MMR April 2010

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April 2010

Roundtable: Guitar Amplifiers Report: FCC Rules on Wireless

The Guitar

Reissue Playing on Nostalgia for Fun & Profit

NEW, DIGITAL VERSION www.mmrmagazine.com

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Contents Cover photo: Fender 57 Strat.

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APRIL 2010 VOL.169 NO. 4

Features 18

Storefront: Simon Ripley’s Music & Art This brand new MI store in Nashville, Tennessee supports local artists and musicians by combining…well, music and art.

24

Upfront Q&A: Morgan Hill Music’s Mike Shellhammer

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Fretted: Ashley Entertainment Corp. & Spectrum Musical Instruments Ashley Entertainment Corp. unveiled their Spectrum Musical Instruments line of wireless guitars at the 2010 Winter NAMM show. MMR catches up with Richard Borden, president of Ashley Entertainment, to fi nd out more about the company and the products they offer.

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32

Report: FCC Rules on Wireless

40

Spotlight: The Guitar Reissue – Playing on Nostalgia for Fun and Profit Major guitar suppliers discuss the benefits to resurrecting, recreating, and improving upon old models

54

Roundtable: Guitar Amplifiers We survey some key players in the amp market to fi nd out what’s happening in the field.

64

Guitar Products Showcase MMR showcases the guitar market’s latest offerings.

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Carlino Guitars: The Future is in the Crosshairs Guitars have been a part of Eddie Carlino’s life since childhood when he began designing and building his own models. Now Eddie retails his models, along with other brands, at Carlino Guitars in Medford, Massachusetts. MMR chats with this one man guitar machine.

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77

Pro Sales Management We check in with industry veteran, Rick McClendon, to fi nd out about his latest venture Pro Sales Management.

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Webwise: Writing Right As MMR’s Kevin Mitchell fi nds out, when writing content for Web sites, less is often more, and a good headline is everything.

Departments www.MMRmagazine.com

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Editorial Upfront People Letters

84 86 90 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 ©2010 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

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APRIL 2010

Our Expedition 510i delivers 500 watts of crystal clear, Class D power in a compact, portable design. Listen and hear how we’ve changed the rules for portable sound.

Editorial

®

Volume 169, Number 4, April 2010 PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com ASSOCIATE PUBLISHER Rick Kessel rkessel@symphonypublishing.com

Heroes Among Us

EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com

I

only had a passing acquaintanceship with Charles Wick, CEO and founder of ProCo Sound, who recently passed away. However after reading the comments from Sam Ash executive Sammy Ash, my thoughts were drawn to a local community outreach program sponsored by the Boston Celtics: “Heroes Among Us.” In brief, the Heroes Among Us initiative honors individuals who have made exceptional and lasting contributions to their community. In the MI world, Charles Wick was one of those people. Quoting from the Sammy Ash tribute, “When our ProCo rep at the time, Barry Wolfson, passed on some 20 years ago, Charlie said that whether or not he had a new rep, all of the next 12 months’ commissions that Barry would have earned would go to his family. Then all of the other eight manufacturers Barry represented followed suit… this has never happened before or since in this industry.” In truth, the music industry has many Heroes Among Us and too often we fail to recognize their achievements until they have faded from the scene. One such individual was the legendary Jim Chapin, who was recently honored by having a Memorial Scholarship named in his honor to be maintained by the Percussive Arts Society (PAS). Fittingly, the award will be given to percussion instructors who want to improve their teaching programs. Jim was well known as the patriarch of a musical family and the author of the definitive book on drumming, however I remember him at many NAMM shows, sitting patiently with anyone who could hold a pair of sticks, teaching with enthusiasm and intensity. Following the World Trade Center attack on September 11, industry veteran David Magagna volunteered for duty to help in the cleanup and rescue efforts. In a past issue we reprinted excerpts from a letter sent to a friend: “I am back and recovering from my three weeks at the WTC. I have been working the 11 p.m. to 8 a.m. shift...” He went on to explain the process of recovering the bodies and the conditions at ground zero and finishes the letter, “I’ll go back to NYC next week and stay until just before Christmas and then maybe go back the week following…it really is addictive.” I am reminded of some simple acts of kindness I have witnessed, however I will honor their participants’ wishes for anonymity. Our sister publication, School Band & Orchestra, co-sponsors a scholarship essay contest (along with NAMM). A few years back, we received an essay from a student in Mississippi, along with a note from her music teacher. The essay was not worthy of consideration, but the accompanying letter from her teacher recounted how the student had worked all year to purchase a used instrument that was damaged when it was dropped and hit by a car. Inadvertently the essay was sent to one of the essay judges with a package of more promising entries. A few weeks later we received a copy of a letter sent from the teacher thanking the judge for sending a brand new instrument to the student. And in a fi nal note, standing in front of the Starbucks line at the Nashville Renaissance during a Summer NAMM show was an industry executive alongside someone who might be charitably described as a female street person. She was told to order anything on the menu and chose a cinnamon dolce frapuccino accompanied by a blueberry streusel muffi n. As she left the counter she was handed a portrait of Alexander Hamilton with firm instructions to “have a good lunch.” Heroes Among Us.

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 Julie Gibson julie@peepscreative.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

4 MMR

APRIL 2010

Upfront Alfred Distributing TASCAM Alfred Music Publishing recently announced an agreement to distribute TASCAM products to the music trade in the United States. Under this new agreement, Alfred will distribute the entire line of TASCAM products including the popular DR07 Portable Recorder, PT7 Pitch Trainer/Tuner, DP004 Digital Pocketstudio 4 track recorder, and many others. TASCAM’s Paul Jenkins, vice president of sales and marketing, states, “Our

whole philosophy is to discover what musicians want, and then bring it to them. We are dedicated to making innovative products that will support the creative and evolving music industry. Alfred was a perfect match because of their unrivaled distribution network and rich heritage of being the leading innovator in print music publications for the past 88 years.”

“The addition of TASCAM to Alfred Music Publishing’s distribution offerings will greatly benefit our existing customer base,” says Bryan Bradley, Alfred’s COO. “By adding the full line of TASCAM products to Alfred’s distribution network, retailers are now able to get their print and music products from one company, saving time and costs.”

GE Money & Fender Consumer Financing Program GE Money and Fender Musical Instruments Corporation (FMIC) recently announced a multi-year agreement to provide consumer financing. The GE Money Music credit card, managed by GE Money’s Sales Finance unit, “is a revolving

GAMA Elects Seven Board Members At their annual meeting in Anaheim, Calif. the members of the Guitar and Accessories Marketing Association (GAMA) elected seven members to the GAMA Board of Directors for 2010: Harvey Levy - Levy’s Leathers, Paul Damiano - KMC Music, David Lusterman - String Letter Publishing, David Bergstrom - Yamaha Corporation, Tish Ciravolo - Daisy Rock Guitars, Dennis Tenges - CF Martin & Co., and Peter D’Addario - D’Addario & Co. The above mentioned Board of Directors will serve for one year and are charged with guiding the association and its programs. Mitch Colby of Korg USA opted not to run for the GAMA Board of Directors after serving eight consecutive terms from 2002 - 2009. 6 MMR

program providing music enthusiasts with a flexible, convenient way to fi nance Fender instruments with affordable monthly payments and competitive interest rates.” “Our history has been one of continued innovation and growth,” said Paul Jernigan, vice president of global channel marketing for Fender. “The addition of the GE Money Music card will help individuals invest

in one of life’s most rewarding hobbies, learning and making music.” As part of the program agreement, Fender dealers will use GE Money’s Web-based fi nance management portal, Business Center. Business Center is said to, provide dealers with “an easy, secure way to manage their credit programs and better serve their customers.”

Ditmer Elected MENC Nat’l. President-Elect The members of MENC: The National Association for Music Education recently elected Nancy Ditmer National President-Elect for 2010-2012. Ditmer, director of bands and professor of Music Education at The College of Wooster (Ohio) since 1984, will assume the office on July 1, 2010 and become National President on July 1, 2012. Previously, Ditmer served as MENC North Central Division President (2002-2004) and President of the Ohio Music Education Association (1996-1998). A clinician and educator, she was designated a 2008 Lowell Mason Fellow by MENC and

received the 2006 Distinguished Service Award from the Ohio Music Education Association, among many other honors during her career. For a complete biography, visit www.menc.org. The results of MENC’s division elections are as follows: North Central Division President• Elect: William Guegold, Ohio Western Division President-Elect: • Ellen Kirkbride, Arizona Southern Division President-Elect: • Christine S. Fisher, South Carolina These individuals will assume office on July 1, 2010 for two years. APRIL 2010

Upfront Hal Leonard Distributing Yamaha B&O Accessories Hal Leonard Corporation is expanding its relationship with Yamaha Corporation of America to now distribute its band and orchestra accessories throughout the nation. Yamaha’s products for woodwind and brass instruments – such as maintenance kits; mouthpieces and caps; cleaners, cloths and oils; percussion practice pads; and Silent Brass systems – are now in

China Business Media Group to Represent MMR

stock and ready to order from Hal Leonard. For more information or to place an order for Yamaha band & orchestra accessories, please call the Hal Leonard E-Z Order Line at (800) 554-0626, e-mail sales@halleonard.com, or visit www.halleonard.com/dealers. Request the Hal Leonard 2010 Music Accessories and Gifts Catalog (90006529), free of charge.

MMR has announced the appointment of China Business Media Group Ltd to better serve our clients in China, Hong Kong and Taiwan. According to group publisher Sidney Davis, “With the expansion of our digital edition into international

Sabian Donates to Little Kids Rock Sabian has donated 100 SBr cymbal sets to Little Kids Rock, an organization dedicated to bringing free musical instruments and music instruction to underserved schools across the US. “Sabian is proud to support the Little Kids Rock initiative, and David Wish’s dedication to bringing music education back to schools,” said Stacey MontgomeryClark, vice president of marketing, Sabian.

markets, we have retained the services of one of the leading magazine representative firms in the Asian market place. Mr. Sean Xiao will be directing the sales activities and has several valued packages to offer this growing marketplace.” China Business Media Group Ltd is located at Room B 12/F Trust Tower, 68 Johnston Road, Wan Chai, Hong Kong. Telephone 86-591-83863000. Fax 86-591-8807-3107.

David Wish, founder and executive director of Little Kids Rock, was on hand at the NAMM show to accept the donation and provide insight into the childhood music initiative. Sabian has been a sponsor of Little Kids Rock for approximately five years, and has provided the organization with hundreds of cymbal sets.

Steinway Releases 4th Quarter Results On March 4, Steinway Musical Instruments, Inc. reported its financial results for the quarter and year ended December 31, 2009. A complete financial results earnings release has been posted to the Company’s Web site. In conjunction with this release, Company management hosted a conference call on Thursday evening to discuss operating performance, general business trends, and the Company’s outlook for 2010. A webcast replay of the conference call is available through the Investor Relations section of the Company’s Web site under Audio Archive. Dana Messina, Chief Executive Officer, said, “The year ended much better than it began. Our fourth quarter performance 8 MMR

was satisfactory and, most importantly, proved that we had positioned ourselves for strong future performance. Revenues for the year came in higher than we had forecasted as a result of better than expected fourth quarter piano sales. EBITDA was also ahead of our expectations as gross margins at our band division improved over 300 basis points compared to the fourth quarter of last year.” “Our overall financial results for the year were a reflection of the difficult global economy,” said Messina. “We kept our focus on areas we could impact such as reducing our cost structure, managing our working capital and minimizing risk across our business units.”

Fourth Quarter Results • • • • •

Sales of $82 million, down 13% Gross margin decreased to 29.4% from 30.7% SG&A expenses reduced by 11% Net income of $4 million, up 26% Diluted earnings per share of $0.44

Full Year Results • • • • • •

Sales of $306 million, down 21% Gross margin decreased to 27.7% from 29.8% SG&A expenses reduced by 16% Net income of $5 million, down 35% Adjusted earnings per share of $0.42 Diluted earnings per share of $0.60 APRIL 2010

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Upfront Korg’s Annual Dealer Awards Korg USA recently announced the winners of its 2009 Key Note Awards. The annual distinction “recognizes and commends those retailers who have excelled in a variety of categories and have demonstrated their commitment to Korg USA’s brands.”

• • • • • •

Best New Dealer: Recording Services & Supply, Salina, KS Overall Growth: Kraft Music, Franklin, WI Overall Commitment to Excellence (3 Winners): Sweetwater Sound, Ft. Wayne, IN Pianos & Stuff Music, Pittsburgh, PA Portland Music Company, Portland, OR Customer Relations: Buckdancer’s Choice, Portland, ME Marketing and Promotions: J.B. Hart Music, Grand Junction, CO Merchandising: Redbone Guitar Boutique, San Antonio, TX

Pictured from L-R: Doug Nestler, Korg USA National Sales Director; Mike Lundin, Korg USA District Sales Manager; Chuck Surack, Sweetwater Sound President; Diana Cecchini, Korg USA VP Finance; and Mitch Colby, Korg USA Executive Vice President/CMO, as Sweetwater Sound is presented with Korg USA’s Key Note Award in the category of “Overall Commitment to Excellence.”

Hendrix ‘Rock Band’ Though neither MTV Games nor Harmonix Music Systems, the publisher and developer of the ‘Rock Band’ gaming franchise, respectively, have confirmed the news,

Janie Hendrix, who controls the estate for the late Jimi Hendrix, has announced that there will be a Hendrix edition of ‘Rock Band’ before the end of 2010.

This would follow the recent release of the Beatles ‘Rock Band’ and the forthcoming Green Day version of the game.

Dealers’ Choice Award Winner: Peavey

Last issue we inadvertently omitted a photo of Hartley Peavey receiving the MMR Dealers’ Choice Award for the Amplifier Line of the Year, the Peavey Vypyr. Peavey Electronics has been the recipient of a Dealers’ Choice Award each year since the Awards’ inception in 1992. 10 MMR

APRIL 2010

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Upfront Martin Donates $20G Guitar for ‘Green Auction’ C.F. Martin & Co. has donated a rare 000 12fret Peter Cree Certified Wood Guitar to Christie’s International for their upcoming “A Bid to Save the Earth” Green Auction. This first-of-its-kind charity auction will take place on April 22, 2010 to coincide with the 40th anniversary of Earth Day. Proceeds from the sale will be divided among four leading not-for-profit environmental organizations: Conservation International, Oceana, Natural Resources Defense Council and the Central Park Conservancy. All four beneficiary organizations are 4-Star rated by CharityNavigator.org,

New Distribution for B&S German-based brass-wind manufacturer B&S GmbH has decided to change its distribution setup in Germany, Austria and Benelux. Starting with Frankfurt Music Fair 2010, it will no longer distribute their brands “B&S”, “Hans Hoyer” and “J. Scherzer” through a third party wholesaler, but start a direct distribution to the retail stores. In the same way, B&S GmbH will distribute the “Melton / Meinl Weston” brand in the said markets. Following this decision, Gerhard A. Meinl will return to the management of his company: “I am in the seventh generation in this business and I am proud to celebrate 200 years since the beginning of my family business. In times of such significant changes, it is only normal for me to be the front figure of my team. My long-term business partner Jakob von Wolff will continue to shape the day-today operations of the company. Together we will promote our products and work for a happy and satisfied customer base.” 12 MMR

its highest rating for not-for-profit organizations. Estimated in value at $20,000, the one-of-a-kind Martin Custom Shop 000 12-fret Peter Cree Certified Wood Guitar features original Southwestern artwork executed in hand-applied colored lacquers by renowned painter/sculptor Peter Cree. Held at Christie’s, Rockefeller Center, New York and carried live globally via Christie’s LIVE™ on www.christies.com,

The Evening Sale will be a star-studded event with top celebrities serving on the Green Auction Host Committee that includes: Leonardo DiCaprio, Harrison Ford, Tobey Maguire, François-Henri Pinault, Salma Hayek, Bob Fisher, Candice Bergen, Ed Norton, Evelyn Lauder, Alec Baldwin, Zaha Hadid, Brooke Shields, and Matt Lauer. Additional lots for auction will include major works from artists, coveted celebrity experiences, upscale eco-vacations and exquisite jewelry.

Trade Regrets: Charlie Wicks Charlie Wicks, the CEO and founder of ProCo Sound passed away on March 11. Pro Co is a Michigan-based Corporation founded by Wicks in 1974 that builds audio interface products such as guitar and microphone cables, digital snakes, inear monitor controllers, facility distribution systems, and the iconic ProCo Rat distortion pedal. Sammy Ash of Sam Ash Music comments: “For those who didn’t know, his nickname was ‘Captain of the Universe.’ To this day I do not know how that came about, but it always seemed to fit – When you saw him smile, it was as wide as the Grand Canyon or as, “Big as the Universe.” He will be missed.”

Marge Levin Marge Levin, wife of Chuck Levin of Chuck Levin’s Washington Music Center, recently passed away. A much beloved figure in the MI world, Mrs. Levin is survived by sons Alan and Robert, daughter Abbe, grandchildren Adam and Samantha, and sister Natalie Stewart. In lieu of flowers, the Levin family is requesting that interested parties donate to either the Parkinson Foundation of the National Capital Area or the Jewish Foundation for Group Homes in her memory. Those interested in sharing a memory or leaving a message for the Levin family can visit www.chucklevins.com/MrsLevin.asp.

Herb Newton Longtime music retailer Herb Newton passed away on February 11, at the age of 94. Newton was a passionate music maker and advocate who also served on the Board of Directors for NAMM in 1967. APRIL 2010

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People Fishman has appointed Corey Congilio as a marketing/artist relations specialist, focusing on social networking, online content, video demonstrations, sales events and training, mar- Coniglio keting promotions and artist relations. D’Addario & Company has announced that John J. Burke, Jr. has been hired as D’Addario’s general counsel. Reporting directly to company president, Rick Drumm, Burke’s responsibilities will include providing legal counsel and guidance on commercial, transactional, regulatory, environmental, intellectual property, international trade, employment, and real estate issues. He will also negotiate compensation terms with outside counsel and direct their activities on behalf of the company. Hosa Technology has announced the promotion of Jose Gonzalez to product manager for the company’s Hosa and Zaolla Silverline brands. Gonzlez has a background that encompasses field sales management, information technology, and work as an audio technician. He will be stationed at the company’s headquarters in Buena Park. RS Berkeley has appointed Pat Emmett as district manager for Arizona, California, and Nevada. Emmett is an accomplished musician and had previously worked for Emmett Pennino Music, G. Leblanc, Midco, Rico, and Musicorp/MBT. After twelve years as general manager for Jim’s music in Irvine, Calif., Pat became an independent sales rep. SKB Corporation has named Brian Torres as creative director. With over 20 years experience as a creative executive in the Entertainment and Action Sports industries, Brian, Torres “has outstanding accomplishments in marketing and branding. His expertise 14 MMR

in strategic thinking, conception, brand building and art direction bring value that will produce immediate impact and results for SKB Corporation. Brian will oversee all creative for branding, advertising, collateral material; web, social media and trade show design.

WorldWide Music Services has announced the hiring of Edna Adams as a sales account executive. Adams boasts 34 years of sales experience in the music publishing industry and Adams has represented many companies including Hanson House/St. Louis-Peoria Music, Columbia Pictures, Warner Brothers Publications, and FJH Music. KHS America has announced the appointment of Andrew Strayer as vice president of Sales. In this new position, Andy will lead the sales efforts for Jupiter Band Instruments, Mapex Strayer USA drums, Majestic concert percussion and Altus Flutes in the U.S. Andy will be working with a veteran sales team supporting Jupiter, Majestic and Mapex brands, regional managers focused on Mapex USA drum sets, and the Altus Flutes sales manager. Andy’s responsibilities will also include customer service and internal sales efforts for the company. Benedetto Guitars has appointed Lane Zastrow to head sales in the Mid-Atlantic States, Canada, and Europe. Zastrow has previously been vice president of sales with Chicago Musical Instruments and president of Lasar Music. Don Mannino, director of field services for Shigeru Kawai Pianos in North America, has been awarded the title of Master Piano Artisan by Kawai Musical Instrument Co. Ltd. The designation was conferred by Kawai president, Hirotaka Kawai, during a presentation at Kawai’s world headquarters in Hamamatsu, Japan on February 26, 2010. APRIL 2010

Letters I was delighted to learn that the Don Johnson Service Award is an annual event!! My hat is off to you and your staff for not only keeping Don’s memory alive but creating an award to showcases the incredible work that individuals are doing in our industry to encourage music and music making! What a wonderful tribute to our friend Don Johnson that MMR, the magazine he loved, has created an annual recognition award to those who serve our industry with passion, dedication and whose work often flies under the radar. These are traits that remind me of Don. Don was dedicated to our industry and while he wrote for the current reader. I always had a sense that he wanted to capture stories for historical reasons as well. In reviewing several of his editorials over the years, which I find myself doing on occasions, I can not help but notice the importance of his remarks as

16 MMR

they relate to the passionate stories of our industry. I admired Don’s writing and his perspective. I also admired and related to his strong connection to the people of our industry. Don was one of the first industry leaders outside of NAMM to support the Oral History Program, a collection he not only provided valuable research and suggestions for, but was also interviewed for back in 2006. We dialoged often about the history, the characters in it and our own love for music. Each and every time I hear an Otis Redding song I think of Don as we both admired the great ‘60s soul singer. Back in 2003, it was clear to me that Don took great care in crafting industry obituaries for MMR, so I approached him

for help and support regarding the idea of having an Industry Tribute. The Industry Tribute is held each year at the NAMM Show in January and has come to provide great comfort as we gather as a family to remember those we lost. Don was without question a strong force in making that tribute what it is today. He cared about the people of our industry on many levels, a fact made clear by reading his articles. How fitting it is that his name is on a service award that now encourages the people of our industry to make a difference – Don Johnson certainly did. My best, Dan Del Fiorentino NAMM Historian

APRIL 2010

Storefront Simon Ripley’s Music & Art Simon Ripley’s Music & Art is a brand new MI store and art gallery located in Nashville, Tennessee. “We are a serious music store, but we’re also a serious art store,” explains John Ripley, who runs the business along with his partner, Michael Simon. “We have some really fi ne music themed art. Everything we display currently is by local artists, and a lot of them have national recognition. One of the artists – and I should say that the artists have been very supportive of this type of venue – Greg Decker, when he was living in New York, taught at the Museum of Modern Art. In addition to his consigned art work, Greg did the mural on the front of our customer service counter and in one of our rooms here,” says Ripley.

18 MMR

Simon Ripley’s currently employs six staff members including John and Michael. The store itself is around 3,500 square feet, with 2,500 square feet dedicated to retail space, and the remaining area being turned into offices and studios, which will host a lesson program in the near future. “The concept is that we’re going to be very deep and attentive to supplies and accessories for every family of instruments,” says Ripley, “Not just guitars and combo, but band and orchestra as well. We want to be attentive to the things that people need all the time to create music. In Nashville, there’s niches that are missing,” explains Ripley, “particularly in printed music, which we’re also doing. Believe it or not there was no place in Davidson County or metro Nashville that was

carrying an in-depth supply of printed music – until we opened.”

Finding Their Niche One reason for Simon Ripley’s success seems to be their knack for interacting with local musicians to learn what’s missing in the community. Recently when talking to some local studio performers, their hard work paid off. “You mean you’re going to carry reeds? You’re really going to carry reeds? There’s no place that you can buy them close to Nashville!” said one saxophonist. “The concept is that this will be one of our calling cards,” says Ripley. “We’re going to be very deep in the musician’s every day needs. All the tools and supplies that musicians need on a regular basis: that is our forte.”

APRIL 2010

“We’re going to be very deep in the musician’s every day needs. All the tools and supplies that musicians need on a regular basis: that is our forte.” Simon agrees that their ability to recognize what’s missing has really helped the store take hold. “We’re carrying 65 Amps which are really nice boutique and very high end amps. Ironically, when I first contacted 65 Amps, on the advice of my guitar guys, they had no representation in town! And they had people like Vince Gill and Keith Urban already using their products!” “We’re also selling acoustic pianos,” says Ripley, who is an accomplished keyboardist in his own right. With pianos, Ripley’s primary focus is in the pre-owned market. “I’m a big fan of American and European pianos and there’s a plethora of great instruments out there that need good homes and people who want them. We also carry a varied supply of guitars for a couple of reasons: One, we’re in Nashville and there are a lot of guitar players here; Two, guitar players are the one group of musicians who tend to own multiples, sometimes a lot of instruments.” Although the store is currently heavier on the guitar side, Simon Ripley’s is looking to expand more into the B&O area. “We have to be a little bit more careful because there’s such a variety there, and we don’t have unlimited space,” explains Ripley. “We really want to cater our stock to the community. We have a world-class symphony here, as well as nationally known Belmont University and Vanderbilt’s Blair School of Music. Basically, we want to carry those products that they really want and use on a regular basis. There are a lot of products to choose from and you can’t stock everything.” APRIL 2010

Simon points out that they’re not trying to be a one-stop shop, but rather a unique store that fi lls in the gaps. In every family of instruments we’re carrying the basic necessities,” says Simon. For instance, in drums we’re carrying sticks and heads and a reasonable representation of percussive instruments, but the best drum store in town is only minutes away, so part of this concept to is not to fight battles that make no sense. We want to fit into the community and come in without creating unnecessary battles.”

art with music is actually a common practice in Europe, where proprietors consider it a real honor to be in this business,” says Simon. “That’s how we feel too.” “The store has a great ambiance,” say Ripley. “We really want to be a part of the community because Nashville is a wonderful community – it’s a wonderful music community – and our goal is to become a meaningful part of this community. We’re just very fortunate to have everything come together and have this whole thing happen the way it did.”

Filling In the Gaps

Becoming Part of the Community

Not only has the store filled in the gaps for local musicians, but also the fact that it’s doubling as an art gallery has brought many of Nashville’s artists, both musical and visual, closer. “The artists have been extremely supportive,” says Ripley. “Part of the uniqueness of our concept is the fact that it’s all music themed art, and the fact that we’re also this MI store enables us to present two different types of artistic product lines; i.e., musical-related and visual-related. We believe our customers will appreciate both aspects of our business, regardless if the music products brought them in or the artwork. We know they will be able to appreciate both.” Simon points out that while he and John were at the NAMM show, the concept and photographs shared of their new store were very well received. “Everyone with whom we shared our store’s concept ‘got it.’ In talking to folks, we learned that the merging of

As any realtor will tell you, it’s all about location, location, location and for Simon Ripley’s Music & Art, location played a major role in their decision to take the plunge and open up a new store. In a lot of other places, they would have been hesitant to venture into

John Ripley and Michael Simon. MMR 19

Storefront this, but after all, this is Nashville, and Nashville is Music City! “It is an integral part of the culture here – music is alive and well in this town,� says Ripley. “Besides Vanderbilt and Belmont, we are in very close proximity to Music Row, and the W.O. Smith Music School where John has taught for years,� says Simon. “This whole 8th avenue south – where we’re located – is really a corridor of music, entertainment, art and antiques, with all kinds of interesting venues.�

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With their philosophy of creating a space that serves their community, Simon Ripley’s Music & Art has found a way to succeed in an economic environment that recently hasn’t been all too friendly to small business. Their location in Music City has certainly helped but it is their ability to recognize the local needs of their fellow musicians that has ultimately created their success. “We’ve only been open a short while, but the response has been really great,� says Ripley. “Nashville is not your average town – word-of-mouth travels fast around here about something like this.� For a store that’s “not your average MI store� in a “not your average town,� it seems that Simon Ripley’s Music & Art is a perfect fit. APRIL 2010

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UpfrontQ&A Mike Shellhammer In only a few short years, California’s Morgan Hill Music has made quite the impact with its innovative and popular Boulder Creek guitars and, more recently, Wedgie Picks and Accessories and Riptide Ukuleles. MMR recently sat down with vice president of product development, Mike Shellhammer, to discuss recent developments and future plans at the company.

MMR: So how did you become involved with Morgan Hill? Mike Shellhammer: I had been working for another major MI company and I’d been in the industry for about 30 years. One of the owners of a Silicon Valley tech company – Probe Specialists – was familiar with me and wanted to get into music industry and that’s really how things started. MMR: These were folks with no prior MI experience, really? What was their motivation for getting into the business? MS: They wanted to diversify, plus music was something they were passionate about. They knew I was working on a revolutionary design for the acoustic gui-

tar. The SBS suspended bracing system, which was patented a year ago, was really the first fundamental design change in acoustic guitar manufacturing since Martin’s X-Brace from the mid-19th century.

MMR: What’s your current role at the company? MS: I’m vice president of research and development. I develop all the new products for guitars, and do all the design and artwork – including ads and catalogs and instruments. MMR: How many others are on staff, presently? MS: Well, the owners are Randy Medina and Jim Camp – they’re the origi-

nators of the company, the people who first contacted me. Jeff Strametz is the vice president of sales and handles major domestic and international accounts. There are probably around ten other employees, total.

MMR: Aside from Boulder Creek Guitars, you have a number of other product lines – talk a little about that side of the business? MS: We purchased the Wedgie Picks and Accessories Corp. in 2007. We have a number of digital tuners, metronomes, and accessories. Riptide Ukuleles hit this past November and have been a big success, already. Right now, we’re totally out of ukes, in fact. We’re back-ordered through the NAMM show. It’s been phenomenal – one dealer bought 150 ukuleles at once. MMR: What’s your assessment of the current MI market? How was last year for Morgan Hill Music and what are you expecting in 2010?

Morgan Hill Music’s California facilities. 24 MMR

MS: Last year we were up 30 percent over the year before, but we’re a small niche company and we have a revolutionary product, so we’re in a unique position. This year if off to a blazing start. We picked up three new distributors at Winter NAMM and we’re predicting – conservatively – another 30 percent growth this year. We’re now worldwide with 16 major distributors. The ukuleles are just booming, like I said. We also APRIL 2010

UpfrontQ&A have Boulder Creek guitars on tour with Fleetwood Mac, Taylor Smith, Jennifer Lopez, and Rascal Flatts.

placement of the sound hole – really benefit the instrument.

MMR: Explain? MMR: Boulder Creek really has made an impact in a relatively short time-span.

America’s Premier Guitar & Bass Parts Supplier

MS: From the start we went against the grain with the concept and design. We wanted to build a better sounding and better looking guitar, not just another guitar that looked and sounded like everything else. I think we accomplished that. Many artists are switching from prestigious named guitars to Boulder Creek for just that reason. We’ll take on anybody – we don’t care. We tell stores, “Don’t compare our guitars to others in our price range.â€? We want you to play your favorite $3,000 guitar, plug it in, and compare. Tell us which sounds better. Our bracing system keeps the top from warping but also allows energy to transfer more effectively, so the sustain on our guitars is twice what you’d normally expect. When you play harmonics or a chord, the guitar rings like a bell – It’s alive. They’re just amazing instruments for the money. Every guitar we make has XLR and Âź “ outputs and the other design features, aside from the bracing system – such as the

MS: Having a hole in the front of a guitar – that’s the worst place. What if you took a snare drum and cut a hole in it? You’d kill it. It’s very similar with a guitar. All you need to do is release the air, so we put the hole in the top and that achieves that end without sacrificing tonality. MMR: Makes sense. Are there any upcoming projects for Morgan Hill that you’d like to share details about? MS: Our EBR3-N4 bass is up for a mipa (Musikmesse International Press Award) in Frankfurt this year – it recently also won “Best Acoustic Bass Guitar Overall� at Bestcovery (www.bestcovery. com). We have a new line of more acoustic electric basses and we’ll be introducing the fi rst models at Summer NAMM. We’re always working on new guitar models and finishes, experimenting with different kinds of wood right now for beauty and tone. Things are going great and the products have been catching on, so we’re just aiming to continue along those lines.

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t the 2010 Winter NAMM show, Spectrum Musical Instruments released its brand new line of wireless guitars. To get some more info on the instruments and the company as a whole, MMR sat down with Richard Borden, president of Ashley Entertainment Corp. “Spectrum Musical Instruments is a line of product distributed by Ashley Entertainment Corp. in the United States,� says Borden. “We’ve been in business since 2001 and are incorporated in the state of

New Hampshire. We sell a complete line of musical instruments including acoustic and electric guitars, digital drums, different kinds of keyboards, and accessories.� The group holds a number of patents on different products and they try to do things to set themselves apart from than some of their competitors. In an effort to give their customer a complete solution, Spectrum partners with other suppliers to enhance the product by providing additional content. Cakewalk and Music Sales Corp. are two such companies. Although based in the United States, Borden notes that Ashley “partners with a couple of companies in Asia where we have our quality control and engineering staff on board.�

The New Wireless Guitars After positive feedback at both CES and NAMM, Richard is excited about Spectrum’s new product offerings. “We’ve developed a couple of different items,� he says. “We’re working with both analog and digital systems, and we’ve just fi led patents and for FCC approval on a particular unit that’s built into the guitar.� What makes 28 MMR

Borden’s unit unique is the fact that the wireless system is fully integrated into the instrument. “It’s not a fanny pack,� he explains. “It’s in the guitar. There’s no lag in the playtime and it’s got about a hundred-foot range with perfect clarity. It also has an audio input where you can plug in a headset microphone or some type of a mobile device,� says Borden. “You could actually go to our Web site – www.ashleyintl.com – and download backing tracks from our play along series, put it on a mobile device, and plug that device into your guitar. The backing tracks could then be heard through your amplifier while you play lead. It’s a one channel, two setting system.� The two different settings allow two people to use two different wireless guitars at once: “If we were both on stage at the same time, there would be no interference between you and myself,� says Borden. “All around it’s just a very high quality, yet very affordable system.�

Price Points & Customer Service “It’s going to be very affordable,� Richard says. “We can put this system into any guitar that we chose to and you can own it for the same price that you could go out and buy an existing wireless system without the guitar. Guys on stage that spend thousands of dollars — they have all this stuff. But, I don’t think they have it for a couple hundred bucks! I mean, a lot of other people have fanny packs and things like that so they can make their guitar or microphone wireless and I think that’s great. However, with our product, someAPRIL 2010

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had a very good response in what it is we’re doing.”

Looking Towards the Future

one can buy the guitar with the wireless system already installed inside the instrument. And we’re talking about a retail of maybe $229. I don’t think you’re going to find this out there for less than double! It’s a priced right solution for a quality item. Aerosmith isn’t using it, but we’re not making this product for Aerosmith! It’s an affordable system. You

can buy this guitar with the wireless built in for the same kind of money that you can buy a brand new wireless system, so it certainly has value, it works well, and the guitars are great. We try to be very consumer friendly. We try to not to make things difficult and our customer service is very good. If anyone has a problem, we take care of it, so in those respects we’ve

Although the current economic crisis has stunted growth for many companies, Borden is optimistic about Spectrum’s future. “Over the next two years I see double digit growth,” he says. “I don’t think business was good for anyone over the last two years and we probably did less business with a lot of our customers, but we increased our customer base by more than double, so our sales were up. We’ve positioned ourselves for substantial growth both this year and next just because we’ve increased our customer base. When things get back on track, sales should be much better. We are getting a great response from the people that we are selling our product to. They love the stuff that we’re doing and we’ve got a high quality product at an affordable price. Like I said, we try to be very innovative and very consumer friendly and I think in the long run, those two things will really pay off.” Borden’s belief in innovation has certainly put Spectrum on the MI radar. “We might be doing some OEM stuff for a couple of other companies that I won’t name at this time,” says Borden. “Other than accepting an audio in, I’m sure that a lot of other companies have the capability of doing this, but we just happen to have it as an all in one unit, built right into the guitar.”

“We’ve positioned ourselves for substantial growth both this year and next just because we’ve increased our customer base.”

Richard Borden 30 MMR

APRIL 2010

REPORT

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'$$ 3VMFT PO 8JSFMFTT (PWFSONFOU %FDMBSFT 4PNF 8JSFMFTT 1SPEVDUT *MMFHBM "GUFS +VOF “May I see your license and registration please?� Cops say that dreaded phrase everyday – but could a representative of a telecommunication giant say it to someone using a wireless mic? It’s no longer that far-fetched of a scenario. That thousands of wireless products sold over the last decade are going to be illegal to operate is

32 MMR

already a reality. More stringent licensing regulations are the immediate future. On January 20, the Federal Communication Commission (FCC) issued a new rule that anyone who uses a wireless microphone that operates in the 700 Mega Hertz Band will have to stop operating their wireless microphone no later than June 12, 2010. Most industry insiders saw that coming. But what the FCC is going to do next could be critical to the MI industry. The laws of licensing these products will no longer be ignored, and now they are figuring out a formula for who is worthy of a license. It’s a mad scramble for spectrum space, and it’s made more complex by a controversial move by the government agency to sell some of the space where wireless products once flourished unabated to the computer and telecommunications industry which will be used by the next generation of Personal Digital Assistants (PDA). “Ultimately the FCC is in charge of managing the public airwaves, and that

they’ve gone and sold it and pocketed the money seems extreme,� says ATK’s Scott Harmala. “Is it even legal? It’s supposed to be the public’s.� “Some economist worked out a way to sell air space, which nobody owns, but the government says they do,� says Chicago area MI retailer Gary Gand. “What’s next? Trying to sell is sunlight?� FOH Magazine editor Bill Evans says he knows of many small and mediumsize audio companies who have simply stopped buying wireless products. “And there’s real anger out there – I had one guy tell me the next time a politician needs a wireless mic for an event, he’s going to charge him $10,000.� As for those products that use the 700 MHz spectrum, they have a mere few months to replace it. “I can’t remember a time when the government mandated people to buy something,� says Shure’s Chris Lyons. “Worse case scenario, I see a customer that has been living in a cave for the last three years and didn’t hear he needs to check the frequency on his system,� says Sennheiser’s Joe Ciaudelli. “Then come August or September it stops working on them, long after the rebate programs we’ve been offering have ended.� “We’re going to get yelled at,� Lyons, Shure’s Manager, Technical & Educational Communications, adds. “Those of us who make these things, and the retailers who sell them, we’re going to get blamed for APRIL 2010

this. Even facilities who want to comply won’t have the budget to do so by June.” “It’s a big fish versus little fish situation,” says Fenton, Mo. retailer Greg Maglione of Tower Music. “We took it on the chin, and in my opinion it’s not right.”

Illegal Beginnings, Licensing Issues To many, the difference between a guitarist who likes to plug into the amp and one who prefers a wireless set up is just personal preference. But the latter is actually “broadcasting” that smokin’ guitar riff over the air. This makes him a “squatter” – operating between the frequencies that television stations used to broadcast television programs. But with the completion of the digital television (DTV) transition on June 12, 2009, television stations er-powered gear, “should be okay and no longer use the frequencies between will be perfectly adequate for the church, 698 and 806 MHz (the 700 MHz Band) school, or club … then again, there will for broadcast, the area that had coexisted be no legal recourse if they experience inwith wireless products for years. No harm, terference from white space devices.” no foul – but officially illegal. Lyons expressed sympathy for the “When discussing the issue of not FCC’s position. “They are between a being able to legally use 700 MHz band rock and a hard place. They want to prowireless, you have to ask the question: tect people who use a wireless mic, but How many folks in the room drive at or where do they draw the line?” Here’s below the speed limit?” states Gand, who a nightmare scenario: Company X in also has a pro audio rental company. town for the Y Trade Show held at the Z While there are plenty who agree with Convention Center. They rent wireless that perspective, it’s now a moot point. mics from Abe’s Music and hire Bob to The FCC is saying that sit in the back and run the some of that space is going board. Who needs the lito be given to public safety cense? The company, the entities (such as police, fire trade show organization, and emergency services). the convention center, But mostly, it’s being sold the music store, or the auto commercial providers of dio engineer? “The FCC wireless services (Verizon, doesn’t know and is trying AT&T, Google, et cetera). to figure that out.” “The announcement And there are more of closing the 700 MHz challenges: Historically, band revived the need for the FCC has looked at the licensing. We said, fine the activity – are you a – how are you going to do broadcaster? Okay, that’s that? And the short answer radio or TV stations. is, they don’t know!” Lyons But what’s that mean in laughs. “They are making today’s brave new world? this up as they go!” The minister streams Ciaudelli, Sennheiser’s live the sermon over the director of market develInternet, the local punk Chris Lyons opment and education, band does a podcast … says that most of the loware they broadcasters?

“Those of us who make these things, and the retailers who sell them, we’re going to get blamed for this.”

APRIL 2010

700 MHz Dead, But Not Gone The sale of the 700 MHz raised a reported $19.59 billion for the FCC, with Verizon leading the check-writing pack spending $9.63 billion, and AT&T spending $6.64 billion. There’s unconfirmed reports that Verizon already has people out in the field with scanners, and when they find people operating in that 700 MHz spectrum, are hitting them with cease and desist letters, Evan says. “We’ve been notifying customers since 2007 that the day of operating wireless in 700 MHz would be prohibitive,” Ciaudelli says. Sennheiser has also stopped shipping 700 MHz products in North America years ago. (But they are still making them, as they are still used in other countries.) Harmala, CTO/VP engineering of ATK Audiotek, has been involved with the issue since at least 2007, and “we figured we’d be asked to leave at some point, but we started asking what their plan was – for years they just replied, ‘We don’t know yet.’” Then all of sudden, August of 2009, it was announced that wireless mics were going to no longer be allowed in that spectrum. After years of dragging on, there was shock in the industry that it was happening so soon.” But then it didn’t – a national election and a switch at the top of the FCC was followed by yet another re-education process of members of the MI industry going to Washington to explain its importance. Luckily, Lyons says, there weren’t too many changes at the Office of MMR 33

Engineering Technology (OET), which is the engineering arm of the FCC. Shure started moving away from 700 MHz products in 2001. But their “add more features, move it to a lower band� process didn’t complete until 2007. Others did the same. Weekend Warriors and even regional music acts are either beating up their gear and/or wanting the latest/greatest anyway,

so switching out the every three or four years is naturally occurring. At the very least, they are likely reading magazines and hanging out at the local music store enough to have heard of this potential problem. But the microphone industry is a victim of it’s own success. The “problem� is many of these products last a long time.

Retailer Wireless To-Do List !

Make sure there are no wireless products on your floor that operate in the 700 MHz spectrum. If there is any question, contact the manufacturer.

!

Display the industry’s consumer alert to educate customers. Make sure that same alert is included in all ads, mailers, Web site, et cetera, you use to promote the wireless products.

!

Go to the FCC’s webpage to make sure you’re clear on the issues: fcc. gov/cgb/wirelessmicophones.

!

Understand the rebate policy of each wireless product you sell, the deadlines, and any and all conditions.

!

Educate your staff on the issue, and anytime any former, current, and potential customer contacts your store about any P.A.-related issue, ask if they have wireless products and if they are aware of the new law.

!

Go through your list of institutional clients (and maybe even your competitors), and see if they are aware of the new law. Offer to go to their facility and check it out for them.

“It’s a bigger deal than people realize,� says Malione. “In my case, a lot of these mics are going to churches, and you try to give them a head’s up so they can make the changes. With installs, the equipment really doesn’t get beat up, and if you’re a church or a school, and you make an investment of $10,000, $15,000 into a sound system, you expect it to last for at least a decade, not four years.�

Education and Rebates Lyons points out that the FCC was founded to protect the sound spectrum so to “deliver the most benefit to the most people.� The powers that be looked at the number of people using wireless mics versus the number using wireless Internet-related products. At first glance, the latter is a goliath to the former. “But then [the industry] pointed out, who is really benefiting?� It’s not just Bono benefiting from wireless gear; it’s the tens of thousands who attend a U2 concert. It’s not just John Madden; it’s everyone who watches a Super Bowl. Ciaudelli says the process has educated members of the FCC and politicians of how ubiquitous wireless mics have become. “They realize now that wireless mics are the

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tools that create the biggest ing licensing. Less than one entertainment content in percent of wireless products the world, and there’s nothare licensed – less than 600 ing else that the U.S. exports auxiliary transmission limore than entertainment. I censes. That’s a drop bucket think when the FCC started compared to what is actuthis, they didn’t realize how ally in use. important wireless [prod“Another problem is ucts] were.” the huge amount of hardHarmala agrees: “We ware out there that is still as an industry have a very going to be used in spite of small voice, and I think this. Few even know what we’ve used it effectively. a Megahertz is. They won’t They didn’t understand know why it’s suddenly the scale of it in the beginnot working well, and asning. Now they do.” sume it’s broke. Hopefully “It’s been a difficult situthe retailer they buy their ation because the wireless replacement system will products have not been know not to sell them anrecognized by the FCC,” other 700 system.” Joe Ciaudelli he continues. “It’s not just The industry has united the Grammy’s and tourto not only educate the goving rock acts, but churches, ernment, but to reach out to institutions, and businesses. The majorretailers and consumers. Sennheiser started ity are non-technical end users. It’s the back in 2007 telling their retailers that this church secretaries who have been shown day would come. “We sent out information how to turn on a switch for speaker at the directly to them and the customers we knew luncheon event. None of them understand of, did email blasts, and had an advertorial that these are devices technically requircampaign running in several publications,”

“I think when the FCC started this, they didn’t realize how important wireless [products] were.”

Ciaudelli says. “It’s important that retailers do know that the FCC is requiring a consumer alert on all wireless products, which means that most are unlicensed devices that must adhere to certain restrictions. It’s also important that when they print out a catalog, advertise wireless products, promote a wireless on their Web site, et cetera, that they include this consumer alert.” In a cooperative effort, seven wireless product manufacturers have joined to create a point of sale display that retailers can place near their wireless products. “It’s difficult reaching people,” Lyons admits. “We sell to dealers, and then the dealers sell to the houses of worship or the band director or whatever. It’s not like we get back cards to tell us who a certain mic was sold to.” In fact, during congressional testimony, when the FCC asked how many of wireless units were in use, the wireless industry had to give an honest “We don’t know.” “When something is sold, we don’t know if it’s a replacement or someone is expanding their system.” “The industry has been good getting the word out to us, but I don’t know how it’s filtering out to the general public,” Malione says. “I read blogs [et cetera], but I

the Straight Truth About Pickups by Jason Lollar The “magic” found in some (but not all) classic vintage pickups was created by accident. Don’t let anyone tell you different. And over time, some pretty stellar accidents happened. The only way to recreate that magic is to study more than a few exceptional examples of all the classic pickup types, while acquiring a thorough understanding of exactly what materials were used and precisely how each pickup was constructed and wound. Only then is the “magic” repeatable, if you are willing to spend the time and money required to chase the dragon. I am. I personally design and wind over 30 different pickup models, including all the vintage classics, many obscure works of art known only to lap and pedal steel players like Robert Randolph, and even a few of my own designs that never existed in the past. I invite you to visit our website for sound clips, videos and current product information, or call us for a free product highlight brochure.

Lollar Guitars PO Box 2450 Vashon Island, WA 98070 (206) 463-9838 www.lollarguitars.com

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don’t know the average consumer knows about it.” Malione is doing his part: He says every call he gets about anything else, he tries to educate his customer about it. “You can’t just give a serial number, and then you have to explain what 690/810 means.” He mentions he sold $10,000 worth of wireless Sony products to a house of worship a few years ago and they love it. Yet now they will have to replace it. Most of the wireless manufacturers have some kind of rebate program up to $1,000 in place and all are going to extraordinary efforts to educate the dealers and the consumers about this situation. But they still won’t be completely successful. “The manufacturers are doing everything they can for the end users and the industry as a whole to move their hardware around,” says Lyons. “But it’s tough.” “We’ve had a rebate in place for more than a year,” Ciaudelli says. He too thought the FCC deadline for this would happen long again, but when they announced the official deadline, they extended the rebate. “The whole wireless rebate deal made our December,” Gand reports. “At the 11th hour, or Dec 29, many folks took the

APRIL 2010

rebate hook and we sold a Microsoft, Phillips, et ceton of gear. Of course in tera, can’t produce a deshort order, they extended vice that can reliably work the deadline to June 2010, around wireless products,” making us all look like ophe says. “It’s supposed to portunists. Now that we be smart technology, sniff have scraped the egg off frequencies being used, and our collective faces, will it move out of it.” But at what work again or will the buycost and how accurate, he ing public think its ‘just wonders. another bail-out?’ Ask me Evans is skeptical. in July.” “That the test of these “Believe me, no one is white spaces devices on a making money on this refootball field was a total bate program,” Ciaudelli failure was ignored by the says emphatically. “This is head of the commission something we’re doing to at the time,” he says. His support our customers.” thought is products will Scott Harmala Lyon’s message to restill be usable, just less retailers: “Contact your list liable. “As more consumer of clients – and if you’re devices enter the space smart, contact your competitor’s as well. we’ll get more drop outs and interferIt should be a ‘hey, just want to make sure ence. At some point, yes they are useless. you’re compliant. Let us come out and But we can’t pinpoint when or where that check.’” happens. It is why the pro audio community is asking [the FCC] for eight frequencies per market area to be set aside The Future – Upside? for wireless mic use. Harmala says the future of all this is a “I don’t think we are gonna get it.” bit of a question mark. “Right now Google,

“Wireless is here to stay, so it’s just a matter of solving these new problems.”

MMR 37

Harmala points out that from the pro audio standpoint, there’s always been interference. “We do most of the highprofi le shows on T.V. from American Idol, Dancing with the Stars ‌ we’ve done both Democratic and Republican conventions. Thirteen Super Bowls. There’s an unbelievable amount of interferences there, and we have always had to be agile with fi ltering and tricks that allow us some margin of security. It’s been like that for a long time, but now it’s going to be worse, especially in major markets.â€?

He says friend of the industry Congressman Bobby Rush (Ill) has put forth a bill that would expand what is defined as a “Broadcaster� – cable operators, fi lm producers, TV producers, and TV broadcasters� – to include places like sports arenas, theaters including Broadway, et cetera, “places where it’s obvious they should have the right to have a semblance of protection.� For the guys on the front lines, it’ll be an issue for years to come. Malione points out that the large houses of worship usually have a paid professional

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audio engineer on staff, so they are most likely informed on the topic and aware of its seeming inevitability. “I think it’s more an issue for the small churches: The ones with the volunteer person who shows up and basically turns the system on, and the whole thing is only running three or four mics.� Malione adds that he’s grateful that by “sheer luck� the fast majority of his wireless sales over the years have been with MiPro products, which have never had products in the spectrum in question. “Folks with 700 MHz wireless gear will continue to use it, whether intentionally or by accident,� Gand says. “They may just be like the last soldiers who did not get the memo that the war is over and are still in the jungle fighting to this day. “Now the good news for the retailer is we finally have a reason to force people to upgrade their old systems under threat of no longer working correctly when all of this new technology comes online,� Gand says. “The fact that nobody knows when and where it will strike makes the threat even more tantalizing, like going to a street bazaar in the Middle East.� Evans tosses out another potential problem, and it’s one that is going to affect some retailers: eBay could be flooded with what looks like amazing deals on great wireless gear, only to have it snapped up by unsuspecting people unaware of the extremely limited shelf life it has. For the manufacturers, it’ll be continued education, new innovations, and taking blame. “We do get calls blaming up – and we say, believe me, we didn’t want this to happen!� Ciaudelli laughs. “But when we explain the situation, most people are very understanding and appreciative.� For the pro user, dealing with this increasingly aggressive influx of challenges will require manufacturers to develop more resilient technology, says Harmala. He speculates that there might even be a whole new industries coming out of this. Perhaps someone will come up with a building material to keep interference out and effectively shield a club or theater from competing sound waves. “Maybe it’s part of the spray coat junk they put on to fire proof a building,� he muses. “One thing for sure: The days of going back to being completed wired is not realistic. We want Lady Gag roaming around on stage. It’s all part of the experience. “Wireless is here to stay, so it’s just a matter of solving these new problems.� APRIL 2010

SPOTLIGHT

The Guitar Reissue: Playing on Nostalgia for Fun and Profit The art and science of recreating, and improving on, iconic instruments

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Each manufacturer’s take on reissue is as unique as the individual companies themselves.

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Danelectro Cutaway

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When proceeding down the reissue path, two questions emerge: how much can be recreated and how much should be recreated.

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“If they weren’t great guitars to begin with, they wouldn’t be popular,” Martin Guitar’s Dick Boak states bluntly. That sums up nicely the why guitar makers reach back into music instrument history and recreate treasures from the past. The “what” and “how,” however, varies wildly. The popularity of reissue models, though, is not in dispute. “A reissue guitar can be compelling for several reasons,” says Justin Norvell of Fender. “Over the years our instruments change and evolve, so reissues go back to certain spec combinations that people find desirable. Things like neck shapes, pickup design, fi nish/lacquer, and more. Also, at its most basic, it is nostalgic to people, referencing touchstones of either what key artist played it, or an important musical era.” “I think reissues are popular due to a number of factors,” says Tom Appleton of Ibanez. “Sometimes when a great guitar comes out, a newer player might want it, but can’t afford it at the time. Then, many years later, maybe they are pros, or maybe they are just in a position to get the guitar they’ve always wanted. That’s when the reissues become especially appealing.”

‘Better’ vs. Authentic Often manufacturers choose to take the opportunity to improve upon the original. “Combining what makes a model unique and giving it a little bit of modern characteristics — that’s what makes a great reissue,” says Dayv Chavez of G&L. “It APRIL 2010

becomes an issue of how do we bring this out, but not make it be the same. It’s funny when you go, ‘Oh my God! It looks just like the old one, but has the modern features.’” Take Eastwood, for example: They are recreating guitars from the past that in most cases weren’t actaully that good from a playing standpoint, or in terms of the quality of sound produced, but were great on the eyes. Each year prices on those originals skyrocket, so they get harder to find. Eastwood is building an entire company on quality, moderately priced vintage guitars for the everyday player, introducing just three or so new models a year. Steve Ridinger of Danelectro says that the allure of reissues is that they are more affordable than the originals. “And sometimes the old guitars are so beat up, or in such short supply, the chances of finding a good one are rather slim. There’s also something about owning a piece of rock and roll history. Owning the same guitar that was used to record some great song from the past” is appealing. Schecter’s Jason Fedele agrees. “Market research has shown that the primary consumer of a reissue guitar is going to buy it based on historic significance. Col-

lectors tend to gravitate toward originals whereas younger buyers go for emulation of their favorite artists. A reissue fits the bill for this buyer.” These are rarely someone’s first – or even second – guitar, says Tony Blair of Kay Vintage Reissue. “Like a great vintage Burgundy wine, these instruments are especially appreciated by a connoisseur who has good wines as opposed to someone trying their very first glass,” he says. “Our reissues start at around $1,000 list for a ‘street series’ version, and go up to $3,500 for the U.S.-made Recording Series.” “Our instruments are woven into the history of music over the last 60 years, so these are cultural touchstones as much as spec combinations,” Norvel adds. “Guitars are extremely subjective, and while one person insists on the big headstock 1970s look and feel, another loves the 1950s style. So we try to have most of the bases covered to give people the Fender they want.” Like so much of the guitar market, attachment to a star does a great deal to make it popular. That’s true for all, including Eastwood. Quirky rock stars like Jack White playing one of these does a great deal to drive the popularity of MMR 41

the instrument, as White’s playing of an original Airline attests to: “He’s made every kid who likes his band want his guitar. So something that went for $300 on eBay 10 years ago now goes for $2,000.” While even they understand that it’s not a quality instrument, they still want it because they believe it has, “some kind of mojo that will make them sound like Jack White.” Eastwood makes an Airline [like White’s guitar] that costs $699, sounds better, plays better, and fi lls a market niche. Yet, as great as guitars were in, say, the 1930s, there’s been an advancement or two in guitar making since there. So… are there debates about just how far to go? “We certainly have conversations about better versus authentic,” admits Boak. “To so many, the 37 D is held in such high esteem that it’s simply the finest guitar ever made. Customers on that level can tell the difference between a vintage series instrument and an original one.” The use of something as animal hide glue makes a difference. “Other glues can be almost rubbery for a very long time. The

hide glue makes a difference in the tone and the discerning player can certainly tell the difference.” But how much of a difference? Boak references the work of Dr. Michael Kasha, a molecular biologist who determined after research that the human ear couldn’t discern anything less than a 17 percent improvement in tone. “The only way to make that much of a difference is changing many things.” So adjustment of a little bracing or even swapping out Adirondack for Spruce wouldn’t be enough to notice according to Kasha’s theory. “But while some of the things we do on reissues probably end up being less than the 17 percent, a really good ear, a really good guitarist, can feel those things.” Many choose anniversaries to release reissues – something several manufacturers, including Gibson, is particularly good at. There’s no shortage of variations on the iconic Les Paul, and most recently they released three versions for the 50th anniversary of their 1960 model. The slight variations of the versions share the same hefty MSRP: $8,504.

Keeping an eye out for approaching anniversaries is an excellent source of reissue inspiration for Ibanez – and they get by with help from their friends. “We’re especially aware of approaching anniversaries of certain models,” Appleton says. “For example, we were anticipating the 20th anniversary of the Steve Vai Universe Reissue … but so were the fans! They were counting down the days because they knew we were going to do it. [Laughs] Sometimes no matter how hard you try to not tip your hand on something like this, the fans always know better.”

The Reissue Appeal What fuels this market? Many things, including professionals who can feel the difference (if not necessarily hear it), those looking for an investment and of course, and Martin’s Boak points out, good old G.A.S., or “Guitar Acquisition Syndrome.” Initiating potential martial discord aside, each manufacturer’s take on reissue is as unique as the individual companies themselves.

Martin Guitars With 175 years of history behind them, the people at Martin certainly understand the allure of classic models, and the profitability of bringing them back. “It’s widely felt that the guitars made between roughly 1925 and the 1940s have achieved the highest level of quality,” Boak, director of art- Boak ist relations, says. “Like the great Stradivarius violins of the 17th century, they have come into their own.” He then lists some of the well-known reasons that guitars of this area are lusted after: Brazilian rosewood, Adirondack spruce (before president Roosevelt made the forest a giant state park), and the natural aging process. And of course, there’s the numbers: Only 91 of the D-45s were made prior to World War II. “It’s hard to find one under $300,000 if you can find one at all.” Some of the changes made were merely evolutionary: For example, the pre war Martins featured a refined scalloped bracing. “Musicians in the 1950s 42 MMR

and 1960s started using Martins for bluegrass and country music,” Boak explains. “And they would use heavy strings that caused buckling.” Changes were made – and not everybody loved them because it resulted in guitars that were less balanced and had more bass. “So there was a period in the 1960s when Martin guitars were not at their highest level.” By 1969 they switched to East Indian rosewood. This was the start of Martin’s vintage market becoming alive. But when proceeding down the reissue path, two questions emerge: how much can be recreated and how much should be recreated. There’s reverse engineering at Martin, where they can pull out a guitar from

their musician and take measurements, and even go into the sound hole with a camera. “We have exacting specifications in some cases,” Boak says. “In our custom shop, we have a custom 1937 top that came off a repair, and that is used as an exact guide.” Boak says their vintage series, “basically recreates the simple construction with the visual details, combined with the pre-war neck shape.” These guitars are not 100 percent faithful, and we don’t do every last detail of the bracing. Also a truss rod is included. “Not perfectly faithful, but pretty damn good – and they sound great, play great, and will probably be the vintage guitars 30 or 40 years from now.” Martin has the Golden era, or Marquis series, and they vary in gradations as to how exactly they the adhere to the original instrument APRIL 2010

in accordance to the price point they hit and “depending on how obsessive and how serious a certain type of customer is.” Martin does recreate “authentics” which are made in their custom shop primarily by one person. There hot hide glue is used and everything is tucked, all in the manner of the “old days.” But it’s not cheap. And you won’t find them – or any of these guitars – just sitting out in a retail shop.

“These guitars are not hanging out for everybody to bang on,” says Boak, who adds that actually some of their higher end reissues end up in “boutique” dealers as opposed to chains or more general MI stores. “Griffith String, George Gruhn Guitars, Bizarre Guitars, Matt Umanov Guitars … these are dealers who understand how good a guitar can be, and can support that level of instrument. And do well with them. In the same breath, the retailers teaching seven year olds guitar in a strip mall probably

are not going to be attracting the customers that support the upper end.” As to why they keep doing reissues, it’s because people keep buying them. “Another thing to realize is that people buy guitars not just because they are musical tools, but works of art.” His personal favorite reissue is the Martin OM28-V. “Not as loud and booming as a dreadnaught, but it’s more versatile. You can strum it hard, finger pick it lightly and is a great all-around guitar – it’s what I play.”

He says he’ll get an email pointing out that a certain guitar is now selling for $3,000. “The bullet point there is I don’t bother making a replica until I can make it for at least half the price of the current value of the original.” Next he has to investigate trademarks and copyrights. “You have to understand that situation before you can even start down the road.” Often it’s from a company long out of business, but other times it’s a company very much alive. “In the 1970s Ovation made a guitar called the Bread Winner. It wasn’t popular, but it was unique, and there were people who loved it.” Glen Campbell was one of the ones seen playing it a lot, as was David Cassidy. The actual name had never been registered, so that wasn’t a problem. Ovation agreed that Eastwood could make it as long as the well-known Ovation headstock wasn’t copied. And this was another case where they made it better than the original.

people who are going to play these a disservice. As for retailers doing well with their guitars, Robinsons cites his “I get it” ad campaign. “The reason we use that phrase is it takes a certain type of retailer to see the appeal of our guitars with their many knobs and weird colors. They know that there is a certain segment out there that wants a different kind of guitar, and appreciates the playability of an Eastwood.” Among those who get it are David Bowie and John Fogerty. “They love our stuff.” He adds that the individual owners, those who like to offer unusual instruments next to the more common ones, do well with their guitars. “We don’t do well at the big Fender/Gibson dealer, because those stores attract a crowd that just doesn’t get it,” he says. “But owners dictates

Eastwood Guitars Eastwood’s Michael Robinson is all about the reissue. It’s all they do. But there’s no painstaking historical preservation work going on here. “They never were good quality instruments,” Robinson says bluntly of the instruments he recreates. “They were crappy [guitars] from Japan, Italy … but that was 30, 40, Robinson even 50 years ago.” A passage of time combined with eye-popping body styles and features (seven knobs anyone?) have made their value skyrocket, “not quite to the level of a vintage Fender or Gibson, but what used to cost $200 people are paying $3,000 for. “That’s why we make the replica.” Robinson’s own history involves capturing history himself. In 1996, he started myrareguitars.com and started buying/ selling/trading “just about every crazy Japanese and European guitar ever made.” He cataloged them, learned their history, and eventually a community of like-minded fellow travelers formed. “That’s when I started Eastwood.” So for his reissues, he looks first at his very own collection.

Eastwood Breadwinner 44 MMR APRIL 2010

“Some of the guitars Eastwood recreates have a neck like a baseball bat,” Robinson says. “Now there are times when it’s critically important to create an aspect of a guitar, because that’s what made it unique.” Other times, it’s doing the

mood, and thus product, no matter how big or small they are. There is a new wave of dealers that tend to be younger, like True Tone in Santa Monica, California, and Fat Tone in Chicago, and others who have cropped up in the last four or five years. They focus on what they do and tend to attract those types of customers who fi nd these guitars appealing.” “The nice thing is its impossible to get a bad rep for what we’re doing because our quality is head and shoulders what the originals were – you’ll never get someone to say their original plays better than an Eastwood. But the appeal is the look and funkiness, which they love.” APRIL MMR2010 44

G&L Dayv Chavez, product manager for BBE Sound, which distributes G&L, speaks with great reference to the work of founder Leo Fender – and some of the challenges of his legacy keeping the company “honest” when it comes to reissues. “One thing that was unique about Leo was that he was always looking for ways for improving his instruments, and giving players flexibility,” he says. So aspects of the guitars can be challenging – like the pickups on the F100 for example, which was the first guitar produced by G&L. “Those things aren’t like normal P-90s that was can source out, but are proprietary pieces.” Some of their reissues capitalize on the reoccurring trends that inevitably happen. “Some of the neck profiles we had back in the 1980s are back in vogue,” he says. “They are smaller, shallower, and have a flatter radiance.” Other minute aspects of the original models get lost in the reissue shuffle, or perhaps

the original was built with something a particularly great player wanted, but has since fell out of fashion. As far as the process goes in determining what gets reissued, and what changes if any are made, he says it’s organic, with members of the company who are players sitting around wondering allowed what it happen if X model had Y feature. “That has prompted some resurgence of a particular model.”

G&L F-100

But the gentle ghost of Leo Fender is always there, and on occasion at odds with the business realities of running a company – just as he was in life. “For Leo, when the company was his, nothing was ever a problem. Money and time weren’t an issue, because he was first and foremost an inventor. But when it comes to reproducing some of those things today, there are issues.” An example is their popular Rampage reissues. “As simple as it appears, there are so many unique things to the original that if we went down that road of manufacturing the original exactly, it would make it nearly impossible to build.” Unlike the original, the reissues are created with C&C machines, but

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were able to do it in a manner that made sense financially but kept the integrity of the original in tack. “It was quite a feat.” In addition to Leo, they wanted to make the Rampage’s most famous player, Jerry Cantrell of Alice in Chains, happy. Reverse engineering is involved in G&L reissues. Also improving on the original is sometimes called for. “In its day, the F100 was kind of a plain Jane,” Chavez says. “The F100 Return edition has more interesting features than the original.” These include a maple top, cleaner knobs, and a Floyd Rose tremolo. “Ideally we incorporate the aspects that made the model special to begin with it, what made it unique, along with some modern characteristics.”

Sometimes the company is in the unwitting position of saying “no” to a request. If someone wants such and such a neck on a Legacy and have it reissued, they can’t simply because it wouldn’t be a Legacy at that point. For G&L, “a lot of limited runs find themselves in the hands of collectors and enthusiast,” says Chavez. These come in all age groups. “When you’re talking a specific model, you’re talking people first my age, 40 and up. But what’s happening is 20-yearolds are seeing it and getting charged up about the reissue. Fans of the music see the guitar being played and say, ‘I want that guitar.’”

For basses, it’s a slower market, but still important. “The G&L JB Bass, which is kind of patterned on a classic jazz bass with special appointments, is doing well. Also we ventured into a rustic looks, things that make [an instrument] look like a relic. We did that two years ago and that seems to be working well.” But overall, “basses are more traditional, and I think guitarist look at guitars like women look at shoes … no, it’s true! We’re looking for the next thing. We do come out with limited edition/special editions, and always do a guitar and bass version, but definitely have to say the guitar market is better.”

the Jazz Special Bass and the Jazz II guitar for June.” The company takes its reissues so seriously they have a separate entity to do it. Kay Guitar Company sells acoustic and electric guitars, banjos, mandolins,

ukes, and harmonicas. “All sales for these products are through distributors with no direct sales to retailer stores,” Blair explains. “Kay Vintage Reissue, LLC sells to retail stores and international distributors worldwide. The instruments

Kay “We have not been able to keep up with the initial demand for instruments,” Tony Blair says of Kay’s reissues. He adds that they’ve especially received raves for the Thin Twin and the Pro Bass. “We are working on the release of

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are limited in number and are exact reissues of the originals from the 1950s and 1960s, which are played by the likes of Howlin’ Wolf, Eric Clapton, Paul McBlair Cartney, Sheryl Crow, T-Bone Burnett, Bob Dylan, and many others.” Kay Vintage Reissues are for the seasoned player in general, and specific models aim to appeal to players looking for specific sounds. The Thin Twin for example is likely a pro “looking for an illusive sound that comes from the gutsy blues tones.” The K162 Pro Bass would be someone’s “other bass” he adds. “Not for every set, but for when the player needs that plucky deep sound associated with an upright bass.” A good reissue is much more than just making it look like the original, which is perhaps the simplest part of the process. They break down every component: the neck, the chambered body, the alnico magnets for the pickups, the radius of the fingerboard … everything. “All the original parts are remanufactured from scratch,” Blair

explains. “The Kay ‘Kel-vona-tor’ chevron that is on the headstock, the knobs, the tailpiece, the tiger-striped tortoise pickup guards, bridges, etc. “The most difficult part has been the pickup. It is very powerful and the challenge has been to keep the hum and feedback under control but maintain the bite that made the original so popular with blues and early rock players. We finally nailed it after two years of design work!” Not to say that some liberties weren’t taken. “The original neck was bolted on to the body and was a bit clubby, so we designed a fi xed neck with a much more comfortable feel. The Kay ‘Kelvon-a-tor’ [emblem] did not appear until the late 1950s, but we have used it on the reissues of early models like the Pro Bass and Thin Twin. These instruments play well and sound even better.” They have a twotier approach to their series: Street and Record-

ing, the later of which is made stateside. And their bass reissues are going “better than expected.” He points out that manufacturers tend to concentrate on the guitar player, but leave the bass players out. But their reissues of the K162 Pro Bass and the K5970 Jazz Special electric have been extremely popular. “The K162 has a cutoff switch that removes the treble completely and gives that warm tone of an upright bass; when flipped back, is has a mellow bite.” That instrument has received the Bass Player Magazine’s Editor Award. John Mayer’s bass player, Sean Hurley, has been playing the K162 in concert. “The next bass will be the K5979 reissue which is based on the same bass that Paul McCartney uses sometimes.” Upcoming reissues include the Upbeat, and the Barney Kessel Jazz model that will come out next year. “Hopefully one day we will reissue the old plywood standup upright 3/4 basses that have become so rare,” he says. “But right now we’re working on making the best quality reissues of the electric guitar and bases.”

Danelectro works hard to price their reissues at an especially affordable price so they sell to customers who can buy one “just because.” Typically, they appeal to the fan of vintage gear in general, but appreciate an instrument that has a great tone and is fun to play.

For retailers, he stresses the key to success is “telling the story.” “Whether on a website or in person in the store, it is important to explain the significance of this guitar in the music of the past. Some will be drawn to the look or the tone, but what seals the deal is the history of the guitar.” Their bass reissue, the Longhorn, with its distinct look and sound is also doing well. “Nothing sounds like a Danelectro Longhorn!” he declares. Ridinger has a personal favorite, and it’s the reissue of the Double Cutaway they are doing right now. “That’s because it is probably the flagship model for Danelectro and so many great players have played this particular guitar. Also, it really is a great instrument!”

Danelectro At Danelectro, a model from their past gets chosen for the reissue treatment if it has stood “the test of time” in the second hand market, says Steve Ridinger, president. “If there’s no demand for the old ones, nobody will probably want to buy the reissue either.” Ridinger stresses that achieving a good reissue means finding the perfect balance between authenticity and usability. “We want to faithfully replicate the look, the tone of the old instrument. But there are things that modern players demand which the old guitars did not offer. The ‘magic’ is what do you replicate versus what do you improve. That being said, for the most part, people want these instruments to be ‘just like the old one.’ If you change anything, it better be for a reason that players resonate with.” 48 MMR

Danelectro Longhorn

APRIL 2010

Ibanez Tom Appleton, national accounts sales manager for Ibanez, says that there are many factors that are considered when choosing to reissue an Ibanez. First is consumer demand. “Many Ibanez fans out there like to talk about their favorite models, and talk about what features they would like to see in what combination. We listen to that. We also take into account anniversaries of a specific model, or a scene or genre.” An Ibanez reissue is sometimes an exact replica of the original model, but other times it’s unique. Like the Musician Bass: it wasn’t a model that was ever released before in the Musician Series, but this reissue was redesigned with attributes associated with the original series. Otherwise, quality and authenticity are two of the most important aspects to a good reissue. A personal favorite of Appleton’s is the recent Bob Weir reissue. Ibanez had a relationship with the

APRIL 2010

Grateful Dead and Weir played a custom model of theirs, especially during the 1970s. “Now this wasn’t something we sold previously – it never evolved into a working model,” he says. “So when we reestablished our relationship with Bob, we built that one down to the very last spec. His was sent to a special workshop in Japan where they recreated it down to the finest detail.

Ibanez UV77 REMC

It turned out to be an amazing instrument.” Some reissues take advantage of the technological improvements that have come to be since the original was released. On occasion, tough choices have to be made: for example, some feel that the Edge Tremolo system is the best ever, and to put anything else on certain reissues would be heresy. “Now mechanically, new ones might be more accurate, return to pitch better, etc. – but many players feel that without the Edge system it wouldn’t be authentic. So we take that into account.” The most recent reissue is Steve Vai’s multi-color universe, the UV77REMC.

MMR 49

“This is the 20th anniversary of the original Universe. The specs are almost identical to the original with one added benefit is it has a five-piece Maple/Bubinga neck for extra stability.� It features the original Lo Pro Edge 7 bridge and the same DiMarzio Blaze pickups. Those who are buying these include fans of specific musicians or styles of music the reissue is closely associated with, and usually a pro or someone at a certain age with the benefits of disposable income. “It’s not usually your average teenager just beginning to play, but otherwise it’s a broad mix.� For retailers to do well with Ibanez reissues being able to display it in a way that reveals the romance of the instrument leads to good sales. “The more retailers who get the word out about the instrument, the better. Many of our dealers are becoming more savvy in using social media along with a broad range of traditional advertising channels.� To help, Ibanez recently instituted a “limited edition� page on their website that allows dealers who stock those instruments to be listed as a place where those guitars can be found.

Schecter Jason Fedele, marketing director, says that reissues offer an opportunity for people to reconnect with the childhood iconic guitars. “Whether it’s a band, video, or print ad they saw, a reissue can transport, through time and mind, an individual to a fan- Fedele tasy they have regarding a particular guitar.� Financially speaking, a reissue can get that dream guitar at a more affordable price.

Schecter PT

Schecter draws heavily on its history and the history of guitar making in general to find inspiration for reissues. Specifically, he points to their “PT� guitar, which is a teleinspired guitar played by the Who’s Pete Townshend in the Eminence Front video from the early 1980s. “This guitar has received a lot of attention from our consumer base and we feel it is an example of the perfect reissue.� A good reissue has the same quality as a good guitar in terms of construction, he says. There are cases where a manufacturer can use historical parts from the past, such as copper wiring or components parts like potentiometers. Schecter’s philosophy for making the best guitar or bass is the same one it applies to reissues.

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Fedele shies away from specific thoughts on how dealers can make the most of reissues, deferring to the 180 unique products Schecter offers. “Niche advertising to a particular demographic

can hinder your overall marketing approach, especially if the product is even more niche in and of itself.” In addition to the PT guitar, Fedele is excited about the Paul Gilbert

artist model, which has recently been reissued. “Being a huge fan of his, owning that guitar makes me feel a closer connection – even if only in my dreams!”

Fender No one would doubt Fender’s considerable expertise in the reissue category – and while they have plenty of reissues, that doesn’t mean they aren’t selective in the decision Norvel making process. General demand and desirability are the first barometers, and keeping an eye on the vintage market is one way Fender gauges this. “Consumers also give us feedback of what they’d like to see from us,” says Justin Norvell, director of marketing electric guitars. They also look at which guitars stand as great representations of important design eras. “For example, a 1957 Strat with its maple V shaped neck, a 1966 Jazzmaster with its block inlays and neck binding, or a 1972 Tele Deluxe with its two wide range

humbucking pickups” are instantly known for the eras of pop music they represent. But Fender isn’t afraid to mix the old with the new. Norvell says they have the Vintage Hot Rod and Classic Player Series dedicated to combing the best features of both worlds. “We take classic reissue designs and give them a ‘modern makeover,’

Fender 57 Strat

so you can get a faithful reissue, or a souped-up modernized version that still maintains that vintage vibe.” Fender has several tiers of reissues. “Some just capture the essence of vibe and cosmetic feel like the Classic Series. Our U.S. Vintage reissue series are made entirely out of authentic materials and construction including cloth wire, parts stamped on the old tolling, and lacquer fi nishes.” Out of the Custom Shop comes the Time Machine series that even incorporates wear techniques to age the instruments. “This can even involved the pickups made by the very staff members that made them back in the day … it can’t get much more authentic then that!”

Dan Armstrong/ Ampeg David Coram, guitar product manager, says that the idea of reissuing the iconic Dan Armstrong guitar was so nice they’ve done it twice – the second time because Coram so many artists were requesting it. He stresses that while the acrylic body may look like it’s primarily a novelty, it isn’t: the body provides more sustain than wood. Also what has sustained the instrument’s popularity is the ease at which pickups can be swapped out. “The dimensions and electronics specifications are the same as the original, but we did make two improvements,” Coram says. “The first improvement is to the neck joint. The original necks were attached by bolts that went through the back of the body and APRIL 2010

Find Breaking News in the Hot News section of MMR’s Web site, www.MMRmagazine.com MMR 51

were held by nuts that were set into holes cut into the front side of the neck. The bolts were domed on the ends and had no surface for gripping when tightening the nuts and because the nuts weren’t set into the neck it was difficult to Ampeg Heritage SVTget them tight enough to 410HLF and SVT-CL hold the neck in place.” For this latest reissue, they used receiver nuts that are embedded into the neck, which is attached by four screws that are tightened from the back. “This allows for the neck to be attached with the proper tension. The second improvement is the addition of a Wilkinson bridge with roller saddles. The new bridge replaced the original rosewood version and allowed for better intonation.” Dan Armstrong is a division of LOUD, as is Ampeg amps, which has its own reissues going on. Pyotr Belov, director of amplification, says they are reissuing the Classic SVT-CL bass head, SVT-810E and SVT-410HLF bass cabs. The “Heritage Series is our answer to all the customers who wanted to have a U.S. Ampeg option,” Belov says. “The Heritage SVT-CL and Heritage Cabinets are built on the Classic SVT-CL, SVT-810E and SVT410HLF foundation with upgraded components, U.S. design and assembly and extra QC.” Like the Armstrong, though, improvements were made. They took the popular Classic SVT-CL, Classic SVT-810E and Classic SVT-410HLF and looked at what can they could do to make it better. Out of that study they came up with some improvements. “We’ve upgraded the tubes on the CL, and all tubes are tested and matched Premium High Grade by Ruby Tubes in Petaluma, Calif. Also we’ve increased the PCB thickness and its construction.” The 810E and 410HLF got a similar treatment, though they came with Eminence Drivers that are made in the U.S. “Heritage Series is the premium offering from Ampeg,” he adds. “The allure of this product is the fact that it’s a US Ampeg and an updated version of our classic models – something that some of our loyal Ampeg customers asked for.” 52 MMR

APRIL 2010

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ubes or Solid State? Combo or half- (or full-) stack? Modeling or… um… not modeling? The available amplification options for guitarists are numerous (and sometimes confusing) and the climate is ever-changing, thanks to emerging technology and continually fickle trends amongst players. We recently spoke with a few of the heaviest hitters in the field to get a feel for what’s going down in the world of guitar amps these days and what can perhaps be expected in the near future.

Shane Nicholas

Dale Krevens

Senior Marketing Manager, Vice President, Tech 21 Fender Guitar Amplifiers USA, Inc. 54 MMR

Trevor Gibson North American Sales Manager, Peavey Electronics Corporation APRIL 2010

What is selling through to your retailers: Big vs. small, modeling vs. standard, and so on? Patrick Stevenson: High-value is taking the lion’s share of the amp business regardless of the technology. Consumers are leaning towards lower price points and seem less inclined than a few years ago to step up to a significantly more expensive amp just to sample potential new technologies. Combos and half-stacks are selling through, but very few full stacks. Simple and fun seem to be selling. Luke Zollinger: Small Class A tube amplifiers are still really hot; we’ve enjoyed enormous success from our contribution with the Tiny Terror range of products. Dan Barker: As Distributors, we handle both Ashdown Bass Amplification and our own line of Stagg Amplifiers. Sell through for both lines have increased over last year with larger Amps surging ahead of the smaller Amps in general. However, we have seen as of late an increased interest in smaller, professional Bass units that can be used on the Gig. Ashdown’s Little “B” and its 100 watt Five Fifteen Mini-Stack are selling beyond our forecasts. Shane Nichols: The usual core products are doing well, with more esoteric products having a harder time. The amps that offer great value for money continue to win consumers.

Dale Krevens:

Definitely the smaller Trademark combo amp formats, 60-watt 1x12s and 30-watt 1x10s.

How are sales compared to this time last year? Trevor Gibson: We are optimistic that we will have a much stronger first quarter. Brad Hochstetler: This has been a very positive year for us, with growth in our core items as well as several exciting new product launches. The Night Train amplifier has been a great new product, while updates and improvements to the more traditional VOX designs like the AC4 and Custom Series AC15 and AC30 have improved our market share.

Patrick Stevenson: Kustom guitar and bass amp sales are very strong so far in 2010. We have introduced two completely new lines with intuitive operation and vastly improved tone and features at high-value pricing. For example, a 100-watt half-stack with a $399.99 street price.

Dan: Sales are up over 37 percent for Ashdown and slightly up on the Stagg Guitar Amps so far this year. We are encouraged with the 1st Quarter results.

Luke: We’re very happy to say that our sales are up right now. Dealers are ordering with more enthusiasm as they are finally getting rid of bad stock from when the retail market was first hit.

Dale: Amp sales are down about 30 percent. Mitch Colby: Our product offering has expanded especially in lower price ranges than continue to sell even in the challenging economic times. This expanded product offering has allowed us to grow our business over last year.

Are solid-state amps gaining acceptance with pro and semi-pro players? Do you feel tube amps will always have a place in the market? Pyotr Belov: Tubes are what all serious guitarists (and many serious bassists) will always lean toward. Don’t get me wrong, solid state has its place and is great for some applications. However when the player is ready to step up to the next level, it is inevitable that they will gravitate towards tube amps. Basically tubes are a tried and true method that produces the range of tones which purists crave which is not possible to achieve with a solid-state design.

Mitch: Pro musicians continue to prefer tube amps to all other technologies. 32 years ago when I was hired to work for the US distributor of Marshall, my boss told me that tube amps were dying a quick death. As long as there are tubes, there will be tube guitar amps.

Pyotr Belov

Patrick Stevenson

Brad Hochstetler

Mitch Colby

Luke Zollinger

Dan Barker

Director of Amplification, LOUD Technologies

Hanser Music Group

VOX Brand Manager in the U.S.

Korg USA (Marshall) Executive VP/CMO

General Mgr. / C.O.O., Orange Music Electronic Company, Inc.

President, EMD Music Inc

APRIL 2010

MMR 55

Trevor: Trends may come and go, but there will always be consumers who prefer tube amps and those who prefer solid state or modeling amps. Several of our key artists play both. For example, Corey Beaulieu of Trivium and Matt Tuck of Bullet For My Valentine use our all-tube 6505 Series amps for their primary tone, and our Vypyr Series modeling amps for other purposes like jamming and demoing riffs. Most of the players we deal with are more interested in the tone; how that tone is created is our job.

With our Vypyr product line, we’re actually merging real tubes with proprietary solid state and modeling technologies. We use our TransTube technology, which models the sound and feel of real tubes through an analog process that is covered under three U.S. patents, to create the distortion and overdrive tones in our Vypyr modeling amps. That frees up the 32-bit processor so it can create highly detailed amp and effects models. No other modeling amp works that way. Several Vypyr models have real tube power sections,

The First Step In Music

as well. We think the future lies in the appropriate application of these technologies, and we’re excited to be at the forefront.

Brad: Tube amps are still the number one choice for an artist, professional and semiprofessional musician. The tube amplifier has an immeasurable place in the history of rock-n-roll that will forever hold it as the pinnacle of quality sound for the audio enthusiast. The tube amp is still viewed as the definitive guitar tone. Are you able to keep your retailers up to date with the latest features? Are you satisfied with their ability to explain new product to a customer? Pytor: We arm our retailers with multiple resources so they have all the proper information to educate their customers. These materials include a complete resource Web site with all product descriptions, feature/benefit/advantage bullets, sales positioning, product photos, ads and much more. In addition to product resources we also believe a feet-on-thestreet approach is key to training and educating our retailers/end-users, so we set-up several road shows and dealer trainings all over the U.S. throughout the year. We also send regular communications regarding product updates, new product information and links to new resource tools.

Luke: We’re always trying to keep our retailers up to date. It’s a constant struggle to provide information in a way that is easily accessible and more importantly useful. We’ve found social networking methods very effective in conveying information to dealers and consumers. Patrick: Actually, I think this a huge chal-

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56 MMR

lenge for all of us. There are so many great products on the market right now and consumers and retailers have become much more savvy about their amplifier choices. We have been extremely active in developing and improving our Web presence and actually have an e-commerce Website that we provide for our retailers when they take on the Kustom line. We have extensive inside customer and consumer service groups and field sales reps that bring the message and training to retailers. While a lot of information that we provide is Web-based, we still provide APRIL 2010

full-line catalogs and store support materials to help retailers fulfi ll consumer’s expectations that they be gear experts. We feel that our retailers are business partners and take the distribution of our brand very seriously. We are also finding that if the product makes sense, is “quick to tone” in terms of getting a good sound and is easy to operate, it takes a lot less explaining. Some people just want a simple, good sounding amp.

Dan: It is a constant challenge to keep retailers up to date with new features and product knowledge. Ashdown’s latest attempt is an e-blast video with Guy Pratt who goes through all the features of the Ashdown line-up explaining not just the sounds, but also the numerous adjustments that are available. The dealers who invest the time are the ones who reap the rewards. It is difficult to be an expert on every product line, therefore we are constantly trying to invent new methods to get the important information into the dealers hands. Brad: The retailers are certainly reading a great deal about product on the internet and email has become a regular part of communicating with the dealer. We actively utilize all of the direct and online tools at our disposal to deliver new product information. Further, many of our amplifiers ship in full color packaging that gives specifications on the box. The boxes can be utilized as a pop display. In the case of a store that takes the amplifier out of the box, we use point of purchase signs on the product to educate both the consumer and the retailer about salient product features and functionality.

Mitch: Marshall’s amplification products span a wide gamut including solid state, tube and digital. It can get difficult to keep the retailers 100 percent up-to-date on all of the products. That said, Marshall has instructional videos for nearly all Marshall products in the “Marshall Theatre” section on the Marshall main Website.

Shane: We provide lots of tools to our dealers, especially when we launch a significant new product. With the G-DEC 3, for example, we have videos, poster art, spec sheets, brochures, and other materials available to the dealer before the product hits the stores. We also send sales reps out to do more detailed hands on sessions with a new product, and clinicians in many cases. It increases the dealer’s knowledge and enthusiasm. Trevor: While Peavey has always offered dealers a wide product range distinguished by unique, compelling features, we can’t assume they all know the story of the products’ unique features and benefits. We utilize many methods to help convey the features and benefits of our products to the dealers as well as the consumers, including offering dealer training seminars for the past 30 years and video tutorials at PVTV (online at www. peavey.com/pvtv) and YouTube for many of our products. Are retailers short-changing themselves when it comes to up-selling? Do you feel they spend enough time with a customer to show them the next model up of an amp they like? Patrick: Most musicians that walk into a music store today to buy a guitar or amp have a reasonably good idea of what they want. Everyone that walks into a music store today is on a budget. The most successful dealers that we have sell using a consultative method. They ask a lot of questions first, and then recommend an amp that fits the budget and the needs of the consumer. These dealers understand that when times are difficult, everyone that walks in the door is valuable. Retailers that just start downloading product features and attributes without an understanding of the benefits to that particular customer tend to be struggling a bit more.

Dan: There are two types of dealers. Some “clerk” the sale. These types believe their only role is to stock product that consumers ask for. The other type is the retailer who tries his best to help the customer with his needs. These are the retailers who invest their time with the customer going for the win-win scenario. Luckily, we have quite a few of these retailers.

Acoustic amps: are the sales justifying the increasing amount in the market? Dale: It’s an easy leap for an amp manufacturer to make acoustic amps, but there are too many out there for such a limited market. Patrick: The Kustom Sienna series continues to do well. It does seem that there are a lot of products coming into the category, but our sales have remained steady. There are some people that just want to learn to play for their own enjoyment and will never even consider playing through an amp. Generally, it seems that the most successful retailers keep the customer focused on the immediate need that has not been met. 58 MMR

APRIL 2010

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It makes more sense to make sure that the consumer purchases the right guitar, rather than selling a future capability that may actually confuse or turn off the customer.

Dan: With a solid shift into more acoustic music, we have seen a progressive rise in the sale of our Acoustic Amps. I think that it is a challenge for dealers to address this segment, but in the world of accessories it is a necessity for the dealer to do so.

Many years into it, how well does the average consumer truly understand modeling amps? Do most need, or even want, the sometimes virtually endless choices and options available on such units? Shane: There is a huge body of recorded musical work out there, which was created with tube amps, and the best way to recreate it is to use the original gear. As long as people want to play those songs, they will seek out the tools. The same thing goes for grand pianos, drum kits, and acoustic guitars. The immediate

“real” factor and visceral thrill of these instruments is undeniable. Having said that, modeling amps are enjoying wider and wider acceptance. Our new G-DEC 3, for example, was a big hit at the January NAMM show. We had eight G-DEC 3 amps at headphone stations in our booth, and they were in use, occupied by prospective buyers, all day, every day. And backstage, in the green room, the G-DEC brought a smile to players from John 5 to Jeff Beck. It seems like everyone has a smart phone and an iPod. Whether you see it as a tool, or a toy, it’s here to stay.

Mitch: Most modeling amps sold are in the lower wattages and are bought by fi rst time buyers. They know that they are getting a lot of sounds and features for a very reasonable price. I’m not sure about how deep the knowledge of modeling amps goes, but I’m not sure that it matters: they are having fun. The specification is appealing but most users wind up using a couple of clean, crunch and lead tones with varying amounts of effects. The ability to have a wide variety of possibilities allows them to customize the sound exactly the way they want. Dale:

The average intermediate players seem to be the ones that are wowed by all the bells and whistles because they feel it will expand their musical horizon. We find as players develop their own style and taste, they become inclined to stick with a few basic tones. They focus on cultivating their own sound, and go through a process of distilling it down to the essence of who they are. Their inspiration then comes more from the inside out rather than the outside in. It always goes back to a basic simplicity when less is more.

Brad: I think most musicians understand modeling to some extent. Modeling has become a very common term used in effects pedals, software applications and amplifiers alike. For the beginning and intermediate musician, the availability of almost an endless number of sounds is a very appealing specification. It allows them to experiment and learn about tones that would otherwise be impossible to achieve within their modest budget.

Luke: The options can be overwhelming to the point of being counterproductive. We are the antithesis of this direction altogether. Many of our amps have fewer 60 MMR

APRIL 2010

than 10 knobs and there are tons of people that like it that way.

Patrick:

This really depends on the type of player. There are solid-state amps that have been the standard for years for pro jazz players. But generally for professional rock and blues players, tube amps will always be preferred due to their punch and tonal complexity. Some semi-pros and weekend warriors have moved to solid-state amps for their reliability and durability and are using pedals and effects to tweak their tones. Pro rock and blues players will continue to demand tube amps on stage. Also, the new crop of small tube amps like the Kustom Defender 5H are great for recording and more intimate gigs. For only $99 (street price) it can add tube warmth to digital effects that sometimes sound a bit too brittle and also provide the compression or “feel” that some players desire.

an amp with lots of bells and whistles for a couple hundred bucks or less, you can have one. And everywhere in between. Lucky for us, we make all those things. There’s been a trend towards lowpowered tube amps. We haven’t dabbled in what I call the “toaster” amp market, but we do have eight different 5 to 15 Watt tube amps in our line, across all price points, and they all do well.

Patrick: Lower price points, higher value demands from consumers, less high-

end interest, increased focus on known brands.

Pyotr: One of the fastest growing market segments is affordable, all-tube, guitar amps. Blackheart was the fi rst to offer the working musician boutique-quality tube amps at an affordable price point. Now there are many other low cost options out there, but Blackheart still continues to provide the best solution and the best quality in this segment.

Trevor: In our experience, we have found that consumers know they want a certain tone to play a particular style of music and/or song. They also want flexibility, and the Peavey Vypyr amplifiers offer the most – up to 24 amp models and 22 effects – with our simplified WYSIWYG interface. Our ReValver amp modeling software allows players to customize virtual amplifiers on the component level by swapping and adjusting the values of tubes, and changing tone stacks and other components.

Pyotr: I think for beginners it seems like a great idea to have choices. However, if they choose to stick with the instrument and get serious about their tone they will definitely move on to the next class of amps. Frequently, modeling amps have hundreds of choices, the vast majority of which are worthless. Most guitarists only need a handful of tones. An amp with tremendous genuine tube tone that can crank out a great “clean”, a great “crunch” and a solid “high gain” or “boost” are really what’s called for. Only real tubes can do that.

What significant recent trends have you noticed in the amp market? Shane: More and more varied choices are available to today’s consumer. If you want a new exquisitely built hand wired 1950s style amp, you can buy one. If you want APRIL 2010

MMR 61

Brad: Smaller tube amplifiers are a growing segment of the market, primarily used for recording and practicing at home. Players have realized that good tones can come in a small package. Mitch: Over the last two years the highend of the market has slowed down. That is why Marshall has consciously

expanded the product offering into lower priced amplifiers. On the other hand, and it may be because I am an optimist, but over the last few months I’ve seen a modest uptick in higher prices heads and cabinets. This may indicate a bottom of the slow economy or better yet, the start of a trend back to a normal economy!

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Dan: Recent trends include the economy downturn, so players are looking for value. Small powerful Amps are doing o.k. For us. But then, we are selling a fair share of Stagg Stacks, 250 and 300 watts. I can’t say I see one trend, but a couple of areas appear to be doing well for us.

Luke: We are seeing an increase in the demand for quality vs. quantity from the consumers. Many people have possibly forever altered their personal spending habits in a way that doesn’t leave much room for throwaway technology.

Trevor: In the low-to-mid priced segment, the amp business continues to be driven by modeling amplifiers. We don’t see this changing any time soon. For the upper segments of the market, tube amplifiers like the Peavey 6505 Series continue to set the pace.

Predictions for the rest of 2010? Dale: It will probably be much like 2009. I don’t see any major changes. People across the board are still being very budget conscious and are sticking with smaller ticket items. Dan:

The prediction for 2010 is solid growth for us in amplifiers. My best prediction is that Amplifiers will grow 5-10 percent overall. Specialty Amps will be driving most of it as manufacturers keep seeking new models that will out perform the competition. For EMD, we will grow closer to 35 percent as our new offerings are being very well received in the marketplace

Luke: Steady but very slow increase in the market overall. Nonetheless we’re feeling very positive and we have big expectations for the years ahead.

Pytor: Customers will continue to be cau-

Breaking News Find it in the Hot News section of MMR’s Web site, www.MMRmagazine.com 62 MMR

tious with their cash; working musicians will look for feature-loaded amps at wallet-friendly prices and Blackheart amps deliver just that. Blackheart’s core value is to produce great products with advantageous and appropriate features at price points that work for the customer. Look out for new models slated for release later this year that will continue to answer our customers’ demand. APRIL 2010

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String Swing’s Instrument Tools String Swing’s CC18 guitar jack and ferrule tool can be used to securely hold any ¼” receiver during installation or removal. It is designed to friction-lock from the inside of the receiver. The most convenient use is holding a pickup jack while tightening the nut to secure it in place.

The CC31 pickup jack installation tool can be fed up through the jack installation hole and out through the sound hole. The jack can then be secured to the tool and pulled back through to bring the jack into its place. www.stringswing.com

VOX’s VR Series Amps Gibson’s Fabulous Flat-Top Guitars Gibson’s Fabulous Flat-Top Guitars: An Illustrated History and Guide, second edition by Eldon Whitford, David Vinopal, and Dan Erlewine, foreword by Steve Earle is now updated. Through more than 200 photos and detailed text, this book chronicles the development and evolution of Gibson’s flat-tops, covering the L-series, round-shoulder jumbos, Hawaiian guitars, narrow-waist jumbos, LG series, square-shoulder jumbos, Montana-built flat-tops, more. The book includes two 16-page full-color sections, a section on serial numbers, and a model chronology. New to this edition is Earle’s introduction and a list of Montana produced guitars through 2008. www.halleonard.com 64 MMR

VOX Amplification’s AC30VR and AC15VR VR Series combo amplifiers feature VOX’s Valve Reactor technology, along with the split panel cosmetics of the AC30 and AC15 amplifiers. Both amplifiers in the series offer two channels: Normal and Overdrive. Master Volume and Master Reverb controls are also provided. The Valve Reactor circuitry uses a 12AX7 vacuum tube in the power stage to shape the sound. The circuit also includes a virtual speaker load to capture the interaction between the amplifier and speaker.

The AC30VR’s Normal channel offers Treble and Bass tone controls; the Overdrive channel features its own Treble and Bass controls and adds a Middle control. The Master section features the VOX Tone Cut control for dampening the high frequencies. Both channels on the AC15VR share the same Treble and Bass tone controls. The optional VFS2 footswitch provides hands-free channel switching and reverb on/off. The AC30VR retails for $800 and the AC15VR for $500. www.voxamps.com APRIL 2010

Gibson’s Randy Scruggs Advanced Jumbo

New Models from PRS

Gibson’s Randy Scruggs Advanced Jumbo model is an acoustic guitar from the luthiers of Bozeman, Montana. The model was designed for Nashville recording artist Randy Scruggs, who always plays the Gibson Advanced Jumbo. Made to the proportions of the Advanced Jumbo

PRS Guitars’ latest signature models from Orianthi, Zach Myers of Shinedown, Paul Allender of Cradle of Filth, Mike Åkerfeldt of Opeth, and Nick Catanese of Black Label Society are built in Korea to signature artist and PRS’s specifications. PRS has worked closely with each artist to present a guitar that identifies with their style, both musically and visually. Although they have worked with PRS for years, these are debut signature models for Orianthi, Myers, Åkerfeldt and Catanese. EMG pick ups, as well as old school birds come standard on several of the new artist models. Joining their family of lower wattage amps, alongside the Sweet 16 and the PRS 30, the new Texaplex II and the Dallas II round the PRS “tuxedo” line of amplifiers by providing new 50watt options. Models have also evolved from theoriginal line of paisley amps. These newly developed hand-wired amps include the Paul Reed Smith Signature amplifier, the Super Dallas, and the 25th Anniversary amp. The PRS 30 combo, the newest “Grab and Go” amplifier, is aimed at the gigging musician playing small/medium sized rooms who is looking for a versatile amp that covers both a broad range of genre and broad tonal range. With 30 watts, four cathode biased EL84 tubes, reverb, bright switch, and one 12” ET65 WGS speaker, the model takes pedals well, and no mic is required. www.prsguitars.com

round-shouldered dreadnought, with solid premium Sitka spruce top and solid rosewood back and sides, an advanced scalloped X-brace, vintage sunburst finish, and up-market adornments such as abalone trim and rosette and motherof-pearl fi ngerboard crowns, the Randy Scruggs Model packs the one-two punch of looks and tone. The guitar also features a bone nut and saddle and a Fishman Matrix pickup system. Only 100 Randy Scruggs Model guitars will be produced by Gibson, and each one comes in a formfitting hardshell case with plush purple lining, an owner’s manual, and Gibson’s Gold Warranty. www.gibson.com

T-Rex Engineering Adds To Its Fuel Tank Line The Fuel Tank Chameleon is built for players with a large number of diverse pedals. The Chameleon offers all the features of the other Fuel Tank power supplies, plus four separate voltage options. T-Rex’s Distortion pedal joins its existing Tonebugs Overdrive and Reverb siblings.

Like the Tonebug Reverb and Overdrive pedals, Tonebug Distortion delivers the same T-Rex tone, and features a retro design and rugged construction. T-Rex is scheduled to begin shipping the Tonebug Distortion and the Fuel Tank Chameleon in March 2010. www.musiquip.com

New Archtops from The Loar The Loar has added three new products to the Loar archtop line of guitars. The LH-650 is now available in a black nitrocellulose lacquer finish. The Loar is also releasing solid-top versions of both the LH-600 archtop and the LH650 archtop cutaway with pickup. Modeled after American designs from the early 20th century, the Loar’s archtop guitars are hand-assembled from select woods. Even the solid-top versions receive the same attentionto-detail and care in assembly as their all-solid counterparts. The Loar’s archtop cutaway (LH-650-BK) all-solid guitar features a top that is handgraduated spruce, with solid maple the back and sides. The Kent Armstrong floating pickup amplifies the natural tone of the hand-carved spruce top, while the FloAPRIL 2010

rentine cutaway allows unrestricted access to the upper frets. The solid-top versions (LH-300, LH-350) are made to the same specs as the LH-600 and 650, with the same hand-carved spruce top. The mahogany neck with vintage V-profi le is capped with a bound rosewood fretboard. Other features include an ebony bridge and Gotoh open-geared tuners. The handrubbed vintage sunburst body is finished with an extra-thin coat of polyurethane. The LH-650-BK comes standard with a Loar logo-embroidered featherweight case and retail price of $1087.49. The LH-300 and LH-350 retail for of $674.99 and $749.99, respectively. All Loar guitars have a limited lifetime warranty. www.theloar.com

Reference Laboratory’s Rock Cable Reference Laboratory’s Rock cable RIC-S01 R is recommended for musicians using guitars with active pickups, specifically for Rock music. This cable is designed especially to pick up acoustic impedance. The RIC-S01R ensures that the power and tone of your Rock guitar are transferred to the amplifier in all its sonic range. As for all the Reference Laboratory guitar cable series, the RIC-S01 R also has a double screen in copper besides a PVC semi-conductor. This PVC solution helps to avoid the creation of noise caused by sharp and sudden movements. www.referencelaboratory.com MMR 65

(VJUBS 1SPEVDUT Showcase EMG’s HZ SRO & X Series Pickups EMG’s HZ SRO Series features specific neck and bridge humbuckers and neck, middle, and bridge single coil pickups. The SRO Series was designed to have a traditional look and fit all types of playing styles. The SRO series is the second new HZ product released since the Alexi Laiho signature model came out last year. The new X Series is a new active pickup design that is said to provide a more organic and open tone for players. Now EMG has expanded the series with the addition of many more of the popular models such as the 707X, 89X, 81-7X, 607X, SAX Set, JVX, and the classic 81X, 85X, 60X in chrome and gold. The X series features EMG’s new Solderless Install System, and EMG takes their Quik-Connect system a step further with a new pickup buss that eliminates the need for soldering. The rest of the wiring harness attaches to screw terminals on the buss. www.emgpickups.com

66 MMR

Modtone Effects’ StutterKill The StutterKill is a dual purpose pedal from Modtone Effects. On one hand it’s a kill switch that works when changing guitars or to shut off everything for a second. The second button is a momentary kill switch that allows the player to do on/off toggle switch effects with their feet. Like all Modtone pedals it has an all metal casing and features true bypass with a bright blue LED. Suggested list price is $99.95. www.modtone-effects.com

Peavey Butcher Amp Peavey’s Butcher guitar amplifier is a 100-watt, all-tube head. The Butcher is a two-channel amplifier with five 12AX7 preamp tubes and four EL34 power amp tubes. Both the Clean and Crunch channels feature independent three-band EQ, plus master volume and preamp gain controls so guitarists can adjust the interplay between the preamp and power

amp on each channel. Both channels include a separate, footswitchable gain boost, while the Crunch channel also has a 12-way Punch selector that adjusts the low-end. The master section widens the range of possibilities with two footswitchable master volumes, so players can set one as a default and use the second as a solo boost; a patented Presence control that boosts the extreme high frequencies, giving the amp extra cut; and high and low gain inputs. On the rear panel, the built-in Peavey MSDI microphone-simulated XLR direct interface eliminates the need for miking by allowing users to send the amp’s signal directly to a recording device or mixing console. Additional controls include a line out with level control; active effects loop with send and return level control; impedance selector; half-power switch; and a tube bias adjustment jack. The retail price is $1,499.99. www.peavey.com

APRIL 2010

(VJUBS 1SPEVDUT Showcase WD Music Products’ Graphic Pickguard WD Music Products’ new graphic pickguard material is said to be a more robust material that embeds the graphic

into the material versus printing on the surface. After many months of research and development, WD has created a print graphic capable material that looks and behaves like a real pickguard. www.wdmusic.com

Epiphone Texan Epiphone brings back their 1964 Texan guitar, combining all the features of the original with modern updates. The updated guitar features a classic sloped-shoulder or Advanced Jumbo (AJ) shape. Unlike ordinary dreadnoughts, the Texan features a more rounded upper bout and a larger lower bout with a subtle waist. Like the original, the new Texan features a premium solid spruce top with a solid mahogany back and mahogany rims. The neck is solid mahogany topped with a rosewood fingerboard and adorned with the original parallelogram inlays. Handfitted and glued into the body, the neck features Epiphone’s SlimTaper neck profile. Also featured are original-style, but updated, 14:1 ratio vintage tuners with classic small oval buttons, and the original blue rectangular sound hole label from the 1960s has been reproduced. The saddle has been updated to feature a fixed, compensated saddle. And for today’s player, Epiphone has added Shadow’s Sonic preamp system with the under-saddle NanoFlex low-impedance pickup, to allow acoustic players to “plug in.� Discretely mounted inside the sound hole, the Sonic preamp features an easyaccess volume control with high and low EQ controls. There’s also a “phase� switch APRIL 2010

that instantly cuts feedback without affecting tone. The Nanoflex senses both the vibrations of the strings and the movements of the soundboard simultaneously. A battery indicator LED turns on when the battery is low and should be replaced within 30 minutes. Powered by two 2032 lithium batteries, the complete system is light and weighs less than ordinary 9V systems. A Shadow output jack is incorporated into the endpin jack and

the entire electronic system is covered by Shadow’s five-year worldwide parts and labor limited warranty. www.epiphone.com

Levy’s Vampire, Werewolf & Platinum Collection Straps Pop culture’s fascination with vampires and werewolves provided the inspiration for the designs on Levy’s new printed

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(VJUBS 1SPEVDUT Showcase cotton guitar straps. The models are available in six original designs. Levy’s expands its Platinum Collection guitar strap line for 2010. This year’s model is fashioned with simulated snakeskin in bright colors and features foam padding and soft leather backing. www.levysleathers.com

channel, and the second overdrive/distortion channel features a shape control as seen in the Thunderverb models. www.orangeamps.com

Eastwood Airline Electric Ukulele & Folkstar Resonator Guitar Eastwood Guitars’ Airline Electric Ukulele is the second in a series of new stringed instruments from Eastwood including the Folkstar Resonator and the Electric Tenor guitar. The Airline Electric Ukulele features a routed ma-

Traveler Guitar’s Hard Shell Cases Traveler Guitar’s hard shell cases fit and protect all Traveler Guitars and look just like their full-sized counterparts. Each

case features a durable Tolex (or tweed) exterior, five-ply wood construction, chrome hardware with locking latch (gold on tweed), large accessory compartment, deluxe end caps, and a Traveler Guitar logo plate. www.travelerguitar.com

Orange Thunder 30 Combo & Head Orange Amps’ Thunder 30 combo and head replaces the Rocker 30. The new Thunder 30 is an all valve class A 30 watt, twin channel amplifier, powered by four EL84 power valves (two more than the Rocker 30). The new amps have two channels: the first is a classic vintage

hogany body and has a KOA top and a 14” scale set mahogany neck. The Piezo pickup in the bridge is controlled by a single volume and single tone control. This combination of solid top with controlled Piezo pickup allows the player to get Ukulele tones, but also allows for some effects through an amp and effects pedals. Eastwood’s Airline Folkstar Resonator electric guitar is based on the early 60s model and features upgrades and improvements. This chambered mahogany 24 3/4"-scale guitar features a biscuit resonator cone with a Piezo bridge pickup and a NY mini-humbucker neck pickup, which are controlled by a blend potentiometer. The Airline Folkstar is available in red or black and features the retro rubber body binding just like the Eastwood Airline Custom ’59 series. The bolt-on maple neck with rosewood fingerboard is set up with #12-52 bronze resonator strings. www.eastwoodguitars.com

Marshall’s Dave Mustaine Megastack Marshall Amplification’s Dave Mustaine special edition MG microstack guitar amplifier, dubbed the Megastack, is a three-piece unit that includes a 15-watt 68 MMR

compact head with four channels, plus two matching speaker cabinets – one angled and one straight. Each cabinet is equipped with a full-range 10” Celestion speaker. Available in limited quantities in the U.S., the amplifier looks like a compact version of Mustaine’s legendary full sized touring rig that he uses with his band Megadeth. The cabinets have a more open face look with a diamond-pattern and a black-powder-coated steel kick grille to protect the speakers. Covered in Carbon Fibre black patterned vinyl, the cabinets are finished with highimpact-resistant cabinet fi xtures. In addition to offering the look of Mustaine’s stack, the Megastack has been designed so that, even in its micro format, it can provide his tone straight out of the box. A four-channel amplifier just like Mustaine’s Marshall JVM rig, it provides access to clean, crunch, and overdrives via four pre-programmed tones (Clean Absolution, Symphony Chorus, New Wave Of British Metal, and Holy Solo). Additionally, the amplifier has a three-stage EQ, identical to the kind found on Mustaine’s JVM channels on his touring rig, with independent Bass, Middle and Treble controls. The Megastack also has built-in effects including Reverb, Chorus, Phaser, Flanger, and Delay. The Line Input allows players to jam along with an MP3 player, CD player or other source. The combination Line Out / Headphone Out features speaker cabinet emulation. www.marshallamps.com

Yamaha’s NCX & NTX Line of Guitars Yamaha’s two new lines of nylon string acoustic-electric guitars were designed in collaboration with guitar duo Rodrigo y Gabriela. The NCX series is a more traditionally shaped nylon guitar, while the NTX adopts a thin-line body shape and APRIL 2010

(VJUBS 1SPEVDUT Showcase they convey a wide tonal range with emphasis placed on mid-frequencies that are unique to nylon string guitars. The instruments incorporate fan-style bracing patterns that are identical to the designs used on Yamaha’s handcrafted Grand Concert series guitar. Fresh new cosmetics include a new headstock shape, warm wood rosettes, and a smiling bridge profi le. Both models are outfitted with an A.R.T. transducer-based pre-amp system. The NCX series includes models in both rosewood and flamed maple back and sides. The models have a twelfth-fret neck to body joint and a traditional 52mm nut width. The NCX2000R and NCX2000FM are made with master grade solid Hokkaido spruce tops treated with Yamaha’s original Acoustic Resonance Enhancement process (A.R.E.), a proprietary manufacturing technique that accelerates the maturing process of the guitar. The NCX1200 features a solid Sitka spruce top and the NCX900FM features a solid Engelmann spruce top. The NTX series is designed for the contemporary player looking to expand on the traditional nylon sound. These instruments offer a thinner body, fourteenth-fret neck joint, faster neck profi le, and a slick cutaway body design. Top tone-woods include solid Sitka spruce on the NTX1200R, solid Engelmann spruce on the NTX900, and solid spruce on the NTX700. www.yamahaguitars.com

A 4GB memory gives plenty of room to organize songs into playlists and build a song library. Users can also download i-tabs free tuition video modules to help along. The i-tab unit has a five-inch touch screen, built-in speaker, and comes with headphones, stylus, USB connector, power charger, and soft carry pouch. The i-tab comes with 30 free song tabs. It also includes TV out leads so you can play synchronized

i-tab Portable Guitar Tab Player The i-tab offers guitarists a pocket sized unit that scrolls chords and lyrics. The i-tab allows users to download backing tracks and video from a massive library of fully legal tabs, tracks, and lessons. Once downloaded, the i-tab sits at the end of the guitar and acts as a prompt giving a clear display of chords and lyrics at the tempo of your choice. APRIL 2010

(available in blank and pre-slotted)

tusqxl.com MMR 69

(VJUBS 1SPEVDUT Showcase chords, lyrics, and backing tracks through the player or through a television. www.i-tab.com

AXL’s Black Matte Jacknife and Fireax Guitars AXL’s Jacknife and Fireax guitars are now available in black matte finishes. The matte-finish Jacknife guitar has a solid alder body and comes with two EMG-designed Alnico P-90 pickups. The Jacknife features a thin maple neck, string-through-body design, and the rosewood fretboard is finished with Abalone dot position markers. The Fireax with matte finish is also built from solid alder, features two EMGdesigned Alnico humbuckers and an EMG-designed single-coil pickup. The bridge is a classic floating tremolo design. The ultra-thin maple neck is finished with a rosewood fretboard and exclusive Arrowhead fretboard inlay. Both guitars feature black hardware, black truss rod covers, and an AXL Skull headstock plate logo. The matte-fi nish Jacknife has a brushed aluminum pickguard. The Jacknife in matte fi nish has a list price of $224.99, and the matte fi nish Fireax has a price of $299.99. www.axlguitars.com

AER’s Alpha Plus Amp Based on the Alpha, the Alpha Plus incorporates a bigger cabinet and increases the power output from 40W to 50W, providing greater volume and extended headroom. The Alpha Plus features a single eight inch

twin-cone speaker, a single channel, three band tone controls, and digital reverb effect. The Alpha Plus’ two inputs, when used simultaneously for guitar and vocals, transform the amp into a compact PA for small 70 MMR

club gigs. The Alpha Plus’ back panel houses the footswitch, effects send and return, DI output, line output, and headphone output sockets. Audio Electric Research is now shipping the Alpha Plus amplifier in North America. The retail price is $1129. www.musiquip.com

Kustom’s All-Tube Defender Kustom Amplification’s Defender V100 and V50 all-tube amplifiers feature EL34 power tubes, Celestion Vintage 30 speakers, and a cabinet crafted with void-free birch plywood. The V50 and V100 are two-channel

amplifier designs, each with its own Master Volume control that lets users dial in anything from clean, chiming tones to chunky, medium-gain sounds, and full-on heavy tones. The V50 and V100 also feature speaker-emulated XLR direct out, an Accutronics spring reverb unit. The V100 additionally has vintage tremolo and vibrato effects. MAP pricing for the V50 and V100, respectively, is $699.99 and $899.99. www.kustom.com

DR Strings for Drop Tuning DR Strings’ DDT line of electric guitar and bass strings are specifically designed for players who employ drop tuning. DR Strings has formulated specific technologies that are said to enhance the performance and tone with drop-down tuning strings. DDT electric guitar string sets are available in various gauges for alternate tunings. www.drstrings.com

Saga’s Kentucky Mandolin, Gitane Gypsy & Blueridge Guitars Saga’s Kentucky A-Model Mandolin KM-900 features handcarved solid spruce and figured maple, graduated for a tone that recalls the old original. Maple forms the slim, v-shaped neck and the two-piece ebony compensated bridge is adjustable for height. The KM-900 was inspired by the original Master A-Model A-5 from 1923. Every detail of the vintage A-5 was faithfully copied. Like the original, the KM-900 features subtle shading of Cremona brown sunburst. Saga’s slim-line acoustic/ electric Gitane guitar features Fishman’s Aura System, a Saga exclusive, and is said to provide infinite range of tonal shading and effects. The slim, fast neck

and horizontal cutaway offer easy access to the highest reaches of the fretboard. Saga’s Blueridge BR-160-12 recalls the classic American guitars made in New York in the late 1940s with its 17” wide body, incurved waist, and jumbo shape. The neck, with its fully-adjustable truss rod, joins the body at the 14th fret. The guitar can be tuned at standard pitch or two or three semitones below. The sealed tuning machines have metal buttons and the peg head features designs in white mother of pearl and abalone. The top is solid, closegrained spruce and the back and sides are of solid Indian rosewood. Herringbone wood inlay borders the top and the pickguard is “Dalmatian” imitation tortoise shell. The rosewood fret board has a design of pearl “diamonds and snowflakes,” and the bridge is solid rosewood. www.sagamusic.com

Godlyke’s Omega Drive Sixteen Godlyke’s HAO Omega Drive Sixteen overdrive pedal is the first model in the APRIL 2010

(VJUBS 1SPEVDUT Showcase HAO Premium Workshop series of professional-grade effect pedals. Named for its internal voltage doubling circuit, the Omega Drive Sixteen takes an incoming power supply of nine-volts DC and converts it to 16-volts DC. The tonal character of the OD-16 is said to be more aggressive than the standard Tube Screamer overdrive, consisting of tight and punchy lows and lower mids along with rich harmonic overtones. The Omega Drive has a list price of $349. www.godlyke.com

Fishman’s Aura Sixteen & Mac Version of Image Gallery III Fishman Aura Sixteen features an open architecture for loading up to 16 Images via USB from the included Aura Image Gallery. The Aura Sixteen ships with 16 pre-loaded images, allowing acoustic musicians to reproduce the sound of their instrument as miked in a professional studio. Now available for Mac and PC, Aura Image Gallery III software provides over 800 free images of actual instruments recorded with select studio microphones. Users can sort and search by make/model, body style, or even wood type. By connecting a compatible Aura product, users can download and store sets of Images to take with them on stage or in the studio. The newly released Mac version of the Aura Gallery software is compatible with a PC running Microsoft Windows XP or higher or a Mac with an Intel processor running OSX 10.5.x or higher. www.fishman.com

(like they used in the 80s) were all designed to meet Slash‘s personal specs. The Alnico II Pro Slash is available in black, zebra, or reverse zebra, and can be purchased in-

dividually or in a zebra/reverse zebra set. The pickup can be used for jazz, blues, and classic rock and works in any well-balanced humbucker-equipped guitar including hollow and semi-hollow body guitars, Gibson Les Pauls. The Alnico II Pro Slash is hand built in Seymour Duncan’s Santa Barbara, California workshop and includes all mounting hardware. www.seymourduncan.com

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Seymour Duncan’s Signature Alnico II Pro Slash Seymour Duncan’s, Alnico II Pro Slash, signature pickups feature an Alnico 2 magnet, single-conductor cable, long-legged bottom plate, and an old school wooden spacer APRIL 2010

ELEUKEUSA.COM MMR 71

(VJUBS 1SPEVDUT Showcase Roland’s Acoustic Amp Roland’s AC-33 Acoustic Chorus guitar amplifier is a battery-powered amp designed specifically for the acoustic guitar. It features instrument, XLR microphone, and AUX inputs, along with built-in digital effects, an anti-feedback function, an onboard looper, and an integrated tilt stand for enhanced sound projection. The AC-33 has the ability to run on eight AA batteries (including NiMH rechargeable types) or AC power. The 30-watt stereo amp and dual five inch speakers provide sound coverage for any intimate performance situation, including restaurants, coffee houses, open mic nights, street busking, and more. The multiple inputs allow the AC-33 to function as a portable PA, amplifying a guitar, vocal, and backing track from a music player all at the same time. The AC-33 comes equipped with Roland’s stereo chorus effect, as well as re-

verb and ambience effects. The unique anti-feedback function automatically detects acoustic instrument feedback and eliminates it before it starts. The onboard looper allows users to record and play back up to 40 seconds of musical backing, with the ability to capture unlimited sound on sound style overdubs. The looper and effects can both be controlled with optional foot switches. The AC-33 has a retail price of $558.50. www.rolandus.com

Zoom’s G2Nu & G2.1Nu Zoom’s new G2Nu and G2.1Nu are based on the earlier G2 guitar effects pedal, but offer new and practical features along with enhanced ease of use, improved tone technology, and patches created by guitar virtuoso Steve Vai. Twenty types of guitar amps and stomp boxes offer qualities including gain settings and harmonic character. Both new

pedals also feature 100 preset guitar sounds, 20 of which have been created by Steve Vai. Additional patches emulate famous rock sounds from the sixties and seventies as well as other famous artists. And the G2.1Nu also features a built-in expression pedal for enhanced control. The new pedals can also operate as audio interfaces, letting users record directly to a computer via the built-in USB port. Plus, Zoom’s direct monitoring design eliminates latency problems and allows users to capture any tone on a computer DAW. A large 1.9-inch LCD display and a new interface also provide easier navigation during both live and recording sessions. The Zoom G2Nu and G2.1Nu retail for $149 and $199 respectively. www.samsontech.com

TuneTech’s One Touch Tuner Tune Tech’s one touch chromatic tuner has one button, one mode (A-440); the button is on the front in the center, and it turns itself off if you don’t. The tuner features a bright blue LED screen and a matte rubberized scratch resistant finish. The tuner is available in midnight black and hunter orange. The list price is $29.95 www.shsint.net

Zon Standard Series Basses Zon Guitars’ Standard Series line of bass guitars are offered in Mosaic, Sonus, and Legacy models and are handcrafted in Korea to Zon’s specifications and requirements. All of these basses are given a final inspection for fit, finish, and setup at Zon Guitars’ Redwood City, California facility. All models of the Standard Series import line are available in four and five string versions with either gloss or satin finishes. Retail prices start at $1599. www.zonguitars.com 72 MMR

APRIL 2010

Keep Music Education Strong Learning to play music is so much more than memorizing notes and scales. It helps a child develop creativity and instills self-discipline, commitment and confidence. Your leadership in the community assures that music is a part of quality education for every child. Keep music education strong—go to supportmusic.com.

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’ve always wanted to open a guitar store, ever since I started playing,� explains Eddie Carlino of Medford, Massachusetts’ Carlino Guitars. “In fact, this location on Main Street was previously the site of Tufts Guitar Studio and I actually took guitar lessons here when I was little.�

I’m Everyone! Carlino’s lifelong infatuation with guitar has served him well, as he is now (for the most part) a one-man operation both instruments, amps, and related gear, as well as designing and building his own line of axes. “I run the shop by myself and I have Berklee-taught guitar teachers at the location giving music lessons six days a week up until 9 pm,� he says. “I am the Web guy, the repair guy, the trash guy, the merchandiser, the ordering person, the stock guy – I’m everyone!� The brick and mortar store, itself, is a mere 600 sq feet, but Eddie crams quite a bit into a small amount of space, all without creating a sense of overbearing clutter. “They say size doesn’t matter; it’s how you present it that sells,� he notes. “Merchandising a small store and making it look good is an art. I don’t like the approach of having

“Every kid that walks in here gets treated like a rock star.� guitars being displayed just straight against a wall. It’s more of a museum display in here than anything. The guitars are arranged in a waterfall fashion on the wall, looking almost like ‘The Wave’ at a baseball game.� Product lines currently offered at Carlino Guitars include: DBZ Guitars, 74 MMR

ESP/LTD, Washburn, Schecter, Blueridge, Crafter, US Masters, Randall, Rivera, Bugera, Line 6, EMG Pickups, “and the usual assortment of accessories you’d normally see, as well as my own USA Carlino line of guitars,� Eddie explains.

What Competition? “Local competition doesn’t bother me because I have very exclusive lines that aren’t on every block,� Carlino says. “A lot of smaller stores have closed around me and that is sad because I still gave business to those places. I have no problem shopping at another music store. Sometimes I do guitar shows and bring my whole store there and I see the local competition there and they’re amazed at the things I have, and vice versa. It’s cool to interact with other outlets. “As far as the big box guys go, it’s hard to interact unless you know someone there. “I can remember going into big box stores when I was little and being treated poorly cause I was a kid. I swore that if I ever opened a store I would never treat someone like they treated me. So now, every kid that walks in here gets treated like a rock star. In fact I just got off the phone with a guy who’s going to buy DBZ from me because of how I treated his son when they came in the store recently. It may be a tough economy, but the guys who have APRIL 2010

a vested interest in what they’re doing are the guys who know their stuff, and that’s who customers buy from. Hell, when I do setups for people on their guitars, I even vacuum their cases out before I give them back to them.”

Online Carlino does sell online and Eddie claims that his site (www.carlinoguitars. com) is, “not like something you’d normally see. I didn’t want it to be corporatelike and I wanted it to be easy to navigate. It’s all about the pictures when it comes to guitars and I feel that you need to see what you are getting. I put a guitar on the site with four basic pictures and then I add a link to a separate page where a spread of 18 pictures comes up, so customers can see every angle. I get a lot of comments on that, people like the layout. “I do sell on eBay for specialty, clearance, or one-off guitars. A lot of companies forbid using eBay because it cheapens the brand and lowers the value, but it’s a great resource for finding a needle in a haystack. With the economy the way it is people are looking for deals but where everyone is selling everything right now it’s hard for your item to stand out.”

USA Carlino Guitars The USA Carlino line is the culmination of years of craftsmanship and refineAPRIL 2010

ment. “I started [building guitars] in 8th grade – a maple bodied Flying V styled like a 1958 Korina, which never got fi nished,” says Carlino. “My next venture was in woodshop in 10th grade. I built an exact copy of a BC Rich Mockingbird, right down to the flamed maple body sides and Pau Ferro stringers and pearl cloud inlays. I have a closet full of stuff I’ve built that never saw the light of day, from doublenecks to Explorer-shaped, to totally new designs that my new shapes are evolving into. So some of my ‘new’ shapes are actually 30 years old, but have modern twists to them. I mean, look at the [Gibson] V, Explorer and Moderne – they were designed in 1957 and were way ahead of their time and they’re still popular. My designs look like they come from the same family, so to speak.” Currently USA Carlino offers two models – the Identity and the Impulse. “From a marketing standpoint, this line of guitars begin their model names with an ‘I,’” Eddie says. “Each one is differently shaped, but still related somehow to the name I gave them. Also, they all share the same headstock design, which I feel is as exciting as it gets. “Based on the classic Gibson scale, these guitars have a familiar feel and sonically are powerhouses. I’m using the best woods I can find and you will not find one veneer of figured wood on my guitars. I’ve MMR 75

seems to have a bright future, thanks to a creative, efficient business model. “2010 is going to be quite a year, because the future is in the crosshairs – you just have to focus,” says Eddie. “This year is when we’ll see the resurgence. Everything has been at a standstill and the f lailing economy pretty much left disaster in its wake, killing smaller stores, straining bigger

“You will find a sales dollar that wasn’t there before, if you look in a different direction.” been designing and integrating laser technology into inlay design and logo work and actually seeing what the laser can do as far as full-out cutting of bodies and pickup cavities, binding routs, frets slots and pretty much everything that a cad cutter can do, within reason. With lasering techniques, nothing is impossible.” Eddie notes that already some big names are being drawn to his work, including Rick Nielsen of Cheap Trick, Piggy D of Rob Zombie, and Paul Crook of Meatloaf,

76 MMR

“Nile Rogers and Eddie Martinez are both getting Korina Identities,” he adds. “Eddie Goicuira of Brontis has a red Quilt model, and Conan O’Brien and his [band’s] guitar player, Jimmy Vivino, were actually presented with Korinas by Rick Nielsen. Coming soon, James Hetfield of Metallica will be getting a black Impulse with EMGs.”

Focus on the Future Despite a tough economy [there’s that term again… - Ed], Carlino’s operation

ones, and really separating the strong from the weak. I think where you have to survive is where your business mentality is. You will find a sales dollar that wasn’t there before, if you look in a different direction. If you keep looking in the same places, you get tunnel vision. It may be the world that has been pulled over our eyes to blind us, but it’s the retailers’ choice to get new glasses if things get blurry.”

APRIL 2010

1SP 4BMFT .BOBHFNFOU R ick McClendon has worked with some of the biggest

names in the MI industry,

from Roland and Harman Kardon, to Tascam and Seymour Duncan. “Right out of college I started selling guitars at a small independent store in Torrance, California,” says McClendon. “I started out like most people in stores. I was gigging at the time and that was back in the ‘70s with the whole singer songwriter thing and I thought, ‘Well, I’ll work at a store until my record contract comes through.’ So, I started out as a part time sales guy, worked my way up to store manager, and then from there I went and managed a couple of other stores out of Los Angeles.” Eventually, McClendon moved on from the retail side to work for a west coast distributor, and later as an importer of guitars. “From there I went to work for Roland, to Harman, then to Tascam, and most recently Seymour Duncan,” he explains.

Onward and Upward McClendon’s Latest Venture McClendon’s experience in the MI industry has lead him towards his newest venture – Pro Sales Management. The new organization is designed to be a one-stop shop for small to medium sized companies that want to outsource their sales infrastructure and rep management. Although the concept of outsourcing isn’t new to the MI industry, the idea of outsourcing sales is quite novel. “It’s funny because in our industry, we’ve been outsourcing for so long,” Rick says. “We’ve outsourced tech support to India and we’ve outsourced manufacturing to China, so this is just a natural extension of that. I looked and said ‘Well, what else can you outsource?’ And this happens APRIL 2010

to be what I do best. It just happened to make sense. It’s sort of a metamorphosis of everything that has happened within the last decade.” As a result of McClendon’s 30-plus years in the business, he came to the conclusion that most people only have enough time and energy to do one thing well. “I’m no different,” he says. “I do one thing very well. I’m very good at organizing sales infrastructures and managing reps. Today people are specializing and people are outsourcing. So to me it was just natural. This way everybody is playing to his or her strengths and that’s the whole basic premise of Pro Sales Management. They can do what they do best, design and make products, and I can do what I do best, create sales infrastructures and manage reps. I do everything that a sales manager would do. I’m just not an employee, and all I do is concentrate on sales management.”

for me, and we just shot a video. “I think within a short span I’ve kind of got a lot of things together,” says McClendon. “In a year I’d like to have at least one more sales manager on staff and be managing somewhere between six to ten companies.” Currently, Rick is using his own business model by outsourcing everything. He’s a one-man show and has outsourced his PR and webmaster to keep costs down and results high. “The ultimate goal of Pro Sales Management is to actually manage ourselves out of a job,” says McClendon. “You get one of these small to medium sized companies, and they should have the benefit of having a senior level sales manager, but a lot of times they don’t know somebody or they can’t afford somebody. So, one of the nice things about being outsourced is that it’s a tool which is really truly a scalable resource. How much do they want to invest budget wise? With Pro Sales Management, they can get that much,” says McClendon. “Ultimately, as the sales infrastructure gets better and better and it generates more revenue, at some point in time they might say, ‘You know what? I think I’m going to hire a full time guy.’ At that point, I’ve managed myself out of a job, which is fine because there are lots of new companies coming along all of the time. It’s a revolutionary idea and it’s a brand new business model. I think once people understand the strengths of it, it’s going to set a new business model in our industry and I think you’ll see it catch on in many, many other industries as well.”

“It’s a revolutionary idea and it’s a brand new business model.”

Taking Off and Looking Towards the Future Rick is currently working with and representing Don Lace of Lace Pickups, as well as Marvin Caesar of Aphex. McClendon says that he’s hoping to have two or three more clients on board in the upcoming months. “This [Pro Sales Management] is brand spanking new,” he says. “I came up with this idea in mid-August and I got everything rolling in September. So, here we are a few months into it and I’ve got two clients, I’ve got a Web site now, Dan Keller is doing PR

MMR 77

WEBWISE

8SJUJOH 3JHIU 8FC TJUF TDSJCFT OFFE UP XSJUF GPS TLJNNFST BOE TDBOOFST

By Kevin M. Mitchell

E

ngaging – nay, grabbing – Web surfers who land on your site is the difference between a sale and a pass, succeeding or barely scraping by. So in addition to how the Internet has changed marketing, selling, and the very nature of the retail business, it’s also forced how copywriting has evolved (your freshman English teacher would no doubt call it a devolution, but then you could impress her by saying it’s about writing more like Hemingway and less like Faulkner). 78 MMR

Nick Usborne, a respected specialist in the field, bluntly advises to not write for readers but for skimmers and scanners. Citing Web “heat map” studies (the study of areas on a Web page most frequently

your neighborhood music store specializing in quality instruments for your child’s school band program” becomes: “School band instruments here.” Almost everything on your site can be

“Unfortunately, you can’t cram everything onto the home page!” scanned by visitors), he says the evidence is overwhelming that readers online give their full attention to only the fi rst few words of a line of copy. They might read the full width of a page headline – if it’s a good one. But as they move down the page, they give less and less attention to subheads and body text beyond the first few words. What’s this mean for MI retailers? Here are some ’fer instances: “We’re

given this less-is-more treatment. Say you’re trying to solicit emails to build your list and you’re doing so through a contest. “Sign up on our email list, and enter to win a free tube amp” becomes a much more skimmer-friendly “Win a free tube amp.” A click through to another page will provide all the additional details. “You have probably noticed this yourself as you look at the words on a Web APRIL 2010

site you are visiting for the first time, Usborne says. “You rarely read every word. You scan the page.” For MI retailers, the visitor on their site is quickly trying to answer one question: “Is this page relevant?” This is a key reason why writing online is so different, “and why you need to feature the most important content of your Web site high up on the page, and in just a few words.”

Beyond Brevity “Writing has changed,” Usborne says. “Ten years ago, Web writing was very close in style to print writing. Many companies simply cut and pasted their print text into their Web sites. Since that time, companies have come to realize that the Web is a very different kind of medium and demands a very different style of writing.” Information on a Web site is fragmented, page-by-page, and level-by-level. One goal of today’s retailer who is writing for the Web is simply to help visitors fi nd the information they are looking for. “Unfortunately, you can’t cram everything onto the home page!” Don’t mistake this as an excuse to not give details, pitch the product, and close the sale with good copywriting, though. It just needs to be divided up differently. “For example, on your home page you might have an image, and a few words and a link about guitars. “On the secondlevel page about guitars you give readers a choice to learn more about acoustic guitars, bass guitars, and so on. On the third-level page you can then link to a detailed page about a particular Dean bass guitar.” Every word you place on your Web site needs to be framed to help people find the specific information they are looking for. “Job two is to give them the detailed information they need to make a buying decision.” After your first draft, put yourself in the shoes of the customer you are trying to reach. Be tough on yourself and as objective of you can. Most importantly, make sure what you’ve written isn’t something that is more appropriate for an ad or a brochure. “Many APRIL 2010

“Images play a supporting role, but it is the words which do the heavy lifting.” smaller companies make the mistake I just mentioned. They write their sites as if they were online brochures for the company. Certainly, you include everything your company offers, but you must structure and write the site in a way that makes it helpful and useful for the reader.” Ask yourself, “Is this something that will help the visitor fi nd what he or she is looking for?” If the answer isn’t a resounding “yes,” then work more on it.

All Things to All People Usborne acknowledges a particular challenge for the retailer who caters to many different types of customers. The high-end guitar shop is going to have an easier time writing bankable Web site copy that appeals to those who buy highend guitars than the mom & pop operation that sells heavy metal guitars and high-end acoustics, has a big print department, and offers a sizable band and orchestra clientele. “In many ways it is easier to design and write a Web site which is focused on a narrow audience,” he says. “But if you have multiple audiences, you simply have to help them fi nd the area that addresses their particular needs.” Those

Nick Usborne

full line stores would want to consider a prominent link on the home page to the interior page for kids, and another to the page for parents, and so on. And it all needs to be effective. Yes, the visual – the sexy shot of the guitar, the classy shot of that baby grand – is important. Yet, “good writing and copywriting are essential. Most of the time, the images and graphics are simply eye candy. It is the words that help visitors find what they want. It is the words that communicate almost everything you need to say about a product or service. And it is the words that persuade someone to make a purchase. Images play a supporting role, but it is the words which do the heavy lifting.” And like anything else in today’s fast-changing world, once it’s done, that is no time to rest on one’s laurels. If the purpose and focus of a Web site remains the same, then the bulk of the content can stay as it is. But it is also important to freshen up your site and demonstrate that it isn’t simply a static block of information. “You need to let your visitors know that you are ‘there,’ behind the counter, as it were,” Usborne says. “The Web is a dynamic medium. This is particularly true in this new world of social media. Visitors expect things to be dynamic on your site. They want to know what is new, what has changed, what is happening next. Your visitors won’t come back as often, unless they feel there will be something new to see and explore.” Constant upgrading and updating of your site is important, sure; but so is finding new ways to hook and reel those who land on your site. “Go through some of your existing online writing and see how well you wrote it for all those scanners and skimmers,” Usborne advises. “If your most important text is too long to scan, think about how you might break it up into smaller pieces. Then test and measure.” Nick Usborne is an author, copywriter, and coach — and the publisher of the NickUsborne.com Web site for online writers and copywriters. MMR 79

PRINT MUSIC

31.%" $POWFOUJPO development addressing new technology, To date, 2010 has been a time for renewed product lines, merchandising, music advocacy optimism in the music industry, and the Retail and employee communication. Attendees will Print Music Dealers Association’s annual alternate between educational sessions and time convention continues to be a great opportunity spent exclusively in the exhibit hall. After hours, for people and ideas to connect. From April 14th RPMDA members enjoy spending time together through 17th at the Downtown Renaissance Hotel while taking in all that the host cities have to and Cox Convention Center in Oklahoma City, offer. This year is no exception, as attendees will there’ll be separate“Real Business Solutions”tracks Madeleine Crouch, be rooting for the Triple AAA home team, the for both employees/managers and owners led by RPMDA RedHawks, in their beautiful downtown ballpark music industry veteran Kenny Smith, a look at the on Thursday night. To learn more about RPMDA and how what, why and how of social networking for businesses led print music can become a profit area for your business, go to by Constant Contact’s Ron Cates, and more. RPMDA leaves www.printmusic.org. no stone unturned as it presents three days of professional

2010 RPMDA Convention Program Tuesday, April 13, 2010

Thursday, April 15, 2010

6 PM-11 PM PRE-CONVENTION BOARD MEETING

All Day Registration

Wednesday, April 14, 2010 8 AM-3:30 PM OPTIONAL PRE-CONVENTION DAY TRIP 12-5 PM EXHIBITOR SETUP 12-5 PM REGISTRATION 5:15-6 PM NEW MEMBER ORIENTATION 6:15-8 PM OPENING NIGHT COCKTAIL PARTY Sponsored by Hal Leonard Corporation 80 MMR

7:30-8 AM CONTINENTAL BREAKFAST, sponsored by the Lorenz Corporation 8-9 AM BONUS SESSION: Speed Dating with the Publishers, Zach Phillips, moderator Talk about e-harmony! Some of the print music industry’s hottest publishers and suppliers will be in the spotlight this morning. These great supporters of our 2010 convention will be strutting their stuff as one of last year’s most popular sessions returns to educate dealers about product lines,

services and opportunities. Don’t miss your dream date! 9-9:50 AM GENERAL SESSION: Advocacy and Eating Elephants, Denny Senseney, Past President, RPMDA Both are BIG jobs that take a lot of people doing their part. Few things are more important to the success of the music industry than creating as many consumers for our products as possible. Denny will lead us on a guided tour of advocacy tools for use in your businesses, local schools and communities. 10-11 AM VISIT THE EXHIBITS, refreshment break sponsored by FJH Music Company, Inc. APRIL 2010

11:10 AM-12 PM BREAKOUT SESSIONS BREAKOUT SESSION 1: Cut It Out! (An Expense, That Is!) Jeff Stonier, Northwest Music Come to this fast-paced session and learn the top 10 ideas to cut expenses now! You will leave with a list of instant ideas that can dramatically affect your bottom line. They’re hiding everywhere…those pesky darn expenses… find out where they are and how to get rid of them. Cut it out now! BREAKOUT SESSION 2: The Art of Creating Group Classes, Part 1 Michelle Webb and Michele Dwiggins, Beacock Music Company This is not your grandmother’s education center! A growing segment of many of our businesses is group lessons and classes. Come and learn how to create your own classes for profit. From idea conception to pricing, promoting and everything in-between, this session will cover it. At the end of this session, turn in all of your questions. In part 2, we will answer those questions and share our ideas. Do you want to go home with great ideas to grow your education department? Join us! BREAKOUT SESSION 3: Percussion Music - An Untapped Market, Cort McClaren, Author, Clinician and Educator, C. Alan Publications Since the mid-1970s the amount, diversity, and quality of percussion sheet music has evolved in tandem with enormous increases in school percussion programs, percussion instruments and percussion accessory sales. Learn about markets-within-markets and how music dealers can identify potential customers. As a 35-year veteran educator and publisher, Cort McClaren will provide an inside view of how the percussion sheet music market evolved and how music dealers can jump onboard this upward spiraling, yet largely untapped revenue stream. 12-1:15 PM LUNCH AND BUSINESS MEETING 1:20-2:15 PM GENERAL SESSION: Music Matters - Reflections on Over 40 Years of Music Education, Dr. Paula Crider, Sponsored by Hal Leonard Corporation Do you ever wish you knew back then what you know now? Join Dr. Paula Crider, retired director of bands at the University of Texas, as she conveys the lesAPRIL 2010

sons she’s learned from her many years as a music educator at all levels of teaching. Paula’s warmth, sense of humor and wisdom will inspire us to keep bringing music into people’s lives, and to always keep learning! 2:20-4:20 PM VISIT THE EXHIBITS, refreshment break sponsored by Frederick Harris Music Co., Ltd.

4:30-5:20 PM REPEAT BREAKOUTS BREAKOUT SESSION 1: Cut It Out! (An Expense, That Is!) BREAKOUT SESSION 2: The Art of Creating Group Classes, Part 2 BREAKOUT SESSION 3: Percussion Music - An Untapped Market

BUSINESS ALFRED PUBLISHING CO. ALPHONSE LEDUC/ROBERT KING MUSIC SALES, INC. ARPEGES-DIFFUSION IMD BOOSEY & HAWKES, INC. BREITKOPF & HARTEL C. ALAN PUBLICATIONS C.F. PETERS CORPORATION CARL FISCHER MUSIC CHERRY LANE MUSIC CO., INC. EDITIONS ROBERT MARTIN FABER MUSIC FJH MUSIC COMPANY INC. FREDERICK HARRIS MUSIC CO. LTD. G. HENLE VERLAG GIA PUBLICATIONS, INC. HAL LEONARD CORPORATION HERITAGE MUSIC PRESS HOPE PUBLISHING COMPANY JACKMAN MUSIC CORPORATION KENDOR MUSIC INC. LORENZ CORPORATION LUDWIG MASTERS MUSIC MARLO PLASTIC PRODUCTS INC. MAYFAIR MONTGOMERY PUBLISHING MAYFAIR MUSIC PUBLICATIONS, INC. MEL BAY PUBLICATIONS, INC. MORNINGSTAR MUSIC PUBLISHERS MOZART NOTEZART MUSICAL THEME JEWELRY & MORE MUSIC GIFTS COMPANY OF ENGLAND, INC. MUSIC SALES GROUP NAMM INTERNATIONAL MUSIC PRODUCTS ASSOCIATION NEIL A. KJOS MUSIC CO. OXFORD UNIVERSITY PRESS PENGUIN GROUP USA RETAIL UP! MUSIC SCHAUM PUBLICATIONS, INC. SCHOTT MUSIC SHAWNEE PRESS, INC. STAGE STARS RECORDS THEODORE PRESSER COMPANY TRI-TECHNICAL SYSTEMS, INC. UNIVERSAL EDITION, INC. WILLIS MUSIC CO. WORLDWIDE MUSIC SERVICES

BOOTH NO 1 24 11 35 26 44 33 14 36 31 2 47 25 27 10 37 12 45 34 8 13 43 46 20 21-22 48 19 29-30 41-42 38 7 49 32 4 17 3 28 39 5 15 23 16 40 6 MMR 81

6-10 PM SPECIAL EVENT AT AT&T BRICKTOWN BALLPARK

Friday, April 16, 2010 7:30-8 AM CONTINENTAL BREAKFAST, sponsored by the Neil A. Kjos Co. 8-9:10 AM GENERAL SESSION: Best Ideas, David Jahnke, moderator Back by popular demand, it’s YOUR BEST IDEAS! Share in the excitement as fellow dealers and publishers pitch their best ideas of the year in just two minutes. It’s always an avalanche of great ideas to borrow, adapt or just plain steal! Imitation is most definitely the sincerest form of flattery. We’ll vote on the best of the best, but the real winners will be the RPMDA members who take these creative ideas home and turn them into pure profit. 9:15-11 AM VISIT THE EXHIBITS, refreshment break sponsored by Tri-Technical Systems, Inc. 11:10-12 AM BREAKOUT SESSIONS BREAKOUT SESSION 1: Real Business Solutions, for Managers and Staff Only! Kenny Smith, Sales Training,

Management and Internet Marketing Consultant, Sponsored by Alfred Publishing Co. Learn new ways to approach your job to become the true superstar you are. Also, what do owners expect? How can they help you do your job better? Finally, a chance to speak to the expert! Managers and staff members, it is all about you this time! BREAKOUT SESSION 2: Coffee at the Internet Café, Michele Dwiggins, Beacock Music Company Technology is an undeniable aspect of successful retailing today. If you are short on hi-tech know-how and even shorter on funds, how can you get your business ‘in the game’? Beacock Music is a great example of using simple, cost effective tools to get their business in the technology world. Michele will show you what they are doing, how they are doing it, so that you can be technically savvy, too! A few simple ideas can make a big difference in how your business is perceived. (PS, yes, coffee will be served!) BREAKOUT SESSION 3: “Praise the Lord and Pass the Ammunition!” Mark Cabaniss, Word Music The times, they are still a-changin’, and such is the continued case with sacred music. With all the terms out there (gospel, sacred, CCM, modern worship), any retailer could get confused, let alone be prepared to speak the language of today’s

modern church. With tight budgets these days, everyone needs a focused, not a shotgun, approach to hit the bullseye of the sacred music market. Join veteran music publisher Mark Cabaniss of Word Music, who will arm you with valuable ammunition to most effectively reach the sacred market with sacred folios, choral products and more so you can pump up your bottom line with alleluias and amens! 12:00-1:00 PM

LUNCH

1:10-2:15 PM GENERAL SESSION: Social Networking and Your Business, Ron Cates, Constant Contact, sponsored by G. Henle Verlag Is your business on Facebook? Do you tweet? After giving one of last year’s most highly rated sessions on the power of email marketing, Ron Cates is back to give us valuable tips on integrating the new social networking tools with your online marketing strategy. 2:20-3:40 PM VISIT THE EXHIBITS, refreshment break sponsored by Barenreiter 3:45-4:35 PM REPEAT BREAKOUTS BREAKOUT SESSION 1: Real Business Solutions, for Owners Only! Kenny Smith, sponsored by Alfred Publishing Co. As owners of our companies, do we have an energized and trained staff? Do we run effective staff meetings? Do we have a plan of action for success? All of these topics and many more will be addressed. Just what are we doing right and how can we improve? Finally, answers. Help is on the way! BREAKOUT SESSION 2: Coffee at the Internet Café! BREAKOUT SESSION 3: Praise the Lord! 4:40-5:10 PM ASSOCIATE MEMBER BUSINESS MEETING 4:40-5:30 PM GENERAL SESSION: Bringing it All Together! Kenny Smith, sponsored by Alfred Publishing Co. For everyone, owners, managers and staff members. Working together with common goals in mind and with perfect

82 MMR

APRIL 2010

synergy! Ahhhh, sounds like a dream, doesn’t it? But it can be our reality with a little guidance! We can build our dream teams! Kenny will connect the dots for us and we’ll go back to our stores focused and energized, ready to make things happen! Dinner on your own 9 -10:30 PM AFTERGLOW RECEPTION Sponsored by Music Sales Group Join fellow RPMDA members after dinner out for a relaxing nightcap in a relaxed, casual environment to wind down from a day of learning, growing and relationship building before calling it a day.

Saturday, April 17, 2010 7:30-7:50 AM CONTINENTAL BREAKFAST, sponsored by Breitkopf & Härtel

9-11 AM LAST CHANCE TO VISIT THE EXHIBITS

7:50-8:10 AM PRESENTATION OF 2009-2010 RPMDA OFFICERS AND DIRECTORS

HUNTER NEW YORK

8:10-8:50 AM BONUS SESSION: The “What Music Means to Me� Project, Richard Rejino, Pender’s Music As music retailers, how often do you contemplate the influence and important role that you have in your music community? In these challenging times, it is easy to take our eyes off of what really brings us job satisfaction and fulfillment in our work. Join Richard Rejino of Pender’s Music Co. as he reminds us of the reasons why we do what we do. Through images and the personal statements of his photographic subjects, Richard will introduce you to fascinating individuals whose stories will move you and inspire you. Rediscover the passions of the people served by our music industry, and why those passions should govern our ways of doing business.

11:15-12:15 AM CLOSING KEYNOTE: Dean Mark Parker, Wanda L. Bass School of Music, Oklahoma City University

With vision, drive and a true passion for the arts and the value of teaching creativity at every level of education, Mark Parker has spearheaded the creation of the Wanda L. Bass School of Music at Oklahoma City University (alma mater of Broadway and television star Kristin Chenoweth), a stateof the-art facility dedicated to meeting the needs of its students and creating arts outreach. Dean Parker has collaborated with Sir Ken Robinson, author of ‘The Element� and believes that through teaching music and the arts in our schools, our country can regain and maintain its competitive edge in the future. 12:30 PM POST-CONVENTION BOARD MEETING 6-7 PM CLOSING COCKTAIL PARTY Sponsored by Alfred Publishing Co. 7 PM-12 AM “BOOTS & JEANS� BANQUET AND AWARDS -

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MMR 83

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Musician’s Hand Sanitizer from Aim Gifts can record MP3 fi les or WAV fi les using 16 or 24 bit. The USB interface allows for easy transfer of fi les to a computer or onto a USB storage device. The PSD410 is a SD Card recorder and the PSD450 features a 40GB hard drive and a CD burner for creating audio CDs and custom play lists. Both models are portable and can be battery operated. www.superscopetechnologies.com

Aim Gifts’ newest music gift accessory, the Musician’s Hand Sanitizer, can be used over 100 times and has a carbiner

Alfred’s Meet the Great Jazz Legends Alfred re-releases Meet the Great Jazz Legends CD, a lesson, and workbook that introduces 17 legendary jazz artists. Dr. Ronald McCurdy illuminates stories about the lives, times, and music of great jazz musicians spanning the entire twentieth century, from early New Orleans jazz through the golden age of swing plus the avant-garde and jazz fusion eras. Lessons include biographies of jazz greats such as Louis Armstrong, Duke Ellington, Ella Fitzgerald, Billie Holiday, Dave Brubeck, John Coltrane, Charles Mingus, Herbie Hancock, and more. A new CD addition allows students to listen to examples of each artist’s recordings. Meet the Great Jazz Legends is available in the following packages: as a 72page book and CD package for $26.95, book only for $14.95, CD only for $14.95, 84 MMR

clip built into the cap for ease of use. The point of purchase display holds 24 multicolored cap designs. www.aimgifts.com

Peace’s Practice Pad & Toy Percussion Rack Peace Musical’s A14 practice pad features an eight-inch pad made of silica gel that has a digital metronome with LCD display and speaker plus headphone output, all built into the housing. Players can set a tempo from 30 to 248 bpm, and up to nine beats per measure are selectable, as well as six different subdivisions of the

beat. The A14 is tabletop ready with rubber shocks on its underside for feet, and it’s also available together with adjustable stand, designated as the TR-8. Additionally, new six-inch and eight-inch rebound mats are available in either rubber or silica gel. These four new products are also available as traditional, stand-mountable pads in a hard plastic housing. The sixinch pads, with either rubber or silica gel surface, are also offered in a package with adjustable stand. Conversely, eight-inch variants are offered in a package that includes adjustable stand, stick bag, and a pair of sticks. Peace Musical’s new PS-1 Percussion Set is a bright, colorful collection of toy percussion that comes with a multi-tier, double-braced stand that functions as a rack to position all the components for playability. The outfit includes painted miniature cymbals, a cowbell, triangles, mini-claves, wood blocks, handle bells, mounted tambourine, mini-maracas, xylophone, wood agogo bells, mini-timbales, brushes, sticks, and striker. A stick holder and table accommodate the unattached items. www.peace-drums.com

Pro-Mark’s Billy Ward Autograph Series Pro-Mark adds the Billy Ward TX526W model to their Autograph Series of drum sticks. The sticks are made of American hickory with a modified barrel shaped wood tip and are 16 1/8” long. At .551”, it is similar to a 5A, and has a large ‘bulb’ in the area of the fulcrum. The suggested retail price of the Billy Ward TX526W is $15.25 per pair. www.promark.com APRIL 2010

store account and search Planet Waves to download the ProTune app for $5.99 and the ProTempo metronome app for $4.99. www.apple.com

VeriFone PAYware Mobile for the iPhone VeriFone PAYware Mobile, credit card payment solution for the iPhone, is a durable card reader that snaps onto an

Tycoon Percussion’s Traditional African Djembes Traditional Series African Djembes by Tycoon Percussion feature hand-carved

iPhone 3G/3GS. The card reader features a built-in stylus and makes signature capture easy. Receipts can be instantly e-mailed and end-to-end encryption protects customer data, greatly reducing fraud and merchant liability www.paywaremobile.com

Frederick Harris’ Flute & Piano Series Overtones: A Comprehensive Flute Series books are a progressive series from preparatory to advanced levels. CD recordings for repertoire and studies are included with the purchase of each book. Fundamental technique and standard orchestral excerpts support auditions and exams. Pattern Play for piano is a four-book series that explores improvisation in classical, jazz, blues, world, and popular styles. Pattern Play integrates technique and helps to build an understanding of theory. www.frederickharrismusic.com

Planet Waves’s ProTune & ProTempo iPhone Apps Planet Waves ProTune app turns the iPhone or iPod touch into a portable instrument tuner. Dedicated modes for guitar, bass, violin, banjo, and other stringed instruments offer pitch meaAPRIL 2010

surement on any handheld platform. Whether using the iPhone’s built-in microphone, an external mic, or connecting your instrument directly to the iPhone, you can choose from three interfaces Strobe, Needle, or Digital. The ProTempo metronome app from Planet Waves offers a tap feature to select a basic click-based tempo instantly or create and save customized rhythm patterns using ProTempo’s controls. Users can choose from a set of sound samples that can be assigned and balanced within a single pattern and adjust parameters including meter, accents, subdivisions, and more. Both applications are available for download; users can log into their iTunes

wood shells, hand-selected goat-skin heads, and reliable rope tuning. The Djembes are available in 10, 12, 13, and 14˝ and are priced from and $299 to $499. www.tycoonpercussion.com

The Other Digital Piano • EZ to demo & sell • 50% plus margins • Amazing low wholesale • The industry’s best warranty • Large protected territories • Grand, Contemporary, Portable, Church Series • Ensemble Grand, Contemporary, Portable, Keyboard Series • Will not be sold on the internet or in big - box stores

The Sound of Italy...Now in the USA!

Contact us now to become an Orla dealer

www.orlausa.com E-mail: info@orlausa.com East coast office: 516.502.4001 West coast office: 513.543.0909

©OrlaUSA 2010

MMR 85

Supplierscene VOX Custom Guitar at Winter Olympics On Sunday, February 28, 2010, the Vancouver Olympic Winter Games held a closing ceremony that was broadcast to an audience of millions around the world from Vancouver’s BC Place. A highlight was a performance from Canadian-born artist Avril Lavigne, who performed her hits “My Happy Ending” and “Girlfriend.” Alongside Lavigne was guitarist Devin Bronson, playing his custom-designed VOX silver sparkle Virage guitar. The instrument is a one-of-a-kind custom Virage DC (double-cutaway)

86 MMR

with VOX’s proprietary CoAxe pickups and a headstock matching the cosmetics of the VOX Wah Wah pedal. The guitar was created by VOX’s G-Rok R&D team led by Rich Lasner, and completed in a few weeks based on input from Bronson. For more information, visit www.voxamps.com

KALA U-Bass On Tour with Simon and Garfunkel Bassist Bakithi Kumalo will be taking his KALA U-Bass on tour with Paul Simon beginning in spring 2010. Simon will be joined by Art Garfunkel in a concert at the New Orleans Jazz Festival in April, with additional dates to be announced. Bakithi is best known for his performances on Paul Simon’s albums beginning with the Graceland. He has also recorded and/or toured with Herbie

Hancock, Gloria Estefan, Chaka Khan, Josh Groban, and Chris Botti. For more information, visit www.kalaukulele.com.

Alfred’s Premier Dealer Award at NAMM Alfred Music Publishing launched the 2010 Winter NAMM show by recognizing two of their most dedicated dealers: Music and Arts and Bookmark Music. Presented on January 14, 2010, Premier Dealer Awards are based on several

APRIL 2010

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Supplierscene reach her customers. “My store is quirky and interesting, which makes it cool for people to shop there,� said Stearns. To find out more, visit www.alfred.com.

Schimmel Reports Success As virtually the only piano manufacturer from Germany at NAMM, Schimmel received a good amount of orders from their dealers. Schimmel’s four-brandLeft to right: Bryan Bradley, Alfred COO; James Woodridge, Music & Arts print buyer; Gwen Bailey-Harbour, Alfred SVP Sales; Ron Manus, Alfred CEO.

Left to right: Bryan Bradley, Alfred COO, Gwen Bailey-Harbour, Alfred SVP Sales, Marcia Stearns, Bookmark Music, Ron Manus, Alfred CEO

considered qualities, including creative product displays, Alfred’s marketing techniques, accommodating sales staff, and most resourceful Web site. Music and Arts, founded by Benjamin O’Brien in 1952 with one single store, now has 62 locations throughout the East Coast and Colorado. It is now considered one of the largest music retail store chains, mainly serving school band and

orchestra programs. Music and Arts has always been eager to partner with Alfred, as they did through various promotions during 2009. “We partnered with Alfred and held successful workshops, which was enjoyable and informative to our customers,� said James Woodridge, recipient of the award. Bookmark Music, located in Pacific Grove, Calif., primarily provides music literature and sheet music. They offer virtually every spectrum of music and art literature. Marcia Stearns, owner of Bookmark Music, also engaged unique ways to

strategy, which specifically targets the needs of different buyers, is now well established along with the corresponding new brand identity since 2007. For more information, visit www.schimmel-piano.de

is still the best today!

Like your fingertip...

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NOT STRETCHED OUT OF TUNE! 88 MMR

APRIL 2010

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Classifieds Classified Advertising To place an ad, please call Maureen at 800-964-5150 x34 or email mjohan@symphonypublishing.com Payment by: Visa, MC, Amex or Check Classifieds must be paid in advance. Symphony Publishing 21 Highland Circle, Suite 1, Needham, MA 02494 Fax: (781) 453-9389

Business Opportunities

Call 877-727-2798 Ext. 4

Contact Roger at 877-727-2798 Ext. 5

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APRIL 2010

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

Business Opportunities

• 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

Breaking News

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

For Sale

CLASSIFIEDS on the MOVE! check

www.mmrmagazine.com for daily updates!

APRIL 2010

Help Wanted DANSR, inc., the U.S. importer of Vandoren reeds and mouthpieces, Denis Wick brass products and the master distributor of Hamilton Stands is in search for a National Sales Manager. The position is located in Chicago. For more information send a letter of inquiry and resume to: DANSR, inc. Att: Human Resources PO Box 571 • Champaign, IL 61824 Or email them to gregg@dansr.com MMR 91

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

Help Wanted

Merchandise

USED PIANOS at WHOLESALE PRICES consoles, studios, uprights,grands. DISCOUNT PIANO WHOLESALERS (323) 377-3644 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

PORCHBOARD BASS The UCL-S PorchBoard Bass offers analog, clean bass rhythm with the tap of a foot. Durable passive magnetic sensor system and 3-way frequency response switch eliminates low-end feedback and delay. Features both 1/4 inch and XLR outputs. No batteries, wall worts or external power supply required. Includes carry bag. $299.95. www.porchboard.com (608) 752-2229

Oboes & Bassoons

We create the finest hand-crafted Oboes & Bassoons. Also replacement 5K Bassoon Bocals.

Linton Woodwinds Corporation, Jack Linton 1013 Alma St. Elkhart, IN 46514 U.S.A. PH: 1-866-220-2909 Fax: 574-266-7658 E-Mail: info@lintonwoodwinds.com www.LintonWoodwinds.com

Merchandise

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For Classified Sales Call Maureen 800-964-5150 ext. 34 mjohan@symphonypublishing.com 92 MMR

Home of the world famous Piano Forums.

Ready to Advertise, or Still Need Convincing?

Visit www.PianoWorld.com/advertising ... Today! APRIL 2010

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MMR 93

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FINANCING AVAILABLE

Miscellaneous 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

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.

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

BOW REHAIRING Expert Bow Service

Order forms,Pricing and Shipping label at:

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

“An industry leader since 1967” 467 Grant Avenue, Scotch Plains, N.J. 07076 Tel: 908-322-4469 Fax: 908 322-8613 e mail: info@bowrehairing.com

Reps Wanted INDEPENDENT SALES REPS Sales Reps Wanted Most territories open A Great Job! Hunter Music Instrument Inc. paul@huntermusical.com 94 MMR

Sales Representatives Wanted!! 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

APRIL 2010

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Services

Vintage Instruments

SHIPPING YOUR PIANO

with Lone Wolf Trucking

is a “grand” idea! An independent, long-distance Mover specializing in coast-to-coast residential Relocation.

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

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

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MMR 95

Adindex COMPANY NAME

E-MAIL/WEB ADDRESS

PAGE

A Ac-Cetera Inc. Al Cass Alfred Music Publishing Alfred Music Publishing Allparts Music Corp Amati’s Fine Instruments America Longxing Inc. American DJ Supply Inc. American Way Marketing LLC Anderson Silver Plating Ashley Entertainment Corp./ Spectrum M Aurora Strings

www.ac-cetera.com www.alfred.com/dealer www.alfred.com/dealer www.allparts.com www.Amatis.us www.huntermusical.com www.americandj.com info@americanwaymktg.com

20 82 59 29 26 39 83 13 37 76

www.ashleyintl.com www.stringsbyaurora.com

35 16

Bourgeois Guitars www.pantheonguitars.com Breezy Ridge Instruments Ltd. www.jpstrings.com www.chesbromusic.com Chesbro Music Co.

46 26 71

B/C

D/E D’Addario & Co. D’Addario & Co. Dunlop Manufacturing Inc. Eastwood Guitars Eleca EMG Inc.

www.daddario.com www.daddario.com www.jimdunlop.com www.eastwoodguitars.com www.elecaamps.com www.emgpickups.com

14 31 30 66 50 66

F Fishman Transducers, Inc. www.fishman.com The Frederick Harris Music Co. www.frederickharrismusic.com

60 83

G Gator Cases George L’s Godin Guitars Godlyke Inc. Good for the Goose Products Graph Tech Guitar Labs Grover

www.freedmusic.com www.georgels.com www.godinguitars.com www.godlyke.com www.chopsaver.com www.graphtech.com www.grotro.com

47 52 43 1 86 69 49

www.halleonard.com www.ibanez.com, www.tama.com www.jackrabbittech.com

11 21 62

www.kalaukulele.com www.kawiausl.com

58 27

H/J Hal Leonard Corp. Hoshino (USA) Inc. Jack Rabbit Technologies

K Kala Brand Music Co. Kawai America Corp. 96 MMR

COMPANY NAME

E-MAIL/WEB ADDRESS

Kay Guitar Co. KMC Music, Inc

www.OrderDealerDirect.com www.kmcmusic.com; www.kmconline.com www.kmcmusic.com; www.kmconline.com www.kysermusical.com

50

www.lollarguitars.com www.miamiaudiomusic.com www.morganhillmusic.com

36 10 52

KMC Music, Inc Kyser Musical Products Inc.

PAGE

56 53 61

L/M Lollar Guitars Miami Audio Morgan Hill Music

N/O NAMM www.namm.com National Educational Music Co. www.nemc.com www.tuners.com OnBoard Research Corp.

22-23 63 34

P/R PRS Guitars (Paul Reed Smith) www.prsguitars.com www.rockymountainslides.com Rocky Mountain Slides www.rolandUS.com Roland Corp. U.S.

9 cov 4

S Sabian Ltd. Saga Musical Instruments Samson Technologies Corp. Seymour Duncan Pickups SHS Shubb Capos SKB Corp. String Swing Mfg. Inc.

www.sabian.com www.sagamusic.com www.samsontech.com www.seymourduncan.com www.shsint.net www.shubb.com www.skbcases.com www.stringswing.com

17 67 3 20 51 88 45 5

T Tech 21 TKL Products Corp. ToneGear ToneRite Co. Tregan Guitars Tri-Technical Systems, Inc.

www.tech21nyc.com www.tkl.com www.theStringCleaner.com www.ToneRite.com www.treganguitars.com www.technology4retailers.com

cov 2 7 46 57 86 38

W/Y/Z W.D. Music Products Inc. Waves Wyman Piano Company Yamaha Corp. of America Yorkville Sound Inc. Zon Guitars

www.wdmusic.com www.waves.com www.wymanpiano.com www.yamaha.com www.yorkville.com www.zonguitars.com

72 62 85 25 15 88

APRIL 2010

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Hot New Gear ! from BOSS

ME-25 / Guitar Multiple Effects Packed with pro sounds and powerful features, the ME-25 brings a new level of performance muscle to entry-level multi FX. Onboard is a huge selection of effects from BOSS’ legendary lineup, as well as an array of classic COSM® amp models and a Sound Library that makes it simple for anyone to dial up great tones in seconds. With additional features like a built-in looper, USB audio interface functionality, bundled Cakewalk SONAR 8.5 LE software and more, the ME-25 delivers a level of sound quality, function, and value that’s simply unmatched in its class.

TU-3 / Chromatic Tuner The new standard in stompbox tuners has arrived! Based on the legendary BOSS TU-2 — the best-selling stage tuner of all time — the TU-3 retains all the great attributes of its predecessor while adding a few fresh twists of its own. New features include improved tuning accuracy, a 21-segment LED meter with brightness control, and an Accu-Pitch® Sign function that makes it quick and easy to visually pinpoint the correct pitch. The TU-3 also supports tuning by string number for seven-string guitars and six-string basses, as well as flat tunings up to six half-steps below standard pitch.

www.BossUS.com

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