high-resolution photos features new musical equipment products. Antique has also introduced new customer-friendly policy changes. There is now no handling fee or minimum order amount. Antique is also offering free ground shipping on orders over $99 with a continental United States delivery address. The Antique catalogue is free of charge. You can also view the entire catalog on their Web site. www.tubesandmore.com SEPTEMBER 2009


The Beamz Professional The Beamz Professional is a new packaged product which bundles the Beamz musical instrument with the new Beamz Studio software. Used as a MIDI player and controller, Beamz Professional adds a new visual impact to musical performances by playing music clips and MIDI instruments assigned to the Beamz lasers instead of pushing buttons or turning knobs to trigger sounds and effects. The Beamz Professional product consists of the actual unit, which is a “Wshaped” controller that features six laser beams, a USB cord linking the unit to a computer, and the Beamz Studio software combined with a DLS collection of Beamz-composed music clips. Players also receive two music CDs with the purchase of the system, featuring 30 original songs from a variety of music categories or genres including rock, jazz, blues, reggae, country, hip hop, Latin, and classical. Beamz Studio software lets musicians and DJs compose their own interactive music to play on the Beamz using their own MIDI, WAV, and MP3 libraries. In addition, players also receive five additional free songs of their choice after they register the product on the Beamz Web site. The Web site offers a music library with over a hundred different songs, including original, top hits, and kids songs for purchase. With Beamz Studio software users may edit any of the Beamz songs included with the product and the additional songs available on the Beamz Web site. The product also comes with a Quick Start guide and instructional DVD. The Beamz Professional retails for $299.95. www.thebeamz.com

Audix Chosen for Yamaha Marimba Miking System Audix Microphones have been chosen to accompany the new Yamaha Marimba Miking System. Originally designed by Randall May, the system allows the microphones to be positioned within and parallel to the resonator chambers of the marimba, while the microphone slide rail pivots to enhance isolation and quality of sound.

The system provides instant positioning of the microphones while still allowing them to slide on the rail of the marimba for preferred mic placement and uniform octave levels. For greater adjustment, the microphones can also be independently pivoted to a desired angle. Marching artists Bluecoats, Madison Scouts, Carolina Crown, and The Colts are some of the artists currently using the new system. www.yamaha.com

and developed by Optek Music Systems, plays like any other guitar. Fretlight’s patented LED learning system, embedded in the neck, provides a comprehensive visual experience that makes learning to play the guitar quick and easy. Designed for the first-time player and advanced musician alike, the Fretlight works with PC and Mac software. www.fretlight.com

Optek’s Fretlight Guitar POP Display

Sax Dakota, the newest product line entry from PJLA Music Sales is offering a matching pair of Straight Alto and Tenor Saxophones. Both the Alto and Tenor have solid stainless steel internal arm rods for minimal torque for all long/extended hinge rods connecting to key cups. All key cup connections have tapered double arms for tactile closure. Bell tone holes have been repositioned for maximum sound projection, and all key cups are custom designed to be low profile so the designed steel booster pads have minimum travel and positive/fast sealing action. The new left hand plateau design is said to provide fluid speed and ease of

Optek Music Systems is now offering dealers point-of-purchase displays, designed to attract potential customers to the Fretlight guitar. The new POP display provides a visual interpretation of the Fretlight learning system and its built-in functionality. The Fretlight guitar, designed

New Saxophones from PJLA & Sax Dakota

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Newproducts Both bells are graduated from the bow for sound projection. All Sax Dakota Saxophones are fabricated from a 77 percent copper content brass formula. The Straight Alto, Tenor, and Soprano come standard in a matte gray onyx metallic finish with all keys/key guards and trim in satin silver finish. Cases are all wood with brass latching and covered with our exclusive beige tweed fabric. Straight Soprano retails for $2,450, Straight Alto for $3,700, and the Straight Tenor for $3,950. www.pjlamusic.com

Meisel’s MST-10 Tuner reach for the most complex passages. Tapered oversize bells are standard on both instruments: Alto has a 5.32” bell opening and the Tenor has a 6.26” flair.

Meisel Accessories has added the new MST-10 chromatic clip-on tuner to their product line. The tuner is small enough

to fit in most instrument cases, and offers the option of built-in microphone or clip tuning. Using the clip, no background noises are picked up, only the instrument. The microphone can be used for acoustic instruments. It’s calibrated for guitar, bass, and chromatic. It will tune low-B and high C bass notes. www.meiselaccessories.com

N-Tune’s Artist Series

Half the weight

of the original Shubb Capo! www.shubb.com info@shubb.com 707-843-4068 84 MMR

N-Tune’s Artist Series on-board tuner offers an accurate, low profi le design, which fits around a standard three-way toggle switch. The kit includes both black and crème colored tuning rings, a specially designed three-way toggle switch, and a 500k potentiometer that can be easily installed with standard soldering tools. N-Tune is also offering the same dealer pricing to all dealers who could not get to Summer NAMM. The Artist Series onboard tuner retails for $100. This pric-

ing ends September 30th. Contact Philip C. Sudore for details. phil@zeroxing.com

Cecilio Adds Electric Stringed Instruments Cecilio Musical Instruments has added some silent electric instruments including, guitars, upright bass, cellos, and violins to its line of stringed instruments. Electric stringed instruments are silent, lightweight, and convenient for travel, live performance, and studio recording. They are versatile and small in size, but can still produce “acousticlike” sound. Each electric stringed instrument features an auxiliary input for playing along with an MP3 or CD player, a headphone jack for practicing silently, and an output jack for live performance. Each instrument has different color options to choose from. A carrying cases and accessories are also included. www.ceciliomusic.com

Breaking News

Find it in the Hot News section of MMR’s Web site, www.MMRmagazine.com SEPTEMBER 2009


Supplierscene Yamaha Percussion’s 25th Anniversary Yamaha Percussion marks its 25th anniversary in 2009. The year-long celebration will focus on highlighting the percussion history of Yamaha, its line of instruments and its relationships with artists, national drum corps, collegiate band programs, and community youth music organizations.

Since the launch of Yamaha Percussion instruments in the U.S. in 1984, Yamaha quickly became an industry leader in product development producing a full range of percussion instruments, including student percussion kits, bells, vibraphones, marimbas, timpani, concert bass drums, concert snare drums, concert toms, chimes, glockenspiels, marching percussion instruments, carriers stands, drum covers and various other percussion accessories for all levels of musicians. Yamaha Percussion was solidified with its focus on percussion clinics, summer percussion camps through its Sounds of Summer program, and support for drum corps and school music programs. In addition to its many collaborations with drum and bugle corps, Yamaha has a history of working closely with collegiate marching bands in the country. To commemorate the 25th anniversary, Yamaha will launch a Web site later this year celebrating the heritage of Yamaha Percussion. A dedicatory 25th anniversary banner can currently be seen all over the country at national percussion events, parades, trade shows, and the Sounds of Summer camps. Yamaha is highlighting the top 25 moments in Yamaha Percussion on its Facebook page at www.facebook.com/ SEPTEMBER 2009

yamahapercussion and on Twitter at www.twitter.com/yamahaperc. For more information on Yamaha, visit www. yamaha.com/band.

Dillion Guitars’14th Anniversary Dillion electric guitars are Korean hand-crafted replicas and variations of contemporary and vintage instruments. Their acoustic electric guitars are handcrafted in small quantities. Dillion is currently experimenting with new models, colors, and exotic woods. For a free color catalog and price sheet, call their toll free number 888-2891995 or visit their Web site www.dillionguitars.com.

Mapex Presents 50th Anniversary Snare to Pro Drum Shop On June 6, 2009 Professional Drum Shop in Hollywood, Calif. held a celebration in honor of the store’s fiftieth anniversary. The event was held at the Avalon Theater in Hollywood and was attended by dozens of industry icons, performers, family, and friends. Vice president and general manager Joe

Stan and Jerry Keyawa pose with Mapex’s Joe Vasko as he presented them with a 50th Anniversary custom snare drum.

Vasko represented Mapex at the celebration and presented Pro Drum Shop owners Stan and Jerry Keyawa with a one-of-a-kind commemorative Mapex snare drum. The 14” x 8” drum featured MMR 85


Supplierscene a collection of graphics and photos documenting Pro Drum Shop’s history. The event drew several hundred fans who enjoyed the music of Emil Richards Big Band, Ronald Bruner Jr. Band, and a documentary celebrating the retailer’s fifty years of business. For more information, visit www.mapexdrums.com.

Guitar Makers Choose Fishman Preamp Fishman’s Aero and Ion onboard preamp systems have become the choice of several guitar brands. The recently re-introduced CF Martin “1 Series” acoustic guitars are equipped with Fishman Aero Plus onboard pickup/preamp systems. Fender has introduced their new Classic Design series with the onboard Aero System. The new Ambiance model guitars from Ibanez feature Fishman Aero, Aero Plus, or Aero Blend electronics. Washburn has added Ion T to their D10 acoustic electric models. Alvarez has refi ned their Artist, Regent, Masterworks, and Fusion series with several new Ion T, Aero, and Aero Plus system pickups. And Daisy Rock has

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added Ion and Aero Plus systems to their Butterfly and Wildwood Artist lines. The compact Aero system features volume, bass, mid and treble controls, a phase control button, and a built-in tuner with LED display. It also includes a pre-wired Fishman Sonicore pickup for solder-free, plug and play installation, a low-battery indicator, low profi le control knobs, and a flip-open housing to easily access the battery compartment. Ion Onboard Preamp Systems feature volume and EQ tone shaping and phase controls, a pre-wired Fishman Sonicore pickup, and low profile control knobs. Also included are a low battery indicator and a separate surface mount battery compartment for flexible design integration. For more information about Fishman, visit www.fishman.com.

Broward County Public Schools Honors All County Music The Nation’s largest fully-accredited school district, Broward County Public Schools, in Florida selected All County Music, Inc. as the District’s Partner of the Year at its annual community involvement awards

Joe Luechauer, music supervisor Broward County Public Schools; Christine Flynn, principal Westglades Middle School; Fred Schiff, president All County Music

held at the Broward Convention Center. Fred Schiff, president and owner of All County Music accepted the award in front of a crowd of approximately 1200 people. Schiff, a 1977 graduate of Broward County’s, Piper High School, was nominated for the Partnership Award by Music Supervisor, Joe Luechauer and Westglades Middle School Principal, Christine Flynn. Criteria for this award includes how the partnership impacts the quality of the children’s education, the innovation it brings to the schools, and the support it grants to teachers and administrators. During the ceremony emcee, Merrie Meyrs-Kershaw, explained how Fred Schiff and All County Music came to the aid of Westglades Middle School in the fall of 2008 when their band director suffered a medical emergency and could not return to work for months. It was at that time that Schiff and several staff members began teaching the beginning band classes. Meeting everyday for weeks, they conducted class and were able to make sure that these beginner musicians could perform in the annual winter concert. The value of All County Music’s 20082009 partnership exceeded $30,000.00 which consisted of cash contributions, clinician expenses for fittings, clinics and rehearsals, as well as band folders, in-service presentations for band directors, program printing, emergency service at all district band events, and clothing drives for the district’s clothes bank. Visit All County Music online at www.allcountymusic.com. SEPTEMBER 2009


Pearl Parties with AIMM Dealers Complete with Taiko performers, Hawaiian Leis and Tiki torches, Pearl hosted an island-themed party for the Alliance of Independent Music Merchants (AIMM) on Thursday, July 16th. The group of independent full line retail buyers, owners, salesman and their

families were treated to an evening of music, Nashville barbeque, product demonstrations, giveaways and unique sales opportunities. There was even a dunk tank, which provided dealers with the opportunity to “dunk” the credit manager.

M & M Welcomes Cole as Ntl. Sales Mngr.

Intellimix to Distribute Elation in Canada

M & M Merchandisers in Fort Worth, Texas has welcomed Ben Cole as their new national sales manager. Ben spent the last 11 years as sales manager with GHS Strings/Rocktron and has over 15 years experience in the music industry. Ben also studied Music Education at Michigan State University and is an accomplished drummer and keyboard player. For more information, visit www. mmwholesale.com.

The event gave AIMM dealers the opportunity to get hands-on with Pearl drum, percussion, and f lute products, Adams Timpani and mallet instruments, as well as one-on-one interaction with Pearl sales and marketing staff.

Elation Professional has appointed Montreal-based Intellimix Corporation as its exclusive Canadian distributor. Under the agreement, Intellimix will distribute Elation’s professional lighting and control products to dealers, lighting installers, designers, rental houses and architectural clients throughout Canada. Kosters said that Intellimix would be debuting many new Elation products at the Music Industries Association of Canada (MIAC) Show in Toronto later this month. Among these will be the award-winning Impression LED moving head, which has been used on many major concert tours including No Doubt and Billy Joel/Elton John, as well as Elation’s Design Spot 250 Pro hybrid spot/wash moving head and the Opti Tri Par tri-color LED par can. Intellimix will be exhibiting at Booth 401 at the MIAC show.

Symetrix Names Signal Marketing Rocky Mtn. Rep Symetrix has announced a new representative for the Rocky Mountain region. Signal Marketing, based in Midvale, Utah, will represent Symetrix, SymNet, Lucid, and AirTools products in Utah, Colorado, New Mexico, Wyoming, Idaho, eastern Montana, and El Paso, Texas. Signal Marketing has been serving the region since 1987 and, “ has earned a reputation for providing stellar customer support.” Their diverse line card provides solutions to customers in various aspects of professional audio. Symetrix and its associated brands add rock solid DSP to complement the existing mix.

SEPTEMBER 2009

MMR 87


Sabine Names Thorvin as Canadian Distributor

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Sabine Inc. has named Thorvin Electronics Inc. as exclusive Canadian distributor for their professional audio, microphone and wireless systems products effective August 1, 2009. Thorvin Electronics will be handling all sales, marketing, service and support for Ca-

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Photo Caption : Rob Brown (sales manager, Thorvin) Jean-Marc Langevin (VP, Thorvin) Joe Nguyen (director of sales, Sabine) and Wilf Langevin (president, Thorvin). nada with Sabine products being displayed at the PAL Show, August 23-24, at the International Centre in Toronto, Booth 4816. For more information about Sabine, please call (386) 418-2000 or visit www.sabine.com.

Muse Research Inc. Announces Ownership & Name Change Muse Research, Inc. announces that the company is under new ownership and will henceforth be called Muse Research & Development Inc., also known as Muse R&D, Inc. The assets and intellectual property of the company are now majority owned by Matt Christiano, a former lead investor and founder of Reprise Software, Inc., and Chris Halaby, founder and CEO of Muse Research, with minority ownership by a group of former Muse Research investors. The company will continue to operate as normal from its headquarters in Menlo Park, California, with no interruption in sales, support, shipping, or product development, and all staff members have been retained. The specific terms of the change of ownership were not disclosed. Chris Halaby will be president and CEO of Muse Research & Development, while Matt Christiano will be Chairman of the Board. Halaby, stated, “This is a huge opportunity for the company to develop new products. Matt brings not only financial stability and business acumen, but also the same passion for music and musical instruments that we all share. The real beneficiaries will be our customers.” Muse R&D will continue to work with the same partners as in the past, and forge new relationships around the world. Additionally, current customer support and warranty repair will remain in effect.

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SEPTEMBER 2009


Classifieds

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• Band and Orchestra Rentals • New and Like New Educator-Approved Brand Name Instruments • Personalized Rent-To-Own Program • No Franchise Fee or Inventory Investment • No Shipping Costs • High Commissions Paid the 1st of Every Month • Exceptional Service

The beleaguered economy has made available one of the industry’s most respected executive sales management professionals. If you are a forward-thinking company looking to bolster your pool of talent, this is your perfect opportunity. Contact MMRMag@gmail.com

Breaking News

For Sale Music Store Owner Retiring

For Classified Sales Call Maureen 800-964-5150 ext. 34 mjohan@symphonypublishing.com SEPTEMBER 2009

Find it in the Hot News section of MMR’s Web site, www.MMRmagazine.com

High trafc area, very successful. We are a full line music store, 10,000 sq. ft. free standing building, Band instrument rental program 14 lesson rooms with over 400 students major lines guitars, drums and accessories, Established 21 years, includes tuning business, piano moving with truck and band and instrument repair dept. Can be subdivided: 4,000 sq. ft. and 6,000 sq. ft. Call 631 495-3223 New York MMR 89


Visit the Classifieds on the Web: www.MMRmagazine.com

Business Opportunities

For Classified Sales Call Maureen • 800-964-5150 ext. 34 • mjohan@symphonypublishing.com

For Sale Owner Retiring! Full-Line Retail Music Shop in Beautiful Lebanon, Oregon. Up to 7,000 sq ft ground level retail. High visibility, corner location. Historic real estate included. Bonus 7,000 sq ft meeting & event space. 90% nancing available. Call T.J. Newby Real Estate: 503-806-4848 or tjnewby@ccim.net. 90 MMR

MUSIC STORE FOR SALE ON MAUI

Have you ever dreamed of living in Hawaii? This could be your chance! Full Line Music Store in Paradise. All inventory and fixtures included. Most major lines are represented. Established in 1979 $500,000 plus inventory For info 808-870-5953

URL AND WEBSITE FOR SALE www.ukes.com THIS IS A VERY POPULAR WEBSITE FOR SELLING UKULELES. Price includes $100,000. in inventory $500,000 For info 808-870-5953

SEPTEMBER 2009


Visit the Classifieds on the Web: www.MMRmagazine.com

For Sale

Help Wanted

MUSIC SCHOOL/STORE for SALE (in operation since 1986) Housed on its own PRIME REAL ESTATE property in a beautiful, affluent suburb of Houston, TX AWARD OF EXCELLENCE 2009 Recognition by the US Commerce Association as Houston’s Best in its “Best of Local Business” Award Program

27-plus teachers for almost 600 students; half-acre back lot ideal for store expansion or rental space. Call Owner at 832 445-5668

www.mmrmagazine.com

Help Wanted Shop Manager Wanted for Knilling Violins, St. Louis St. Louis Music, A division of US Band, is seeking a qualified individual for a management position with its Knilling Violin Shop. The qualified individual would have experience in final adjustment of all musical instruments in the violin family and be able to share skills with coworkers readily, organize work flow, and be knowledgeable with production methods. Additionally, the position incorporates personal production of entry level, intermediate, and master instruments. As Knilling is once again becoming the industry leader, this position is a key element and should be viewed as a long term career position with a stellar organization. US Band offers compensation commensurate with productivity, benefits, and a significant bonus program based on production and profitability. Qualified applicants are invited to apply to Vice President of Knilling and Orchestral Sales, jeaton@usbandsupplies.com. SEPTEMBER 2009

Breaking News

Find it in the Hot News section of MMR’s Web site, www.MMRmagazine.com MMR 91


Visit the Classifieds on the Web: www.MMRmagazine.com

Help Wanted

Merchandise

U.S. Bowed/ Educational Product Specialist D’Addario & Company, Inc., a leading manufacturer and supplier musical accessories is seeking a U.S. Bowed/Educational Product Specialist. The position has a primary responsibility to further develop educational outreach programs and activities, focusing on D’Addario’s Bowed product category. This includes market analysis, advertising and promotions, pricing/protability, product development, maintaining and acquiring new Bowed artists, private teachers, and educators who can help build support for Bowed U.S. marketing and sales initiatives. This position requires a proactive approach to scheduling events and outreach to establish relationships with market inuencers. The Bowed/ Educational Product Specialist will be based in NY at the Farmingdale ofce; however the position requires frequent travel (35% - 50%).

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CLASSIFIEDS on the MOVE! check

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92 MMR

www.mmrmagazine.com SEPTEMBER 2009


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Merchandise

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BAND INSTRUMENT REPAIR VIDEO Save $$$ on repair expense. Earn extra income. Journeyman repairman offers “How To” videos on the repair of brass and woodwind instruments. For information write to: B.I.R.V. Co. 880 Slater Rd. Bellingham, WA. 98226 (360) 384-6707

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ACCORDIONS, CONCERTINAS, & BUTTON BOXES new, used, buy, sell, trade, repair, tune, CASTIGLIONE DISTRIBUTING CO. 13300 E 11 MILE WARREN, MI 48089 PH # 1-586-755-6050 WWW.CASTIGLIONEACCORDIONS.COM

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For 60 years we have provided musical instrument repair tools to technicians and musicians around the world. We have a wide selection of pads and other supplies in addition to our repair tools. Contact us today for a FREE CATALOG. MMR 93


Visit the Classifieds on the Web: www.MMRmagazine.com

Repair Tools BOW REHAIRING Expert Bow Service

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www.bowrehairing.com Violin bows as low as $10.00 per bow in quantity incl. shipping (see website for details.) Large inventory of replacement parts both new and vintage. IRA B. KRAEMER & Co. Wholesale Services Division

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For Classified Sales Call Maureen 800-964-5150 ext. 34 • mjohan@symphonypublishing.com

Reps Wanted Sales Representatives Wanted!!

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Michigan-based Brass, Woodwind and accessories line. Join a great new organization with an “artist-endorsed” product. Competitive Commissions with incentive. Contact: toya@dymusicusa.com 734-384-1705

Sales Reps Wanted Most territories open A Great Job! Hunter Music Instrument Inc. Ask for Steve Steve@huntermusical.com

Musical Distributors Group Seeks Reps

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Musical Distributors Group (MDG) is seeking highly motivated and talented independent reps for select locations in the US. Lines to be represented include: Hiwatt Fernandes Guitars EBS Bass Amps & Effects Coffin Cases Olympus Gig-FX Potential applicants should contact Jack Thompson at: Office Direct: 973-335-7888 x 214 Cell: 718-986-2667

For Classified Sales Call Maureen 800-964-5150 ext. 34 mjohan@symphonypublishing.com 94 MMR

For Classified Sales Call Maureen

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SEPTEMBER 2009


Visit the Classifieds on the Web: www.MMRmagazine.com

Wanted To Buy ANY CONDITION-CASH PAID THE TUBA EXCHANGE 1825 CHAPEL HILL RD. DURHAM, NC 27707 1-800-869-8822 WWW.TUBAEXCHANGE.COM

WE, BUY, SELL, TRADE and ship worldwide. Written APPRAISALS available. GRUHN GUITARS, 400 Broadway, Nashville, TN 37203

(615) 256-2033

fax (615) 255-2021

Breaking News

www.gruhn.com

Guitar Show Operators

Promote your show dates and reach every guitar dealer in the US

through the classified pages of MMR. Call Maureen 800-964-5150 ext 34

NEW ADDRESS HERE! Name ___________________________

Find it in the Hot News section of MMR’s Web site,

Address _________________________

www.MMRmagazine.com

21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310

_______________________________ City ____________________________ State ____________Zip ____________

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PLACE YOUR AD BY MAIL OR FAX: Attention: Classified Ads MMR, 21 Highland Circle Ste. 1 Needham, MA 02494 FAX your ad copy to (781) 453-9389

AD RATES $30.00 per inch (1 inch minimum). $40.00 per inch if one color, logo or graphic added. Add $1.00 per bold face line. Display classified: $50 per inch. PAYMENT MUST BE RECEIVED IN ADVANCE.

SEPTEMBER 2009

Let us know 6-8 weeks before your move so we can continue to send your magazine without interruption.

PASTE OLD LABEL HERE!

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MOVING?

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__ Books __ Business Opportunities __ Distributors __ For Sale __ Help Wanted __ Instruction __ Lines Wanted __ Schools __ Luthiers __ Merchandise

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Adindex COMPANY NAME A

Al Cass Allparts Amati’s Fine Instruments America Longxing Inc. American DJ Supply Inc. American Way Marketing LLC Anderson Silver Plating Audix Corp.

B/C

Bedell Guitars BreezSong LLC Casio America, Inc Cecilio Musical Instruments

D/E/F/G/H/J

Direct Sound Headphones Dunlop Manufacturing Inc. Eleca Amps Fishman Transducers, Inc. Great Divide Guitars Hailun USA House of Troy Jack Rabbit Technologies

K/L/M

Kawai America Corp. KMC Music, Inc Kyser Musical Products Inc. LM Products Lowrey Organ Co. Metropolitan Music Co.

N/O

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P/Q/R

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S/T

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E-MAIL/WEB ADDRESS

www.Amatis.us www.huntermusical.com www.americandj.com info@americanwaymktg.com www.audixusa.com www.bedellguitars.com www.JamHub.com www.casiousa.com www.ceciliomusic.com www.extremeheadphones.com www.jimdunlop.com www.elecaamps.com www.fishman.com www.greatdivideguitars.com www.hailun-pianos.com www.houseoftroy.com www.jackrabbittech.com

PAGE 88 16 71 82 11 75 88 3 18-19, 23, 25 13 15 44 73 47 80 16 49, 51 29 32 88

www.kawiausl.com www.kamanmusic.com www.kysermusical.com www.LMProducts.com www.lowrey.com www.metromusic.com

cov 3 43 76 73 14 46

www.namm.com www.nemc.com www.hagstromguitars.com www.hagstromguitars.com www.hagstromguitars.com www.ohana-music.com www.tuners.com www.fretlight.com

36-37 69 79 77 81 86 80 21

www.PearlRiverUSA.com www.pedalstop.com www.pianodisc.com www.qmpsales.com www.realdelosreyes.com www.reunionblues.com www.rocNsoc.com www.rolandUS.com

33 31 7 87 47 35 71 cov 4

www.sagamusic.com www.samsontech.com www.shsint.net www.shubb.com www.shubb.com www.skbcases.com www.cavanaughcompany.com www.supernaturalcymbals.com www.tkl.com www.theStringCleaner.com www.tornavozmusic.com www.tycoonpercussion.com

45 cov 2-1 78 41 84 17 63 74 5 78 65

W/Y/Z Wyman Piano Company Yamaha Corp. of America Zero Crossing 96 MMR

www.wymanpiano.com www.yamaha.com www.NTUNE.com

83 9 85 SEPTEMBER 2009


The Premier Piano of Japan

t h e

e d u c a t e d

s h i g e r u aichi prefectural university of fine arts and music american academy of dramatic arts beijing conservatory brigham young university bunkyo university (japan) the carrollwood cultural center catholic fu jen university chapman university chinese cultural university clarence valley conservatorium (australia) clayton state university the colburn school conservatory of music columbia college chicago conservatoire cuillera (spain) conservatoire de chalon sur saône (france) conservatoire de musique de québec conservatoire of liria (spain) conservatoire profesional de valencia (spain) conservatoire st. brieuc (france) conservatoire superior alicante (spain) conservatoire superior castellon (spain)

p i a n o s

conservatorio superior de musica de palma (spain) ecole de musique (france) egå gymnasium (denmark) etta and joseph miller performing arts center ikast gymnasium (denmark) interlochen center for the arts kungsholm gymnasium (sweden) kyoto city university of arts laugalækjarskóli (iceland)

c h o i c e.

s e l e c t e d

listaháskóli islands (iceland) musashino academia musicae (japan) music academy mlinaric vladimir (slovenia) music school nova gorica (slovenia) music school slovenske konjice (slovenia) music school trebnje (slovenia) musikhochschule nürnberg-augsburg (germany) national center for the performing arts (china) national taipei university of education national taichung university of education national university of ireland maynooth newington college nordiska musikgymnasiet (sweden) norges musikkhøgskole (norway) pacific union college reinhardt college scots college (australia)

b y :

seitoku university (japan) shanghai conservatory of music shorter college showa academia musicae (japan) staatliche hochschule für musik freiburg (germany) taipei municipal university of education tallinna muusikakeskkoolile (estonia) terni conservatory (italy) tokyo college of music tokyo gakugei university university of houston university of nevada - las vegas university of western australia waseda university (japan) westminster school atlanta wheaton college xi’an conservatory of music (china)

Shigeru Kawai Piano Company 2055 E. University Drive Rancho Dominguez, CA 90220 www.shigerukawai.com 310-223-0900


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