GUITAR ISSUE GUITAR ISSUE GUITAR ISSUE GUITAR ISSUE GUITAR ISSUE GUITAR ISSUE GUITAR ISSUE April 15, 2017 Volume 34, No. 4
THE NEWS MAGAZINE FOR MUSIC PRODUC TS RETAILERS
BE SURE TO WATCH
FRET DON’T
Even As Terrain Shifts, There Is Reason For Optimism In The Guitar Market
By Dan Ferrisi
No product segment within the music products industry is more closely associated with rock ‘n’ roll than the guitar. And, in part, because rock music has had an outsized influence on popular culture for more than 60 years, guitars have been—and they remain—a powerhouse for brick-and-mortar music stores. Recently, though, as fewer rock bands achieve superstar status and as Top 40 stations populate their playlists with earworm pop confections and tunes from singer-songwriters, the guitar segment has undergone substantial shifts. Who better to give us perspective on that continuing evolution than guitar manufacturers that are leaders among their peers? The executives we recruited for this piece offer unique insights into prevailing market trends, how best to boost brick-and-mortar sales and strategies to seed the next generation of guitar players. Our panel of experts boasts representation from both the acoustic and the electric worlds. The participants are Steve Patrino, President, The Music Link; Ben Parker, Marketing Manager, Teton Guitars; Judy Schaefer, Director of Marketing, PRS Guitars; and Jimmy Lovinggood, Executive Vice President of Sales, D’Angelico Guitars. (continued on page 32)
Guitar Market
‘SUSTAINS’
Despite Setbacks
Following An Up-And-Down Year, Guitar Dealers Retain Their Hopefulness
By Brant Brown There’s good and bad when it comes to the state of the U.S. economy and the U.S. worker. The headline in the “good” column is the continued distance between today and the awful years in the first decade of this century. The U.S. economy is close to “full employment,” according to Federal Reserve Chair Janet Yellen. It’s hovered below five percent unemployment in recent months, with the economy continuing to add jobs. A whopping 21 states have already implemented minimum-wage increases, or plan to do so this year. That is likely to help MI retailers or, at minimum, be neutral to sales. It’s always good for retailers when lower-income workers, along with the affluent, have cash in their pockets. However, there is some bad to be found. Average hourly earnings continue to trail cost-of-living adjustments. For example, rises in healthcare costs continue to be a problem. In January, average hourly earnings rose just three cents, and a paltry two-and-a-half percent on an annualized basis. And, of course, the economic recovery from the depths of the recession that began in December 2007 has continued for about (continued on page 32) (continued on page 35)
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Yamaha Helps ‘Share The Gift’ With Generous Donation Yamaha Corp. of America, in partnership with the Mr. Holland’s Opus Foundation, presented students and teachers at Dale Jr. High School in Anaheim CA with 22 new Yamaha keyboards to help support music-education programs at the school. The presentation event, which took place on February 16, celebrated the culmination of the Yamaha “Share the Gift” campaign to help underfunded music programs throughout the U.S. Yamaha’s Vice President and Keyboard General Manager, Paul Calvin, along with Tricia Steele, Program Director for the Studio City CAbased Mr. Holland’s Opus Foundation, personally delivered the keyboards during a music class at the school. The donated fleet of instruments will offer students the opportunity to practice their musical skills every day, rather than taking turns (L-R): Yamaha Corp. of America’s Paul Calvin, along with Jodi Urquidez, Tricia Steel, Martha Key, practicing a couple of times a week, as they previDennis Cole, Lorena Moreno and Dr. Susan Stocks. ously had. to music makers everywhere, asking them to join its “Share the Gift” As part of its decades-long commitment to campaign to support music education in schools throughout the U.S. music education and charitable works, Yamaha placed a rallying call during the 2016 holiday season. The campaign encouraged musicians of all levels to create a short video of themselves playing one of 15 classic holiday songs on either a Yamaha piano or a keyboard, and then to post it to Twitter or Instagram. For every video posted with the hashtag #YamahaShareTheGift, Yamaha committed to donate a keyboard (up to 300 total) to the Mr. Holland’s Opus Foundation. The organization provides musical instruSweetwater’s ments to underfunded music programs nationwide, giving economically Founder and Presidisadvantaged youth access to the many benefits of music education. dent, Chuck Surack, Exactly 183 qualifying videos were submitted on Twitter and Instagram, has been awarded meaning 183 total keyboards were donated to schools throughout the the Legend of Leadcountry. Watch some of the submissions at 4wrd.it/sharethegift. ership Award by the editors of Greater Fort Wayne Business Weekly. He was honored with the award at a breakfast event on February 14. The annual award honors a Fort Wayne IN business leader who, for decades, has shown what truly great leadership can accomplish. The publication stated, “As a husband and father, entrepreneur, philanthropist, community volunteer and musician, Surack has spent his career serving not only as a leader in his profession, but also as a ‘servant leader’ for non-profits and the community.” The Legend of Leadership breakfast featured speakers who paid tribute to Surack and his wife, Lisa, as well as his vast contributions to northeast Indiana. The speakers were Mayor Tom Henry, City of Fort Wayne; Bruce Boxberger, Partner, Carson Boxberger; Joe Jordan, President and CEO, Boys and Girls Club of Fort Wayne; Eric Doden, CEO, Greater Fort Wayne, Inc.; and Brian Bauer, CEO, Lutheran Health Network. Surack also took the stage to express his appreciation, as well as to offer thoughts on his commitment to Fort Wayne and his leadership philosophy.
Surack Receives Legends of Leadership Award
MUSIC & SOUND RETAILER
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VOLUME 34 NO.4
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Features ON THE COVER
ON THE COVER
How strong were guitar sales in 2016, and how are they looking thus far this year? To answer those questions and many others, The Retailer consulted Jim DeStafney of Blues Angel Music and Keith Grasso of Island Music Co., while also obtaining exclusive data from Jim Hirschberg, President of MI SalesTrak. The picture, mixed overall, tilts toward positive.
Who better to provide perspective on the continuing evolution in the guitar segment than guitar manufacturers that are leaders among their peers? The executives that The Retailer recruited for our roundtable discussion offer unique insights into prevailing market trends, how to boost brick-and-mortar sales and strategies to seed the next generation of guitar players.
Guitar Market ‘Sustains,’ Despite Setbacks
Don’t Fret
29
Columns
10
38
48 From The Trenches
54 Veddatorial
Among our industry’s most passionate—and most effective—champions for music-education programs is Suzanne D’Addario Brouder, Executive Director of the D’Addario Foundation. Her exceptional work has helped the D’Addario Foundation secure the Music & Sound Award (MSA) for Outstanding Community Service an unprecedented four years in a row. This month, she joins us for an exclusive interview.
50 Confessions Of A Retailer
62 Under The Hood
52 Shine A Light
44 MI Spy
Deep in the heart of New York’s lower Manhattan sits Canal Sound & Light. It’s a retail destination for DJs, professional installers, and restaurant and bar owners in the Tri-State Area.
Buzz
38 The Music & Sound Independent Retailer 40 Five Minutes With
Aerial pan past Manhattan’s gleaming skyscrapers and skim past the East River to the shores of Queens NY: the essential and glorious melting pot of New York City. So begins the MI Spy’s latest adventure, which has him, with a motley crew in tow, searching for DJ gear. Take a “spin” with our super sleuth to see what happens….
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Like you, our columnist, Allen McBroom, deals with musicians and performers all day, every day. A recent vacation, however, helped remind him exactly why we’re all in this business: for the love of live music.
“Keepin’ it 100.” That’s what the cool kids say nowadays when they’re telling the 100-percent real, unfiltered, sometimes-brutal truth. And that’s what Donovan Bankhead does in this month’s column.
Ours has always been a “people industry,” driven by relationships with our customers, our suppliers and our colleagues. Dan Vedda believes that, now more than ever, that’s how we should distinguish ourselves.
The AG/AR Artist Series Armrest Models by Alvarez deliver artisaninspired armrests and a sleek, sophisticated look at an affordable price point. We learn what makes the guitars stand out among the wave of armrest models currently hitting the market.
Latest...3 People...24 Products...28 APRIL 2017
SELLING MADE EASY
Learn how Alto Music sold millions on Reverb.
“
In 2016, our sales on Reverb eclipsed our sales on Amazon for the ďŹ rst time and we continue to see our numbers grow. We were an early adopter of Reverb and will keep investing in our presence there, as I believe it's an integral sales platform for the future futu of selling gear.
JON HABER
Owner, Alto Music AIMM Member Reverb.com/altomusic
EDITORIAL
Take A Look Inside
As an editor, I could potentially be called the nerdy type. I’m always eager, as my colleagues would attest, to have conversations about grammar, syntax and editorial style. And, if you’ve worked with me for a while, I’ve probably shared with you my belief that punctuation, when used properly, essentially serves as a roadmap to a sentence, allowing you to know exactly how to interpret its meaning. For this month’s editorial, rather than me opining on a general-interest topic to MI readers, I’d like to present a roadmap of sorts for this issue. I think it’s one of our strongest in recent months, and I hope it provides you with not only important information to help boost your business, but also a dose of entertainment, insight and inspiration. As the front cover might have reminded you, April is our annual Guitar Issue; our two feature stories offer both a manufacturers’ side and a dealers’ side perspective. For the manufacturers’ part of the equation, we solicited the participation of four prominent guitar makers: The Music Link (whose brands include Recording King, Lucida and AXL Guitars), Teton Guitars, PRS Guitars and D’Angelico Guitars. We gathered one executive from each company for a roundtable conversation, during which they discuss sales trends, product developments and strategies to boost guitar sales; they also stress the importance of cultivating the next generation of guitar players, particularly at a time when popular music has trended away from the rock bands that, in the ’80s, birthed a generation of Eddie Van Halen wannabes. Turning to the dealers, we enlisted two full-line music stores—Blues Angel Music (Pensacola FL) and Island Music Co. (La Plata MD)—whose robust success selling acoustic and electric guitars makes them uniquely qualified to analyze the contours of the market. They discuss what products are moving, and which ones aren’t, in their stores. They also touch on guitar-related accessories that have become revenue-generation engines for
them and offer their assessment of the crop of new products from the NAMM Show, while, in addition, broaching the subject of which price points buyers find most attractive right now. Complementing that in-the-trenches perspective is highly respected sales data from MI SalesTrak, which Jim Hirschberg, the company’s President, furnished exclusively to The Retailer. After reading this cover story, you’ll have a comprehensive overview of where the guitar market stands. For intelligence and insight, one would be hard-pressed to find a better resource than The Retailer’s columns, whose authors boast years of experience owning, operating and championing brick-and-mortar music stores. This month, the one that’s likeliest to strike a nerve might be Donovan Bankhead’s “Confessions Of A Retailer.” Never one to pussyfoot around, Donovan takes “keepin’ it 100” to a new level this month, fearlessly revealing an incredibly difficult period that he experienced, even as his business was firing on all cylinders. I’d be surprised if the themes and feelings didn’t ring true to a substantial number of you. Meanwhile, in his “From The Trenches” column, Allen McBroom borrows from his personal life to remind us—as he, himself, was recently reminded—that we’re all in this business for the love of music…particularly live music that’s performed before an appreciative audience. And Dan Vedda, our senior statesman of columnists, delivers a paean to human-to-human contact in a world of algorithms and “who’s that again?” Facebook friends. Dan believes that people crave genuine human interaction—a place where, as they say, everybody knows your name—and he thinks brick-andmortar music stores can satisfy that craving. Of course, we can’t forget our fourth columnist, Gabriel O’Brien, whose “Retailer Rebel” byline, you might notice, is missing this month. That’s because, in February, his wife gave birth to their first child, Ainsley. Congratulations, Gabriel! I hope you enjoy the issue.
April 15, 2017 Volume 34, No. 4
DAN FERRISI dferrisi@testa.com Editor
ROBERT L. IRAGGI riraggi@testa.com Advertising Director
ANTHONY VARGAS avargas@testa.com Associate Editor
RICKY PIMENTEL rpimentel@testa.com Art/Production Assistant
BRIAN BERK Contributing Editor
ROBIN HAZAN rhazan@testa.com Operations Manager
GEORGE HINES SKIP MAGGIORA Editorial Advisors
VINCENT P. TESTA President/Publisher
DONOVAN BANKHEAD BRANT BROWN JEFF KYLE JR.
MICHELLE LOEB ALLEN MCBROOM DAN VEDDA
JANICE PUPELIS Art Director STEVE THORAKOS Production Manager CIRCULATION circulation@testa.com FRED GUMM Digital Art Director MATT VAN DYKE Editorial/Social Media Coordinator mvandyke@testa.com Contributors
Editorial and Sales Office: The Music & Sound Retailer, 25 Willowdale Avenue, Port Washington, New York 11050-3779. Phone: (516) 767-2500 • Fax: (516) 767-9335 • MSREDITOR@TESTA.COM. Editorial contributions should be addressed to The Editor, The Music & Sound Retailer, 25 Willowdale Avenue, Port Washington, New York 11050-3779. Unsolicited manuscripts will be treated with care and must be accompanied by return postage. Sound & Communications • DJ Times • Sound & Communications Blue Book The Music & Sound Retailer • The DJ Expo • IT/AV Report The Retailer’s Vnewsletter • Convention TV @ NAMM • InfoCommTV News VTTV Studios The Music & Sound Retailer (ISSN 0894-1238) (USPS 0941-238) is published 12 times a year for $18 (US), by Retailer Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779. Periodicals postage paid at Port Washington, N.Y. and additional mailing offices. POSTMASTER: Send address changes to The Music & Sound Retailer, PO BOX 1767, LOWELL MA 01853-1767
APRIL 2017
Drum Workshop, Inc. has appointed Hal Leonard as their exclusive U.S. distributor of Gretsch Drums*, Gibraltar, KAT, Percussion Plus, and CB Percussion lines. Contact your Hal Leonard sales representative to start placing orders today!
www.halleonard.com 1-800-554-0626 *Import line, including Renown Series, Catalina Series, and Energy Series
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NAMM Members To Return To Washington For Annual Fly-In
NAMM members will return to the nation’s capital this spring for the organization’s 13th annual NAMM Music Education Advocacy DC Fly-In, scheduled for May 22 to 25. As business owners and representatives, NAMM members will have the opportunity to advocate for the industry at large to elected officials. Their common mission is to articulate the value, and the importance, of music education to elected officials. “I think there are two very different approaches that individuals tend to take in our democracy: either sit on the sidelines and pine for a different outcome, or jump in and help change it for the better,” Joe Lamond, NAMM’s President and CEO, said. “This May, NAMM members from around the country will come to DC in one delegation, with one voice, to support our industry’s core beliefs. Won’t you join them?” The week of advocacy will begin on May 22 with a Day of Service. That’s a chance for members to put advocacy into action with a visit to a local elementary school, where they’ll meet administrators, teachers and students, as well as provide musical instruction. On May 23, the Fly-In delegates will receive legislative briefings from leading policy experts and influencers, learn about the policies and priorities of the new administration, and receive advocacy training for meetings with elected officials both in DC and in their home states. On May 24, NAMM delegates will head to Capitol Hill to meet with members of Congress and their staff to engage in meaningful dialogue regarding the importance of music education in their own districts. Delegates will ask for congressional support in the implementation and funding of the Every Student Succeeds Act (ESSA), which was signed into law by President Obama in 2015 and which is moving toward state-level implementation. Later that evening, NAMM members will have the chance to continue their networking with other members and officials at a Celebration for Music Education Reception, which will be held in the U.S. Capitol Building. For detailed information, visit namm.org/issues-and-advocacy/fly-in. To register to attend, visit cvent.com/d/tvqtc3/4W.
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Natal Drums & Percussion Appoints KMC As Distributor
KMC has been appointed to serve as the exclusive U.S. distributor of Natal Drums & Percussion. According to KMC Music’s Vice President of Merchandising, Roger Hart, “Natal is renowned for their stunning range of drums, snare drums and hardware, and we are honored to be able to represent the line to our network of 6,500 resellers. We are fully stocked and ready to ship. The addition of Natal to our portfolio effectively reinforces and strengthens KMC’s position as the one-stop source for everything having to do with percussion.” In 1965, Natal was started by one drummer, Alan Sharp, who was seeking the right gear to play. Unsatisfied with what was available, he literally built it himself and created a company in the process. Today, Natal is known for tailoring its drum kits’ sound and attack through the use of choice tone woods. Whether a player desires the pure projection of maple, the dark voice of walnut or the resonant attack of birch, Natal makes a drum that allows all artists to find their sound. Natal also carries Pro Series and Standard Series hardware, as well as a full line of Metal Meta snare drums. APRIL 2017
L AT E S T Fred Gretsch talks to the Hal Leonard sales team about Gretsch Drums’ rich family history.
Fred W. Gretsch Visits Hal Leonard
In honor of Hal Leonard’s appointment as the exclusive distributor of Gretsch Drums’ Renown, Catalina and Energy series, Fred W. Gretsch recently visited the company’s Milwaukee WI headquarters. He met with the 50-person sales department to provide a historical overview of his family’s business, which started in 1883 and which he bought back from Baldwin in 1985. Gretsch also spent time with the marketing team from Hal Leonard to discuss long-term planning. Hal Leonard’s Vice President – MI Products, Brad Smith, commented, “We are well aware of the American legacy being entrusted to us, and we’re honored that Mr. Gretsch would come visit us to share his stories and expertise about the drum market. Hal Leonard is also a family-founded business, so we truly value the importance and significance of that history, and we want to make sure we keep that central to our marketing.” Gretsch commented, “We believe in partnering with the best companies in the industry, which share the goal of making a more musical world. Hal Leonard definitely is a perfect fit for us, and we can’t wait to get started. Go team!” Hal Leonard was appointed the exclusive distributor of the Gretsch series by Drum Workshop, Inc., at the NAMM Show.
Maren Morris
Shure Microphones, Personal Monitors Power Grammys
The 59th annual Grammy Awards show, broadcast live from the Staples Center in Los Angeles CA, brought together an eclectic mix of talented musicians to celebrate the music industry. As always, performers were encouraged to use their preferred wireless microphones, a Recording Academy policy that ensures the musicians feel comfortable on stage. To assure an interference-free evening, the audio crew paired Shure UHF-R transmitters with Axient AXT600 receivers for increased selectivity. Even the podium microphones were wireless, with Shure UR1 transmitters hidden beneath. In addition, nearly all the in-ear monitor systems used were Shure PSM 1000 units. Best Country Solo Performance winner Maren Morris sang on a gold-plated UR2 transmitter with the classic SM58 mic element. The UR2/SM58 was also used by Demi Lovato, Keith Urban, Kelsea Ballerini, Tamela Mann and Kirk Franklin, along with members of Little Big Town. KSM9 condenser mic elements were found atop the Shure UR2 transmitters used by three members of Pentatonix and one from Little Big Town. The KSM8 dual-diaphragm dynamic was used by Tori Kelly and Cynthia Erivo, and it was also featured in Best Americana Album winner William Bell’s performance with Gary Clark Jr. Full Axient systems were used for performances by A Tribe Called Quest, John Legend and Chance The Rapper. Of course, not every microphone on stage was wireless. Best Country Album winner Sturgill Simpson sang through a Shure 5575LE, a limited-edition 75th anniversary version of the classic Model 55 Unidyne microphone. All acoustic pianos on the telecast were mic’d with Beta 181/C condensers, and many guitar cabinets benefited from using the Shure KSM313 ribbon microphone. 10
APRIL 2017
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On-Stage Bestows Dealer Of The Year Award
Cosmo Professional Services Counts On QSC On-Stage/The Music People has announced that its 2016 On-Stage Dealer of the Year is American Musical Supply (AMS), of Oakland NJ. AMS is the first two-time winner of the award. The honor is an indication of how hard the company has worked to sell and effectively market the entire On-Stage product line for more than three decades. On-Stage offered a special “thank you” to Jim Hovey, Russ Mack, Mike Kane and the rest of the organization for their collective dedication and understanding of all things On-Stage. Sharon Hennessey, Co-President, The Music People, said, “We are fortunate to be in such a great industry with passionate, creative people whom we call friends. Congrats AMS! You make doing business together fun.”
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When Cosmo Music, the largest single-location retailer of musical instruments in Canada, built its destination location in the Richmond Hill section of Ontario nearly a decade ago, it expanded its budding rental department. Today, Cosmo Professional Services provides full-scale audio, video, lighting, staging and backline services to a client base that includes individuals, musicians, producers and more. QSC K and KW Series Loudspeakers are the retailer’s go-to solution for performance and reliability. “Our rental department offers everything from a pair of speakers over the counter to accommodate someone having a backyard barbecue to full-scale concert production for 10,000 people,” Ryan McLeod, Manager of Professional Services at Cosmo Professional, said. “And the QSC K and KW loudspeakers have been our savior for their performance and reliability.” According to McLeod, when Cosmo Music first opened the rental department at the new location, it tried other powered loudspeakers from two or three companies, but ended up having issues. Then, with the help of its partner and supplier, SF Marketing, Cosmo Professional Services found QSC powered loudspeakers. “When we decided to give the QSC loudspeakers a try, it really changed things for us,” McLeod said. “They have performed better than we ever could have imagined, and it would be hard to beat what the K and KWs have done for us. The loudspeakers just won’t break, and they never need service. I can’t buy more, because the ones I have don’t quit!”
APRIL 2017
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MDG Named North American Distributor For Gravity Musical Distributors Group (MDG) has been named the exclusive North American distributor for Gravity Stands, a stand brand under the Adam Hall Group umbrella. Launched in 2015, this new brand and its products, which are designed and engineered in Germany, boast more than two years’ intensive research and development work. Using powder-coated metal with double-injection-molded ABS plastic, die-cast zinc components, and soft-touch rubber-coated clamps and knobs, Gravity Stands are ultra-durable and built to last. In addition to the materials used in the construction of the stands, the brand-specific multi-colored “G-Rings” add a touch of style, as well as convenience.
Hal Leonard Acquires Sheet Music Plus
Hal Leonard has acquired Sheet Music Plus (SMP), an e-commerce Web site for music publications. SMP will continue to operate as an independent business, led by CEO Jenny Silva and her existing team in the Emeryville CA office. Founded in 1997, SMP currently sells music from hundreds of publishers throughout the world, representing both paper and digital formats. Hal Leonard will use its new relationship to develop the ability for consumers to order from the SMP Web site and pick up their products at their local music store. In addition, it will also launch a Retailer Partner Program that will feature the ability for retailers to order products using SMP’s online platform. “We have worked closely together with Hal Leonard for years, and I know that their team has a deep appreciation for the great service that Sheet Music Plus provides to musicians,” Silva said. “We look forward to sharing our strengths to provide even more services to the greater music community, as well.” MUSIC & SOUND RETAILER
“We’re extremely pleased to officially be taking on this line of high-quality product,” Steven Savvides, President of MDG, explained. “It’s wonderful to be able to carry all the Adam Hall brands and bring the final component of
their reputable product engineering to North America, as well as strengthen our relationship with the Adam Hall Group.” “Adam Hall Group is thrilled to have MDG acquire Gravity in the United States,” Markus Jahnel,
COO of the Adam Hall Group, enthused. “Considering their previous work with all our other brands, it is great to see them complete the collection of our products and continue to represent our company to the fullest extent.”
ADVERTORIAL • APRIL 2017 • NAMM.ORG
Note From Causby
And the Winner is... A Top 100 Dealer Award means many things. It means a time that all the effort you put into that marketing campaign is recognized. It means becoming the first store from your city, state or country to win a Top 100 Dealer Award. It means, examining and fine-tuning your business to determine exactly what you did this year that will stand out. It means the opportunity to learn from your peers. I have heard from stores that are ecstatic and humbled that they were included in the Top 100 and I have heard from stores that are disappointed that they were not included on the list. There is one way to look at The Top 100 whether you are on the list or not. It is the same lesson that I am sure most of you apply to your business: how can I learn and grow from my peers? If you aren’t reaching outside your comfort zone, chances are your employees and business is not growing. My Dad owns a small business. He started this business from scratch in a down economy. He had a stable job but wanted more and just like a lot of you, he started his business with nothing but vision and passion. The vision built his business but the passion has sustained it. I have seen first-hand the struggles, rewards, disappointments and success of going down this path—there are many obstacles that stand in the way.
The most important takeaway from the Top 100 Awards is it brings the music retail community together. There are laughs, tears, high fives and best practices all being exchanged and shared. It is the only place to go to see what a store is doing to bring music into their community. As your trade association, it is NAMM’s honor to bring the retail community together for one night and honor the passion that ignites our industry.
Retail as we know it is constantly changing. Our members have to adapt and change just to keep As your trade an edge on their business. We recognize their association, it is commitment to their businesses and to the NAMM’s honor to bring the music products industry. We want to share with the world the stories of our members and retail community together all of the positive things happening in music for one night and honor the retail. We are living in exciting times filled with challenges to overcome, new concepts passion that ignites to implement, and the opportunity to make a meaningful, positive impact on the communities our industry. we serve!
What I have learned from him is you have to continually adapt your business to meet the demands of the consumer. He is never satisfied with standing still and waiting. Every day he is creating excitement, cultivating customers and making sure his employees see his passion. Each day is a new opportunity even though he has been doing it for almost 40 years. He takes every opportunity he can to learn, especially from his peers. His industry does not have a Top 100 Awards, but if it did, I believe he would jump at the chance to meet with his staff and say we have done some great things this year. Let’s talk about them so other businesses can learn from us or better yet, we can learn from them. We are meant to grow together.
The Top 100 Awards recognize, reward and promote best practices among NAMM retail members. In May, we will be announcing the 2017 Top 100 Dealers and sharing their strategies for success. Please join us in Nashville to honor our members and their achievements. See you in Nashville!
Causby Challacombe, CAE NAMM Director, Membership
“My all-time favorite NAMM Show moment is winning Dealer of the Year—having the industry recognize the merit of your life’s work and experiencing that moment with my daughter beside me, was unlike anything I have known.”
Menzie Pittman, Contemporary Music Center 2016 Dealer of the Year
07.14.2017 GRAND BALLROOM
MUSIC CITY CENTER
NASHVILLE, TENNESSEE
The “Best Of” Categories for 2017 include: • Best Store Turnaround
• Best Online Engagement
• Best Customer Service
• Music Makes a Difference Award
• Best Store Design Could you be a Top 100 Dealer? Learn more and submit your store! topdealer.namm.org
• Best Marketing and Sales Promotion
• Best Emerging Dealer ”Rookie Of The Year”
Review the latest Playback magazine online at namm.org/news/playback-magazine and get an in-depth look at the Top 100 winners’ stories.
Book Hotels and Register for Badges namm.org/summer/2017
JULY 13-15, 2017 • MUSIC CITY CENTER • NASHVILLE, TENNESSEE • NAMM.ORG/SUMMER
L AT E S T
CAD Audio Appoints On The Road Marketing unparalleled success for both CAD and On the Road Marketing.” Meding added, “On the Road Marketing is very excited to be working with the CAD Audio team. We see a very bright future for CAD in the years to come, and we’re happy we can be part of this growth.”
Lady Gaga Relies On Sennheiser At Super Bowl
(L-R): CAD Audio Vice President of Sales Jeff Beck, On the Road Marketing Principal Mark Meding and CAD Audio President Brig Carr.
CAD Audio has appointed On the Road Marketing as sales representative for New England, New York NY and upstate New York. In business for more than 30 years, On the Road Marketing has achieved considerable success representing brands in professional audio, commercial AV, video and lighting under the guidance of its Owner, Mark Meding. CAD Audio’s Vice President of Sales, Jeff Beck, said, “Partnering with On the Road Marketing represents a major growth step for CAD, in terms of not just their exceptional sales and interpersonal skills, dealer relationships and technical expertise, but also their ability to bring our products to higher levels in terms of customer demographics and applications. We look forward to a relationship that will produce
Lady Gaga, who participated in the festivities for Super Bowl 50 last year, once again chose a classic, reliable combination for her amazing performance at Super Bowl LI: the Sennheiser SKM 5200 handheld transmitter and an MD 5235 dynamic microphone capsule. Beginning the performance atop the highest heights of NRG Stadium, she performed excerpts from “God Bless America” and “This Land Is Your Land” with Sennheiser capturing every nuance of her naturally dynamic voice. Then, she dove toward the stage in a feat of wires and acrobatics. Once on stage, she launched into a medley of her top hits. Lady Gaga’s Production Manager, Chris Vineyard, worked with the artist in crafting her 12-minute performance, which included elaborate staging, stunts and dance routines. However, high-quality sound remains at the center of a Lady Gaga show, and the Sennheiser MD 5235 capsule and SKM 5200 transmitter performed well as she entertained millions of viewers worldwide. Featured at “Sennheiser was really the easiest part in this whole process,” Vineyard said. “We’ve been using Sennheiser microphones for the last eight years, and they perform well every time. Knowing that we could rely Call for a Free on Sennheiser left us with some 15-min Demo extra headspace to focus on putting on a great show.” APRIL 2017
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Bach To Rock To Open Six Franchised Schools Bach to Rock has announced the signing of franchise-development agreements to launch six schools in Florida, Georgia, New Jersey, North Carolina, Oregon and South Carolina in the third quarter of this year. The music school brand is growing at a brisk pace, having opened nine schools last year, with an additional 19 schools slated to break ground later this year and into 2018. The new schools will be located in the following cities: Orlando FL, Atlanta GA, Morristown NJ, Charlotte NC, Portland OR and Charleston SC. Bach to Rock’s President, Brian Gross, said, “Bach to Rock is flourishing. We experienced one of our most positive years in 2016, and the trend continues into 2017.” He continued, “We have an excellent group of new franchisees coming on board. They all share an entrepreneurial spirit, a passion for music education and a desire to become part of the exciting growth our brand represents.” Bach to Rock franchisees are given numerous tools to position them for success; they include
hands-on training, marketing and public relations support, and a proprietary Web-based management system, along with demonstrated techniques for business growth. Franchisees also benefit from multiple revenue streams,
such as individual and group classes, early-childhood education programs, a DJ school, state-of-the-art recording studios, summer and winter camps, birthday parties and more. Bach to Rock has repeatedly
been named to Entrepreneur’s Franchise 500, and it was listed in the Top Ten Trending Categories for 2016. Franchise Times has ranked it as one of the 500 Powerhouse Brands and on its Next 300 Franchise System list.
D’Addario Accessories Updates Cable Display
Adding to the company’s line of product displays and assortments is the new Cable Floor Display by D’Addario. The cable display is an effective way to highlight a vast lineup of D’Addario cables, from the American Stage Series and Classic Series to the Custom Series, and more. The slim, freestanding floor display is two-sided, holding eight total SKUs with hooks comfortably holding five to six packages to feature D’Addario cables in a small space footprint. The display is easy to assemble, and it’s free with two cable buy-in options, featuring top-selling models. Pre-orders were immediately available at the time of writing. MUSIC & SOUND RETAILER
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Australian Prime Minister Turnbull Visits RØDE Microphones
On February 24, Australia’s Prime Minister, Malcolm Turnbull, visited pro-audio company RØDE Microphones at the manufacturer’s Silverwater, Sydney, Australia facility, in part to celebrate Freedman Electronics’ 50th anniversary. Prime Minister Turnbull and Craig Laundy, Assistant Minister for Industry, Innovation and Science, were greeted by RØDE’s Founder and Chairman, Peter Freedman; Freedman Electronics’ CEO, Damien Wilson; and Tony Furney of Furney’s Engineering.
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Then, they toured the RØDE campus’ anechoic chamber and various manufacturing departments. Those included RØDE’s precision CNC metal work, surface-mount-technology electronics production and RØDE’s manufacture installation: the Capsule Cell. At the subsequent press conference on RØDE’s product assembly floor, Prime Minister Turnbull was enthusiastic about RØDE’s continued growth and by its use of investment and innovation, creating “smart” manufacturing jobs in tandem with world’s best machine practice. He emphasized the need for reliable and affordable energy in the building of an internationally competitive electronics exporter like RØDE, as well as how the enterprise tax cuts that are scheduled for the budget will create the opportunity to employ more staff.
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L AT E S T
Alfred Music Gives Premier Dealer Awards
Alfred Music has announced the 2016 winners of the Alfred Music Premier Dealer Awards. The recipients are AMC Music, Popplers Music, Stanton’s Sheet Music and Twigg Musique. The awards honor dealers for building strong relationships with Alfred Music over the past year, and for achieving excellence in the music products industry. Established in 1974, AMC Music has enjoyed 43 years in the print music business. Specializing in piano, vocal and choral music, AMC’s dedicated staff is committed to the print music industry and to serving its customers. Popplers Music, established in 1909, is associated with numerous local, state and national organizations as a member or underwriting exhibitor. Its Owner, Don Langlie, has been a board member, and is the current president, of the Retail Print Music Dealers Association (RPMDA). It also hosts workshops and reading sessions—both in the store and in partnership with various organizations and institutions— for teachers at all levels. Stanton’s Sheet Music is a full-service print music and gift store, and it provides excellent recommendations from its talented staff. Teachers rely on the store’s expertise in the areas of band, orchestra, choral and piano. Stanton’s supports Alfred Music by hosting numerous clinics, as well as by bringing the company’s products to all the music conventions at which it exhibits. It also has an extensive listening library and virtual workshops on its Web site. Twigg Musique started in 1958 as a repair shop. Eventually, it expanded to selling instruments and, in 2013, it acquired Musi Club, which was an established band music store. Together, Dany Lamothe and Jasmin Boily have grown the business impressively over the last three years.
ADAM Audio Takes Roadshow Throughout The Country
ADAM Audio has embarked on a 20-city S Series Roadshow, which kicked off last month and which is currently being held in leading studios around the country. Its purpose is to enable the company’s customers to hear the power and precision of the S Series, the new third-generation flagship range of nearfield, midfield and main studio monitors for audio recording and production professionals. “It is very important to us that our customers are able to actually hear the difference that premium monitors, such as the S Series, offer them, as opposed to us just describing them with a clever advertising slogan,” Dave Hetrick, ADAM Audio U.S. President, stated. “We have designed this U.S. roadshow to bring our products right to our customers’ ears in their own city, in an ideal studio listening environment, so they can hear the real difference for themselves.” Having kicked off in Dallas TX in early March, the roadshow will hit more than 25 locations in 20 different cities, visiting a number of world-class studios across the country. The list of cities includes Austin TX, New York NY, Los Angeles CA, San Francisco CA, Orlando FL, Chicago IL, Atlanta GA, Boston MA and many others. ADAM Audio will also be conducting listening tests of its A7X and A77X monitors. For more information on the cities included in the roadshow, visit adamaudio.us/roadshow2017. 20
Popplers Music
Stanton’s Sheet Music
Twigg Musique
Media Integration Distributing Gig Gear Products
Tokyo-based distributor Media Integration is now distributing Gig Gloves in Japan. Prior to the partnership being forged, Gig Gloves were only available internationally via direct consumer purchase from Gig Gear’s Web site and a third-party international carrier. Now, the entire line of Gig Gloves is available to Media Integration’s vast dealer network throughout Japan. According to Satoshi Yamaguchi, GM of Media Integration, “Gig Gear products might look very different from the current line of products Media Integration carries, but we think they suit our philosophy of introducing products that solve daily problems of pro-audio professionals and help provide even better results from their work. We hope Japanese customers will enjoy the distinct advantages that Gig Gloves provide.” Daniel Shatzkes, Founder and Principal of Gig Gear, added, “Our expansion into international markets took a huge leap forward in the second half of 2016. With distribution in Japan now being handled by Media Integration, it continues to establish our brand as an industry standard worldwide.” APRIL 2017
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(L-R): 2016 recipients Terry Lewis and Jeff “Skunk” Baxter; Jay Wanamaker, Roland Corp. North America President and CEO; 2017 recipients Andy Summers and Jean-Michel Jarre; Jun-ichi Miki, Roland Corp. CEO and Representative Director; and 2016 recipient Jimmy Jam.
Roland, BOSS Present Lifetime Achievement Awards During the 2017 Roland International Press Conference, held earlier this year, on the eve of the NAMM Show, Roland and BOSS presented their second-annual Lifetime Achievement Awards to two monumental figures in music: French composer and keyboardist Jean-Michel Jarre (Roland) and British guitarist Andy Summers (Roland and BOSS), who is best known for his work as guitarist for The Police. The Roland/BOSS Lifetime Achievement Awards recognize individuals for their invaluable contributions to the music industry, while
using Roland and/or BOSS gear throughout their careers. Chris Halon, Roland Corp. U.S. Vice President, Marketing, and Leslie Lewis, former Director of The Recording Academy’s P&E Wing, served as masters of ceremonies for the gala event, which was attended by artists, musicians and music industry journalists. Scott Goldman, Vice President of MusiCares; Jay Wanamaker, President and CEO, Roland Corp. North America; and Yoshi Ikegami, President of BOSS Corp., presented the Roland and BOSS Lifetime Achievement Award to
Summers. He said, “I believe in the interaction between technology and musical creativity, and one can inform the other. It seems to be particularly important if you play the electric guitar! Roland products have always made this
interaction possible. It’s an interesting time, in that technology and music are in partnership to push the creative edge forward, and I think Roland is leading the way in that.” Next, Jun-ichi Miki, Roland Corp. CEO and Representative Director, and Wanamaker presented Jarre with a Roland Lifetime Achievement Award. He commented, “I started electronic music before these strange machines were even called synthesizers…back when we were actually considered a bunch of crazy guys working with machines. The whole idea was, for the first time, opening new doors and virgin territories. For the first time, we were able to become our own creators of sound. I wouldn’t be here without Roland synthesizers.”
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The NAMM Young Professionals (NAMM YP) hosted an education session with Bob Taylor, Founder of Taylor Guitars, during the NAMM Show, held earlier this year. At the NAMM YP event, Taylor discussed the growth of Taylor Guitars, his role in regulations on wood around the world and real-life situations that would be of value to NAMM YP members. Taylor also answered a variety of questions from NAMM YP members, as he shared stories and what he’s learned from his time working in the music products industry. Following Taylor’s presentation, NAMM YP members adjourned to a networking reception with other members of the music products industry younger than 40. To foster networking among young professionals in the industry, NAMM YP also hosted a meet up at Anaheim CA’s Bowlmor bowling alley. The meet up, held on January 19, provided a casual environment away from the show floor that allowed for food, drinks, fun and networking. NAMM YP hosts an educational event and a networking reception at each NAMM Show and Summer NAMM. APRIL 2017
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PEOPLE
Strat’s In The Cradle
Fender Musical Instruments Corp. (FMIC) has announced a new executive structure within the product division for two of its employees: Richard McDonald and Justin Norvell. McDonald, who joined the company in 1993 and who, most recently, held the position of Executive Vice President, Fender Brand, will assume a newly created leadership position as Chief Product Strategist. In the role, he will provide counsel and guidance for the long-term product vision for Fender’s core business. Norvell will be stepping into the role previously held by McDonald, and he’ll now report directly to the company’s CEO, Andy Mooney, as Senior Vice President, Fender Products. Norvell, whose 20-year tenure with FMIC began in 1996, will allow for a seamless transition as he oversees all aspects of the Fender brand, including electric guitars and basses, acoustic guitars, amplifiers, accessories, lifestyle and licensing. “We are very pleased to welcome Richard and Justin in their new executive management roles,” Mooney said. “Both their experience and their commitment have been, and will remain, invaluable as we continue to deliver new, innovative products and categories, which the Fender brand is known for.”
Richard McDonald
Justin Norvell
Price Is Right
Roland Corp. U.S. has appointed Tony Price to Vice President of Sales. The move reflects the company’s ongoing expansion of, and emphasis on, its sales network. Price takes over the position from Brian Alli, who recently assumed the newly created position of Vice President of Artist Relations and Business Development, Roland Corp. In the new role, Price will be responsible for leading Roland’s MI and professional audiovisual sales divisions in the U.S. for the Roland, BOSS and V-MODA brands. Price has a deep understanding of business-to-business independent and chain retail distribution models, as well as a track record of developing strategic sales plans based on goals that promote sales growth and customer satisfaction. Price joins Roland from the Fender organization, where, most recently, he served as Global Vice President of Business Development – Audio. His earlier roles at Fender included Vice President of National Accounts and Vice President of Sales for North America. Prior to joining Fender, Price worked extensively in the pro-audio field at Guitar Center as Vice President for professional audio retail and Founder of GC Pro, a division of Guitar Center that is dedicated to professional audio production and installation. Following that, he was Director of the Americas at Bose Professional and Vice President Worldwide for Electro-Voice/Telex wired and wireless microphones for Bosch.
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PEOPLE
Ian Wudyka
Chris Manners
District Fine
Yamaha Corp. of America has appointed two District Managers to its Band & Orchestral Division and relocated its former Northeast District Manager, Chris Manners, to a new territory. Manners has moved from the northeast territory to the region that encompasses Texas, parts of Oklahoma, New Mexico and
Louisiana. Manners’ appointment is somewhat of a homecoming for him. He began his professional career in music retail in the Dallas/Fort Worth TX area, where he worked for 15 years prior to his appointment as Northeast District Manager. Ian Wudyka joined Yamaha in January 2014 as a percussion
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intern, and he’s now the newly appointed Northeast Territory District Manager. He had been promoted to Percussion Product Specialist and, in 2016, he became an Associate District
Manager. Wudyka earned the Yamaha Note Award and the division’s Marketing Star Award. Joshua Prewett was appointed to the Yamaha Band & Orchestral sales team as the Northwest District Manager, following seven years’ experience in four positions in education and the music industry. He previously worked as a middle school and high school band director, and he served as a road sales representative for both Meeker Music and Music & Arts Centers. In 2015, he was named Music & Arts’ Education Representative of the Year.
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Group One Ltd. recently implemented a number of managerial changes. DiGiCo National Sales Manager Matt Larson has been promoted to Group One Vice President, Professional Audio. He is now overseeing all Group One’s audio brands for the touring, theater and install markets. Sales and Support Associate Ryan Shelton has been named Group One’s National Sales Manager for KLANG:technologies. Taidus Vallandi, one of DiGiCo’s pioneers, who was responsible for opening the first DiGiCo office in the U.S., has been promoted to Group One’s Chief Technology Officer. Chris Fichera, Group One Vice President, Broadcast and Production, is one of the U.S. distributor’s Founders. He remains a shareholder, as he also expands his role. He has added to his responsibilities working with Vallandi and the Calrec U.S. team to expand the reach of Calrec products. Group One is a U.S. importer and distributor for a number of professional audio and lighting manufacturers. The company’s audio division distributes Blue Sky powered nearfield monitors, Calrec broadcast solutions, DiGiCo digital mixing consoles, KLANG:technologies 3D in-ear monitor mixing systems, MC2 amplifiers and XTA digital signal processing equipment. The lighting division distributes Avolites lighting control consoles, DTS Lighting fixtures, elektraLite controllers and intelligent lighting, and Pulsar LED lighting. APRIL 2017
PEOPLE
Hal Leonard, he managed Tony’s Drum Shop in Appleton WI, and he was a private drum teacher. Jahnke is also currently serving on the Retail Print Music Dealers Association (RPMDA) Board of Directors, and he’s an active gigging musician in the Milwaukee WI area.
David Jahnke
According to Hal Leonard’s President, Larry Morton, “David has been an integral leader within our company for a long time. We’re happy that he will continue to grow and develop our incredibly talented sales team, as well as build and expand relationships with our retailers.”
Lindsey Frost
Cool As Ice
St. Louis Music has appointed Lindsey Frost to its inside sales team. She comes to SLM via the Fret Shop in Huntsville AL, which is known for its staff of musical experts and enthusiasts. As part of inside sales, Frost will oversee a territory of accounts well in excess of 500 stores. In her previous work at the Fret Shop, she worked in customer service and as a Sales Associate. “Lindsey is an excellent addition to our sales team,” Robert E. Lee, Senior Vice President of Sales at St. Louis Music, affirmed. “She has exceptionable knowledge of our product line, and music is a big part of her life. I know our customers will really enjoy working with her.” “I couldn’t be more excited to join St. Louis Music,” Frost said, speaking of her appointment. “There’s a lot of great history to the company, as well as a culture of music. I feel blessed to work in an industry that I love.”
Mr. Bo-Jahnke
Hal Leonard has promoted David Jahnke to Senior Vice President – National Sales. Jahnke joined Hal Leonard in 1992 as a Telesales Representative and progressed through the ranks, serving as District Sales Manager, National Sales Manager and, since 2002, Vice President – National Sales. His new title reflects the ongoing expansion of his responsibilities for the domestic sales area, as well as for the development of various business-to-business initiatives and more. Prior to working at MUSIC & SOUND RETAILER
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PRODUCTS
The Synthetic Truth
Over view: Electro-Harmonix’s SYNTH9 Synthesizer Machine Specifics: Electro-Harmonix’s SYNTH9 Synthesizer Machine emulates classic electronic synthesizers and features nine distinctive vintage-synth-type sounds. A nine-position rotary switch allows the user to select from the following: OBX, Profit V, Vibe Synth, Mini Mood, EHX Mini, Solo Synth, Mood Bass, String Synth and Poly VI. Using the same technology that powers the B9 and C9 Organ Machines, as well as the KEY9 Electric Piano Machine and MEL9 Tape Replay Machine, the SYNTH9 works on guitar or bass without modifications, special pickups or MIDI implementation. Its usable tracking range extends up to about the 23rd fret on the high E string of a standard guitar and down to the open A string on a bass guitar. The pedal’s user interface features Dry volume, Synth volume, and CTRL1 and CTRL2 knobs that provide precise control over each preset’s parameters. The SYNTH9 comes equipped with a standard EHX 9.6DC200mA power supply. Street Price: $221.30 Ship Date: Now Contact: Electro-Harmonix, 718.937.8300, ehx.com
Valuable Signature
Over view: Fishman’s Fluence Signature Series Pickups Specifics: It took something new and significant for Will Adler, of Lamb of God, to make a change in his setup. Fishman’s Fluence has proven itself capable of seamlessly integrating the time-honored passive tones that Adler is known for with a modern, active attack in the same pickup set. Guitarists Adam Dutkiewicz and Joel Stroetzel, of Killswitch Engage, create music with tones that span the cleanest of cleans to aggressive, melodic metal. To achieve that broad palette in the studio, they’ve used a wide variety of active- and passive-equipped guitars. Now, with Fluence technology, they have one set of pickups, with three voices, that does it all. Tosin Abasi’s Signature Series pickups feature the most diverse mix of tones ever packed into any Fluence set. Fluence helped unlock the three voices that, previously, were stuck in his creative imagination. MSRP: Call company Ship Date: Call company Contact: Fishman, 978.988.9199, fishman.com
Light It Up
Overview: Casio’s Portable CTK-3500, CTK-2550, and Key Lighting LK-265 and LK-190 Keyboards Specifics: Casio’s new, portable CTK-3500, CTK-2550, and Key Lighting LK-265 and LK-190 keyboards boast Casio’s Voice Fingering Guide, Step-Up Lesson System and Lesson Lite, which enable beginners to learn built-in songs, phase by phase, at their own pace. With the LCD display, consumers can learn both music notation and correct hand positioning, while Casio’s Scoring System evaluates performance so users can track their progress. With the Key Lighting keyboards, users can practice with the help of the lighted 61-key piano keyboard, making learning both fun and entertaining. The CTK-2550, CTK-3500 and LK-265 also feature a direct connection to the Chordana Play app, allowing users to learn to play their favorite songs via downloadable MIDI files. The connection operates over a standard 1/8-inch stereo cable between an iOS device and the keyboard. MSRP: CTK-3500: $199.99; CTK-2550: $169.99; LK-265: $259.99; LK-190: $199.99 Ship Date: Call company Contact: Casio America, 800.836.8580, casiousa.com 28
New And Notable
Over view: Manhasset Stands’ Noteworthy Music Stands Collection Specifics: Manhasset Stands has announced the Noteworthy Music Stands Collection for 2017. The Noteworthy Music Stands Collection has an assortment of 14 designs, from musical instruments to more general musical symbols. The fine-quality music stands are made of heavy-duty aluminum, and they’re laser cut with designs that range from baritone horns to violins. Noteworthy Music Stands are built using the Manhasset Symphony shaft with Magic Finger Clutch and Symphony base for stability. The oversized desk designs provide more space for reading music, too. The beautiful music stands will provide many years of dependable performance and aesthetic pleasure. Product is now available for immediate shipment though the company’s distributor network. MSRP: Call company Ship Date: Now Contact: Manhasset Specialty Co., 509.248.3810, manhasset-specialty.com
APRIL 2017
PRODUCTS
Yin And Yang
Over view: Seymour Duncan’s Duality Specifics: Seymour Duncan’s Duality merges active and passive technologies for a versatile and dynamically rich tone palette. It puts more emphasis on the pickup coils and magnet than traditional actives, while still offering low noise, high headroom and signal-strength integrity. The lows are tight and percussive, the mids are strong and vibrant, and the highs are clear and airy. Duality is handcrafted in Santa Barbara CA. Pickups are available as black
uncovered bobbins and zebra uncovered bobbins. Individual neck, bridge and Trembucker models are available, and they are also available in a matched set. MSRP: Call company Ship Date: Call company Contact: Seymour Duncan, 805.964.9610, seymourduncan.com
Will You Let It Slide?
Over view: D’Addario Accessories’ Rich Robinson Signature Brass Slide Specifics: D’Addario Accessories’ Rich Robinson Signature Brass Slide is a collaborative innovation made possible by the company teaming up with
D’Addario artist Rich Robinson. Robinson is recognized as one of today’s top slide guitar players and is known for his use of open tunings. He helped to design and create his signature slide with a unique taper inside that forms comfortably to the user’s finger and helps prevent the slide from moving, giving the player extra control while performing. Made from solid brass, the product’s satin finish features a laser-etched signature Double-R initial logo. MSRP: $32.95 Ship Date: Now Contact: D’Addario Accessories, 631.439.3300, daddario.com MUSIC & SOUND RETAILER
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PRODUCTS
Wiley Roadrunner
Over view: RightOn! Straps’ Roadrunner and Standard Plus Specifics: RightOn! Straps has introduced two new lines to its collection: the Roadrunner and the Standard Plus. Handmade in Spain and only recently available in the U.S., RightOn! is dedicated to offering musicians innovative, comfortable and unique straps and accessories. The Roadrunner Series is designed with simplicity in mind, and features slim, comfortable straps that are perfect for lightweight instruments. Standard Plus combines classic, hand-woven patterns with comfortable materials and reliable construction to perfectly compliment any guitar or bass. Both series of straps feature RightOn!’s metal tri-glide adjustment for quick, easy length adjustment and durable, highquality leather end tabs complete with pick holders.
MSRP: $29.99 Ship Date: Now Contact: RightOn! Straps, +34 965 760 120, rightonstraps.com
Class Act
Over view: Alfred Music’s “Sound Innovations for Elementary Classroom Guitar” Specifics: Alfred Music’s “Sound Innovations for Elementary Classroom Guitar” is an innovative method for class instruction, especially for young children. Unlike “Sound Innovations for Guitar” 1 and 2, which were aimed at teenage students, the bulk of instruction for this installment resides within the Teacher Edition. The content in the matching student book is streamlined, and it relies on instruction from the teacher. Beginning with rote learning, imitation and echoing, students will play and perform familiar melodies, strum chords, and perform duets and trios. Eventually, the curriculum takes them through singing and accompanying singers. Students will read music notation, guitar tablature and guitar chord diagrams. They will learn traditional chords, but also explore the neck of the guitar with simple and exciting non-traditional “moveable” chord shapes. The method follows both state and national music-education standards. Each book includes Web access to online video lessons, downloadable MP3 recordings that demonstrate every musical example and supplemental worksheets in PDF format. MSRP: “Sound Innovations for Elementary Classroom Guitar,” Teacher Edition: $34.99; Student Edition: $6.99 Ship Date: Now Contact: Alfred Music, 800.292.6122, alfred.com 30
APRIL 2017
PRODUCTS
Moment Of Zen
Over view: Antelope Audio’s Zen Studio+ Specifics: Antelope Audio’s Zen Studio+ incorporates the key features that made Zen Studio popular; they include 12 studio-quality, built-in microphone preamps and extensive I/O. However, it adds Thunderbolt connectivity, plus a powerful range of hardware-based Field Programmable Gate Array (FPGA) effects. Zen Studio+ is a portable workstation for engineers and musicians who need access to all the tools of the studio, while on the go. The hardware includes features like a pair each of dedicated re-amp outputs,
headphone outputs and masteringquality monitor outputs. With its 12 preamps, including hi-Z and line inputs, and an additional eight inputs and outputs on DB25, the unit is further extensible via ADAT or S/ PDIF. Zen Studio+ is well equipped
for multi-mic recording setups anywhere, at any time. A customizable routing matrix helps establish exactly the right signal flow for the way that users work, and it makes incorporating outboard hardware and FPGA FX rudimentary. A built-
in talkback capability enables full control room capability at home or in the studio. MSRP: Call company Ship Date: Call company Contact: Antelope Audio, 734.418.8661, antelopeaudio.com
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Over view: Tech 21’s Q\ Strip Specifics: Tech 21’s Q\ Strip has sophisticated features that hark back to recording console designs of the ’60s and ’70s. It’s compact and cost-effective, and it’s in an ultra-convenient DI format. So, you can take the coveted tone-shaping circuits with you, whether you’re heading to a live gig or tracking in the studio or into your DAW. The 100-percent analog MOSFET circuitry in the heart of the Q\ Strip provides the warmth, girth and largerthan-life tones for which vintage consoles are revered. There are four bands of pro-audio-quality equalization and two parametric mid bands, as well as high and low shelving filters to give you control over how your instrument cuts through on stage or in a mix, be it for guitar, bass, fiddle, etc. MSRP: Call company Ship Date: Call company Contact: Tech 21 USA, Inc., 973.777.6996, tech21nyc.com MUSIC & SOUND RETAILER
TRUSS SYSTEMS & GROUND SUPPORT
To find a ProX Dealer near you, Visit www.proXdirect.com 31
DON’T FRET: EVEN AS TERRAIN SHIFTS, THERE IS REASON FOR OPTIMISM IN THE GUITAR MARKET
(continued from cover)
‘T
he old acoustic versus electric pushdown/pop-up game is more flat now than ever before. There doesn’t seem to be any outside force or strong trend heavily swaying the tide in that regard. The lack of volatility has made for a more comfortable sales climate. —Judy Schaefer
’
‘A
lmost our entire dealer base is saying that acoustics are still what brings customers into their stores. Guitar players still want to hear and feel an acoustic guitar before they commit to it. —Ben Parker
’
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The Music & Sound Retailer: Speaking from a brandagnostic point of view—looking across the entire universe of guitars—what categories, types and varieties have been the strongest over the past year? Which have been the weakest? What direction are the trend lines pointing in, as regards the gear that players are attracted to right now? Jimmy Lovinggood: Looking across the whole spectrum of guitar sales, electric hollow-bodies, arch-tops and acoustics have risen to the top. A huge number of new artists are starting to incorporate more semi-hollow and arch-top guitars into their sounds, and consumers seem to be following suit. And, every offering has to be accessibly priced. Boutique guitars at higher price points aren’t doing well right now, because there are more affordable options than ever before. There are a lot of excellent electric guitars being made for under $2,000, which wasn’t always the case. Well-priced flat-top acoustics are also extremely strong right now, for similar reasons. Hobbyists and serious players alike are picking up affordably priced flat-tops that sound more expensive than they are. In terms of which types and varieties are succeeding, dreadnoughts, grand auditoriums and jumbos are all doing well—typically with a cutaway, so that they’re more versatile. Finishes that are more traditional, including satin, are also doing well right now. Steve Patrino: Generally, the electric guitar market is starting to come back. Although some acoustic instruments are steady, the electric guitar is having a greater immediate spike. APRIL 2017
MUSIC & SOUND RETAILER
works is beating out gimmicks. Strange to think that hasn’t always been the case! For PRS, that can be seen by the success of the Custom 24, the welcome reception of the McCarty 594, the popularity of our satin-nitro finished instruments and the successful return of the CE bolt-on. Simple classics. Also of note, the old acoustic versus electric push-down/popup game is more flat now than ever before. There doesn’t seem
to be any outside force or strong trend heavily swaying the tide in that regard. The lack of volatility has made for a more comfortable sales climate. Manufacturers and retailers alike can take advantage of that trend by focusing on their core products, and by continually pushing out content to increase engagement with their brand(s). Content helps build community, which, in turn, leads to commercial success!
The Retailer: Many full-line music stores have a robust guitar business, but others are looking for ways to make guitar sales a larger share of their bottom line. What specific tactics or strategies could a brick-and-mortar music store implement to goose its guitar sales? Is it about inventor y… demos…ser vice add-ons… accessor y items? Share your advice. Schaefer: Everything you men-
People are Talking “A really open and expressive amplifier that I feel is a real evolution in guitar amps.” – John Mayer, J-MOD 100 “The Sonzera has a brilliant clean tone and wonderfully detailed character. It really holds its own against amps that cost twice as much.” – Tosin Abasi, Sonzera “The Sonzera combines surprising flexibility with simple design.” – Mark Lettieri of Snarky Puppy, Sonzera “It can cover everything from pop to blues to math-metal with ease” – Premier Guitar, Sonzera © 2017 PRS Guitars / Photo by Marc Quigley
Trend-wise, we see an increase in well-designed instruments. By that, I don’t mean the build quality itself but, rather, unique, niche ideas and styles. With more information available than ever before in history, players know exactly what elements they want, and they’re more liable to step away from the traditional “must be a dreadnought” or “must be a three-pickup double cutaway.” The higher-dollar products aren’t moving as fast—you see that across all styles of instruments—but the well-designed “economy” and “economy-plus” models seem to be extremely strong. Some of that trend is likely from the used and vintage market, which is large. On the acoustic side, we’ve seen something like our Recording King Series 7 guitars carve out a very strong niche, even within the crowded market of “economy-plus,” simply because they’re well designed and well made. Ben Parker: Almost our entire dealer base is saying that acoustics are still what brings customers into their stores. Guitar players still want to hear and feel an acoustic guitar before they commit to it. For us, acoustic versus acoustic-electric sales are 60/40 in favor of pure acoustics. We have seen strong demand for smaller-body guitars, too. Our Parlor and Range (3/4 mini jumbo) guitars have been doing really well, and we see more people posting pictures on social media with both body shapes. Affordable, non-custom armrest models have also taken off. The feedback from players for the armrests has been outstanding. If you look at the numbers, there is still an electric guitar market, but our dealers tell us that more of that is moving online. However, the electric guitar has been adopted into just about every genre of music; so, that category isn’t going anywhere. It just does not seem to be a driving force in music, as it used to be. Judy Schaefer: I think the trend is simplicity. People are kind of done with things that feel like fads, things that take too long to understand (or explain), and things they have to fight to play. It’s called “play,” after all; it shouldn’t be complicated! Wellmade, straightforward gear that
“A do-it-all, stand-alone amplifier.” – Mark Tremonti, Archon “Not many amps have that warm punchy gain.” – Fredrik Akesson of Opeth, Archon “The PRS Archon is where it’s at.” – Gear Gods, Archon “Rival the best of my vintage amps [and are] far from knockoffs of any classic designs that boutique makes often strive for.” – David Grissom , DG Custom
PRS Amplifiers
With a broad range of amps starting at $799, PRS Guitars is turning heads of artists and players from every corner of the music world. Don’t miss out on your opportunity to join the conversation. Call your PRS Sales Rep today to learn more. www.prsguitars.com
‘M
ost songwriters who write and record out of their homes are going to have an acoustic guitar, an electric guitar and a bass. So, even if a lot of their sounds are electronic “in the box,” they’re still recording with at least three physical instruments. Sixty years ago, most players had one instrument. So, even with the changing styles of music, retail needs can be even greater. —Steve Patrino
’
‘N
ot long ago, there were very few artists who endorsed D’Angelico; since, we’ve grown to have an expansive and diverse artist roster. Seeding the market in this particular way has really catapulted the D’Angelico name to much greater popularity. —Jimmy Lovinggood
COMING NEXT MONTH
’
34
• The Retailer celebrates MI industry philanthropy with ‘The Good Stuff’ • We examine the pro-audio category from a dealer’s-eye perspective • Five Minutes With Chris Doss, Vice President of Sales and Marketing, Audix • MI Spy cruises to San Diego CA • Front And Center: Guitar Center’s Kristy Porter • Under The Hood: MXL’s DX-2 Dual Capsule Variable Dynamic Instrument Mic • and much, much more!
tioned is part of it. But, in the end, people don’t want to be “sold.” The biggest thing I would like to see dealers do is create a brand for themselves. It might not be as easy to measure as giving away an accessory add-on package with each guitar sale; however, being able to cultivate a community around your business will take you further in the end. That can mean getting involved with local school programs, creating events at your store, contributing to online communities that fit your product offerings or finding non-traditional venues to participate in, such as local music festivals. If you can become a part of the community as much as you’re a retail outlet, you will be front of mind when the time comes to buy. Moreover, if you really do this effectively, you will create your sales moment. It’s too long of a game only to focus on short-term sales. That said, you have to have the right inventory for your store…the right range of price points, and enough of a mix per brand to represent the product well and offer alternatives to shoppers. It can take a few conversation starters to get to the winning piece sometimes. And, you need educated staff members. People are buying what you are saying as much as what you are selling. So, having an educated staff to build trust with your customers is a must! Lovinggood: Brick-and-mortar stores need to be implementing all the things you listed! You need well-stocked inventory in order to sell, and in-store demos will always be useful for promotion, especially for smaller brands that customers may not know as well. However, more than anything, dealers need an educated staff. All (continued on page 58) APRIL 2017
GUITAR MARKET ‘SUSTAINS,’ DESPITE SETBACKS: FOLLOWING AN UP-AND-DOWN YEAR, GUITAR DEALERS RETAIN THEIR HOPEFULNESS
(continued from cover) eight years, which is a very long time by historical standards. That means a new recession could rear its ugly head. However, of note, economists are not predicting a recession this year. In light of the previously stated facts, we will consider whether customers are in the mood to take the plunge and buy guitars this year. How strong were guitar sales in 2016, and how are they looking thus far this year? To answer those questions and others, The Music & Sound Retailer consulted Jim DeStafney of Pensacola FL-based Blues Angel Music and Keith Grasso of La Plata MDbased Island Music Co. Looking back on 2016, guitar sales faced a second straight year of weakness, as compared to a gangbusters 2014. However, 2016 was different from 2015, which saw all its weakness during the year-end holiday season. Twentysixteen saw strength and weakness at various times during the year. According to Jim Hirschberg, President of MI SalesTrak, “The guitar market began 2016 with an up-and-down pattern, consisting of a strong month with year-onyear growth, followed by a slow month. But the trend turned more negative in the second half. Despite several months of solid gains, electrics finished the year down 0.3 percent, whereas acoustics dipped 3.1 percent versus 2015.” Acoustics are continuing to decline in terms of dollar share of sales, by guitar type. According to MI SalesTrak, acoustics made up one-fifth of the dollar share of guitar sales in 2016 versus 22.5 percent two years prior. However, there is definitely good news in the data for electric guitars, whose share continued to pick up. Electric guitars now make up 46.1 percent of the dollar share of guitars sold, as compared to 45.4 percent and 45.2 percent in 2015 and 2014, respectively, per MI SalesTrak. Dollar share for acoustic-electrics was mostly flat, dropping a tenth of a percentage point to 33.5 percent in 2016. It’s important to note, however, that acousticelectric share is still substantially higher than the 32.6 percent share in 2014. Looking at electric guitar color MUSIC & SOUND RETAILER
Looking back on 2016, guitar sales faced a second straight year of relative weakness, as compared to a gangbusters 2014.
trends, sunburst-finished guitars held the number-one spot in terms of unit share for the second consecutive year, according to MI SalesTrak. Sunburst electrics outsold black-finished guitars during each month of 2016. The closest gap came in December, when 25.4 percent of the electric share went to sunburst, whereas 24 percent went to black-finished guitars. Throughout the year, redfinished electrics placed third in
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Acoustic Guitars
MI SalesTrak
Color Trend - Unit Share Acoustic Guitars December 2016 Color Trend - Unit Share
MI SalesTrak
December 2016
100%
White Sunburst Red Other White Orange Sunburst Natural Red Green Other Gray/Silver Orange Burgundy Natural Brown Green Blue Gray/Silver Blonde Burgundy Black Brown Amber Blue Blonde Black Amber
90% 80% 100% 70% 90% 60% 80% 50% 70% 40% 60% 30% 50% 20% 40% 10% 30% 0% 20% 10%
Dec '15
Jan
Feb
Dec '15
Jan
Feb
Mar
Apr
May
June
July
Aug
Apr
May
June
July
Aug
Sept
Oct
Nov
Sept
Oct
Nov
Dec '16
0% Amber Black Blonde Blue Brown Amber Burgundy Black Gray/Silver Blonde Green Blue Natural Brown Orange Burgundy Other Gray/Silver Red Green Sunburst Natural White Orange Other Red Sunburst White
Mar
Dec '15 0.1% 5.4% 0.0% 1.7% Dec '15 0.2% 0.1% 0.0% 5.4% 0.1% 0.0% 0.3% 1.7% 79.5% 0.2% 0.0% 0.0% 0.5% 0.1% 1.0% 0.3% 10.8% 79.5% 0.2% 0.0% 0.5% 1.0% 10.8% 0.2%
MI SalesTrak
Jan Feb Mar Apr May June 0.1% 0.1% 0.1% 0.1% 0.1% 0.1% 5.0% 5.3% 5.5% 5.5% 5.4% 4.8% 0.0% 0.0% 0.0% 0.0% 1.4% 1.0% 1.5% 2.0% 1.7% 1.6% Jan Feb Mar Apr May June 0.2% 0.3% 0.3% 0.1% 0.2% 0.2% 0.1% 0.1% 0.1% 0.1% 0.1% 0.1% 0.0% 0.0% 0.0% 5.0% 5.3% 5.5% 5.5% 5.4% 4.8% 0.1% 0.2% 0.4% 0.5% 0.4% 0.5% 0.0% 0.0% 0.0% 0.0% 0.4% 0.2% 0.3% 0.2% 0.3% 0.2% 1.4% 1.0% 1.5% 2.0% 1.7% 1.6% 79.8% 80.0% 78.8% 78.4% 79.8% 79.3% 0.2% 0.3% 0.3% 0.1% 0.2% 0.2% 0.1% 0.1% 0.0% 0.0% 0.0% 0.0% 0.1% 0.1% 0.1% 0.0% 0.0% 0.8% 0.8% 0.6% 0.5% 0.9% 0.7% 0.1% 0.2% 0.4% 0.5% 0.4% 0.5% 1.1% 1.0% 0.9% 0.9% 0.9% 0.9% 0.4% 0.2% 0.3% 0.2% 0.3% 0.2% 10.7% 10.7% 11.4% 11.5% 10.0% 11.6% 79.8% 80.0% 78.8% 78.4% 79.8% 79.3% 0.2% 0.1% 0.1% 0.1% 0.1% 0.1% 0.1% 0.1% 0.0% 0.1% 0.0% 0.0% 0.8% 0.8% 0.6% 0.5% 0.9% 0.7% 1.1% 1.0% 0.9% 0.9% 0.9% 0.9% 10.7% 10.7% 11.4% 11.5% 10.0% 11.6% 0.2% 0.1% 0.1% 0.1% 0.1%Inc. Copyright0.1% © 2017 Marketing Information Services,
July 0.1% 5.3%
Aug Sept 0.2% 0.1% 5.2% 5.6% 0.1% 1.4% 1.2% 1.3% July Aug Sept 0.2% 0.3% 0.1% 0.1% 0.2% 0.1% 0.0% 0.0% 5.3% 5.2% 5.6% 0.3% 0.3% 0.2% 0.1% 0.3% 0.2% 0.3% 1.4% 1.2% 1.3% 79.7% 80.3% 80.3% 0.2% 0.3% 0.1% 0.0% 0.1% 0.0% 0.1% 0.0% 0.0% 0.7% 0.6% 0.9% 0.3% 0.3% 0.2% 1.3% 0.8% 0.9% 0.3% 0.2% 0.3% 10.3% 10.7% 10.1% 79.7% 80.3% 80.3% 0.2% 0.1% 0.2% 0.0% 0.1% 0.0% 0.7% 0.6% 0.9% 1.3% 0.8% 0.9% 10.3% 10.7% 10.1% 0.2% 0.1% 0.2% All Rights Reserved.
Dec '16
Oct 0.1% 4.9%
1.5% Oct 0.2% 0.1% 0.0% 4.9% 0.3% 0.1% 1.5% 79.4% 0.2% 0.1% 0.0% 0.7% 0.3% 1.0% 0.1% 11.3% 79.4% 0.2% 0.1% 0.7% 1.0% 11.3% 0.2%
Nov 0.1% 4.6% 0.0% 1.5% Nov 0.2% 0.1% 0.0% 4.6% 0.2% 0.0% 0.4% 1.5% 75.9% 0.2% 0.1% 0.0% 0.9% 0.2% 1.1% 0.4% 14.8% 75.9% 0.1% 0.1% 0.9% 1.1% 14.8% 0.1%
Dec '16 0.1% 5.4% 0.0% 1.6% Dec '16 0.2% 0.1% 5.4% 0.1% 0.0% 0.2% 1.6% 77.2% 0.2% 0.0% 0.1% 0.7% 0.1% 1.3% 0.2% 13.0% 77.2% 0.1% 0.0% 0.7% 1.3% 13.0% 0.1%
Electric Guitars
Color Trend - Unit Share Electric Guitars December 2016 Color Trend - Unit Share
Copyright © 2017 Marketing Information Services, Inc. All Rights Reserved.
MI SalesTrak
December 2016
100% White Sunburst Red Other Orange White Natural Sunburst Green Red Gray/Silver Other Gold Orange Burgundy Natural Brown Green Blue Gray/Silver Blonde Gold Black Burgundy Amber Brown Blue Blonde Black Amber
90% 80% 100% 70% 90% 60% 80% 50% 70% 40% 60% 30% 50% 20% 40% 10% 30% 0% 20%
Dec '15
Jan
Feb
Dec '15
Jan
Feb
Mar
Apr
May
June
July
Aug
Sept
Apr
May
June
July
Aug
Sept
Oct
Nov
Oct
Nov
Dec '16
10% 0%
Amber Black Blonde Blue Brown Burgundy Amber Gold Black Gray/Silver Blonde Green Blue Natural Brown Orange Burgundy Other Gold Red Gray/Silver Sunburst Green White Natural Orange Other Red Sunburst White
Mar
Dec '15 1.7 25.6 2.2 6.1 Dec 2.0'15 1.2 1.7 1.0 25.6 1.7 2.2 2.2 6.1 3.5 2.0 0.8 1.2 5.1 1.0 13.0 1.7 27.6 2.2 6.4 3.5 0.8 5.1 13.0 27.6 6.4
Jan Feb 1.9 1.3 20.5 23.2 3.7 2.5 6.4 7.1 Jan Feb 2.2 2.3 1.6 1.6 1.9 1.3 1.2 1.4 20.5 23.2 1.7 2.3 3.7 2.5 2.7 3.4 6.4 7.1 4.6 4.1 2.2 2.3 0.9 0.7 1.6 1.6 4.2 4.2 1.2 1.4 12.7 13.0 1.7 2.3 27.9 25.0 2.7 3.4 7.8 7.8 4.6 4.1 0.9 0.7 4.2 4.2 12.7 13.0 27.9 25.0 Copyright © 2017 7.8 7.8
Mar Apr May June July 1.5 1.3 1.5 1.4 1.4 21.4 21.8 21.5 20.6 20.2 2.8 3.1 3.6 3.4 4.3 6.8 7.8 6.7 7.7 8.0 Mar Apr May June July 2.8 2.4 2.3 2.2 2.2 1.5 1.7 1.6 2.0 1.8 1.3 1.5 1.4 1.4 1.8 1.6 1.6 1.9 1.7 21.4 21.8 21.5 20.6 20.2 1.9 2.4 2.7 2.3 2.3 2.8 3.1 3.6 3.4 4.3 3.4 3.4 3.9 4.5 3.7 6.8 7.8 6.7 7.7 8.0 5.5 4.6 4.0 3.6 4.6 2.8 2.4 2.3 2.2 2.2 0.9 0.7 1.2 1.0 0.8 1.5 1.7 1.6 2.0 1.8 3.9 5.1 4.4 4.0 4.5 1.8 1.6 1.6 1.9 1.7 12.9 12.1 13.2 12.8 11.9 1.9 2.4 2.7 2.3 2.3 24.0 24.4 23.7 24.4 25.2 3.4 3.4 3.9 4.5 3.7 9.0 7.7 8.1 8.3 7.4 5.5 4.6 4.0 3.6 4.6 0.9 0.7 1.2 1.0 0.8 3.9 5.1 4.4 4.0 4.5 12.9 12.1 13.2 12.8 11.9 24.0 24.4 23.7Services, 24.4Inc. All25.2 Marketing Information Rights 9.0 7.7 8.1 8.3 7.4
Aug Sept 1.7 1.3 20.9 20.3 3.6 4.0 7.1 7.3 Aug Sept 2.4 2.3 1.6 1.3 1.7 2.0 1.9 20.9 20.3 2.3 2.4 3.6 4.0 3.9 4.8 7.1 7.3 4.7 4.7 2.4 2.3 0.9 1.1 1.6 1.3 5.1 4.2 2.0 1.9 12.9 11.6 2.3 2.4 22.6 24.9 3.9 4.8 8.3 8.1 4.7 4.7 0.9 1.1 5.1 4.2 12.9 11.6 22.6 24.9 Reserved. 8.3 8.1
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Oct 1.0 22.2 3.1 7.1 Oct 2.8 1.2 1.0 1.8 22.2 2.2 3.1 4.2 7.1 4.1 2.8 1.0 1.2 4.7 1.8 11.9 2.2 25.1 4.2 7.4 4.1 1.0 4.7 11.9 25.1 7.4
Dec '16
Nov 1.2 22.7 2.3 7.7 Nov 2.5 1.2 2.0 22.7 2.0 2.3 3.9 7.7 3.6 2.5 1.3 1.2 4.9 2.0 11.6 2.0 25.3 3.9 7.6 3.6 1.3 4.9 11.6 25.3 7.6
Dec '16 1.1 24.0 2.5 6.0 Dec 2.3'16 1.1 1.7 24.0 2.1 2.5 3.4 6.0 3.0 2.3 0.7 1.1 5.8 1.7 13.8 2.1 25.4 3.4 7.1 3.0 0.7 5.8 13.8 25.4 7.1
APRIL 2017 Copyright © 2017 Marketing Information Services, Inc. All Rights Reserved.
GUITARS - DOLLAR GUITARSSHARE - DOLLAR BY TYPE SHARE BY TYPE GUITARS - DOLLAR SHAREingBYtheTYPE boat.” GUITARS - DOLLAR SHARE BY TYPE 2015
2015 2015
2015
2016 2016
Electric 45.4%
Electric Electric 45.4% 45.4%
Electric 45.4%
Electric 46.1% Electric 46.1%
Acoustic 21.0%
Acoustic Acoustic 21.0% 21.0%
Acoustic 21.0%
Acoustic 20.4% Acoustic 20.4%
Acoustic/Elec Acoustic/Elec Acoustic/Elec 33.6% 33.6% 33.6%
unit share, followed by white and blue, respectively. Switching gears to color trends for acoustics, nearly four out of every five acoustic guitars sold carried a natural finish. That has been a long-term trend. Like prior years, sunburst placed second, followed by blackfinished guitars. All other colors registered as only small blips on the radar screen. Natural-finished acoustic guitars had their strongest months relative to proportional share in August and September, when they carried an 80.3-percent share. Conversely, unit share was lowest for the natural finish in November (75.9 percent); this coincided with the strongest month for sunburst-finished guitars (14.8 percent). Let’s turn now to our retailer experts to get the in-the-trenches perspective. Despite data that shows acoustic guitar sales are declining slightly industry-wide, that’s not the case at Island Music. According to Grasso, acoustic guitars are “the hottest trend” at his store. “In particular, the $500 to $2,000 price range,” he said. Acoustic-electrics are another strong point, Grasso noted. “Customers are opting for acoustic-electrics at the current price MUSIC & SOUND RETAILER
Acoustic/Elec 33.6%
DeStafney has keenly ob2016 2 0 1guitar 6 served several trends. “In 2016 and early 2017, guitar effect pedal sales have continued to grow,” he said. “I’m amazed at the longevity of the surge in single-function electric guitar Electric Electric 46.1% pedals. We currently carry over 46.1% 10 lines of guitar pedals. Average price per pedal is about $150.” He continued, “For us, pedal lines are moving targets. There are established, previously ‘hot’ pedal lines that seem to fall out of favor. We seem to drop a line Acoustic every two to three months, reAcoustic 20.4% 20.4% placing it with another ‘hot’ line. I rely very strongly on my young staff of electric guitar players,
Acoustic/Elec Acoustic/Elec Acoustic/Elec 33.5% 33.5% 33.5%
who stay abreast of what the newest ‘pedal du jour’ is.” DeStafney continued, “Another guitar trend I see just now starting is the onboard effects systems for acoustic guitars. This trend presently consists of two products: the Yamaha TransAcoustic Guitar (onboard system) and the ToneWoodAmp (external system). Both of those systems utilize effects processors and transducers that ‘excite’ the back of the guitar and ‘inject’ the selected effects (delay, reverbs, chorus, etc.) into the sound box.” DeStafney elaborated further, saying, “This is exciting, (continued on page 58)
Acoustic/Elec 33.5%
range. They also like the multiple options that type of guitar gives them, since our area has a lot of live music venues. They can plug into the PA system, or they can use their computer for home recording.” Overall, 2016 was a very successful year for Island Music Co. in terms of guitar sales. According to Grasso, “Sales of Taylor guitars, in particular the new 500 and 700 Series, remained very strong. And Fender sales were great in all categories.” He added, “However, the guitar winner for 2016 was the gorgeous PRS CE 24 American-made guitar with the Paul Reed Smith quality flame maple top. With a MAP of $1,999.99, it was an easy sale.” Across the board, guitar sales were very close when comparing 2016 to 2015, DeStafney contended. “We had our best Christmas season ever, which gave us a slight increase over 2015’s sales numbers,” he revealed. “One category I’d like to comment on that was huge for us was ukuleles. We sold over 200 ukuleles in December. It’s great for short-term business, and it’s creating many future guitar players, as well. If you’re a musical instrument retailer and you don’t have a strong ukulele department, you might be miss37
Heid Music Lends Support To School Music Programs Heid Music (Appleton WI) set out to put more than $30,000 into area school music programs during the month of March for Music in our Schools Month. Todd Heid, Owner of Heid Music, said, “With the Every Student Succeeds Act (ESSA) recognizing for the first time the importance of music as part of a wellrounded education, we realize that school music programs increasingly need community help to support their students’ success. We want to help them bring as much music to their schools as possible.” To do that, Heid Music created two opportunities for schools to receive a piece of the pie. For the sixth straight year, Heid Music ran
the Big 10+ Contest. Throughout March, students and their families, community members and educators had the opportunity to show off what music education means to them and their school, all for a chance to win one of 17 musical prizes with a total value of more than $10,000. Entrants were asked to upload a photo that would best represent their school music program, or share and tag a photo with #Big10Music, along with the name and city of their school, on their Facebook, Twitter or Instagram pages. Entrants then solicited votes for their photos. The school with the most votes by 11:59pm on March 31 had first choice of prizes. The school with the second highest number of votes had second choice and so on, until all prizes were claimed. To further support the efforts of area music-education programs, Heid Music created another opportunity to bring more music to schools with its Music Matters Initiative. From March 1 to March 31, Heid Music matched individuals’ donations of $5 or more with Heid Music in-store credit to support their preferred school district music program. School districts then received the cash donations, plus up to $500 per district of in-store credit to use toward products and services. Heid Music matched up to $10,000. Donations were tax deductible, and had to be made in store. Donors were also recognized throughout Heid Music stores. The Big 10+ Contest was made possible by the support of numerous partners, which included Ace Products, Alfred Music, American Way, Cannonball, Connolly Music, Conn-Selmer, Cordoba, D’Addario, DANSR, Eastman, Hal Leonard, Hohner, Jupiter, TMP/On-Stage, Yamaha and Yamaha Band & Orchestra.
Instrumental Music Center Wins MSA For Second Consecutive Year
Instrumental Music Center (IMC, Tucson AZ) is a two-time award winner from The Music & Sound Retailer’s annual Music & Sound Awards (MSAs), which were bestowed in this, the MSA’s 31st year, at the NAMM Show this past January. This year, IMC ranked in the top four in the country in the following categories: Best Clinics, Best Sales Staff, Best Customer Service and Dealer of the Year among music stores with more than one location. Just to be nominated in the MultiStore Dealer Division, the independent business competed directly against the largest and most famous music chains in the country. For 2017, IMC was crowned the winner in the Best Sales Staff category. In 2016, IMC was awarded for Best Customer Service. “We were so excited to be recognized as having the best sales staff in the country!” Leslie Faltin, IMC’s CoOwner, exclaimed. “Of all the things to be recognized for, we think this is the coolest! We work with our staff extensively to provide our customers with an outstanding experience. IMC
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The Instrumental Music Center team, including Co-Owners Leslie and Michael Faltin (far right).
hires the best, and then trains our staff extensively on how to help our customers. We forge relationships with top-name vendors that provide us with the highest-performing products we can find. It’s all part of an amazing synergy that makes working at IMC a joy.” In addition to its MSAs, IMC has been listed as a NAMM Top 100 Dealer for the last five years, and it has remained Arizona’s only NAMM Top 100 Dealer.
APRIL 2017
Musical Innovations’ Tracy Leenman Nabs A She Rocks Award Tracy Leenman, Owner of Musical Innovations (Greenville SC), was recently named the winner of the 2017 She Rocks Enterprise Award by the Women’s International Music Network (The WiMN). The award was presented on January 20, in Anaheim CA, as part of the NAMM Show. One of the most prestigious and recognized events to honor females, the She Rocks Awards pays tribute to women who stand out and display leadership in the music industry. Previous award recipients include Chaka Khan, Sheila E., Colbie Caillat, The Bangles, Mary Peavey and many others. “The 2017 awards marked our fifth anniversary,” Laura B. Whitmore, Founder of The WiMN, noted. “Each year, the She Rocks Awards pays tribute to groundbreaking women in the music industry, both on stage and behind the scenes. There has been tremendous support for the awards, and it has proven to be a fun and meaningful event for many women in the industry.” Musical Innovations is a full-line school music dealer, carrying most major lines of band and string instruments, classroom instruments, print music, accessories and gifts. It offers student rental and purchase plans, instrument repairs, and lessons on all band and orchestra instruments, including Suzuki violin instruction for students as young as four years old. The company is active in supporting school music programs at the state, local and national
levels. It has won two South Carolina Music Educators Association (SCMEA) “Friend of Music Business” awards (2009 and 2013), as well as the KEYS “Keeping the Beat” National Advocacy Award in 2009. It was also honored by the Retail Print Music Dealers Association (RPMDA) in 2015 with the Sandy Feldstein Service Award. Internationally recognized as a major force in the music industry, Musical Innovations has been named to NAMM’s Top 100 Dealer list for four years in a row. And, in 2015, it was named the winner of both Best Customer Service and Dealer of the Year. In 2016, it was named among the Top 100 Small Businesses in America by the U.S. Chamber of Commerce, winning a “Small Business, Dream Big!” Blue Ribbon Award. Locally, Leenman is an active member of the Mauldin Chamber of Commerce and the SC (Upstate) Small Business Development Centers Advisory Board. She was the 2016 winner of the Duke Energy Citizenship and Service Award, given by the Mauldin Chamber of Commerce.
Cassell’s Music Continues Nearly 30-Year Field Trip Tradition After 27 consecutive years of hosting field trips from the same preschool to his store, Ed Intagliata, Owner of Cassell’s Music (San Fernando CA), knew the day was approaching when one of the moms attending the field trip had herself once been a child attendee. That day was February 7, when Hannah Carmichael and her daughter, Chelsea, arrived at Cassell’s Music with The Master’s Kids, a pre-kindergarten ministry affiliated with Grace Community Church. In her hand, Carmichael held a photo that her mother took while she was participating in the outing as a four-year-old back in 1993.
“I had a feeling that this year would be the year a mom would come to the field trip for the second time: first as a youngster and now as a mom,” Intagliata recalled. “Mrs. Carmichael told me that, out of all the field trips her preschool class had taken, the visit to the music store was the only one she remembered.” Intagliata continued, “It makes me feel proud that exposing young children to musical instruments has a lasting impact on them and leads to an enrichment of their lives as they grow up, with many deciding to take music lessons.”
(L-R): Ed Intagliata, Chelsea Carmichael and Hannah Carmichael.
MUSIC & SOUND RETAILER
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FI V E M INUTE S W ITH
SUZANNE D’ADDARIO BROUDER Executive Director, The D’Addario Foundation
By Dan Ferrisi Having been privileged to attend the NAMM Music Education Advocacy DC Fly-In three times in the past several years, I am acutely aware of not only the body of research that supports music-making’s profound, beneficial effects on children, but also the bones-deep passion so many music products industry members have when it comes to protecting and preserving music programs. Among our industry’s most passionate—and most effective— champions of music programs is Suzanne D’Addario Brouder, who is Executive Director of the D’Addario Foundation and who has attended the Fly-In in past years. Her exceptional work on behalf of the foundation has helped it secure the Music & Sound Award (MSA) for Outstanding Community Service an unprecedented four years in a row. In this wide-ranging conversation, she shares her conviction that music programs can be genuinely life-changing experiences for society’s most vulnerable, at-risk youth.
Students from Long Island NY thrive when exposed to music-education programs, which the D’Addario Foundation tirelessly supports.
Midori & Friends provides music-education opportunities to New York City students who, otherwise, would have little access to the arts.
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The D’Addario Foundation has directly impacted countless lives by putting instruments in young people’s hands, and giving them a shot at greatness.
MUSIC & SOUND RETAILER
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The Music & Sound Retailer: We know that the D’Addario family has been involved in making music products going back generations. So, the music industr y’s in your DNA. What’s your personal histor y with music? Do you play any instruments, or have you ever? Have you always been involved in the family business and the MI industr y? Suzanne D’Addario Brouder: Yes, our ancestry in the music business goes back to 17th century Renaissance Italy! More than 400 years and many generations later, our family proudly continues to be a global leader, with an ever-expanding team of musicians, engineers, artists and visionaries who are driven by innovation. Personally, my experience with music goes very deep; I am emotionally driven by the power and beauty of music. My mother was a talented pianist. So, I studied piano for most of my childhood, in addition to taking violin in school. After college, I took up the classical guitar and, now, I play both piano and guitar. I actually just started taking piano lessons again. My husband and I are raising three boys, so I have begun to appreciate the meditative qualities of playing an instrument. It’s an escape for me, but my family also really enjoys to listen to me play. I can’t tell you how happy it makes me to hear an instrument being played in my home. Although I am a D’Addario, I never thought I would be a part of the family business. I left New York at 17 to go to college, and I never returned to the East Coast. Settling in Chicago IL, I embarked on a career in fashion. I always had incredible respect and admiration for what my family had created, but I wanted to explore things independently; frankly, my father always encouraged us to do so. In fact, we have written into a family constitution that our children, before being considered for a job in the family business, must work for someone else for a period of time. However, I became inspired by the work of the D’Addario Foundation about 10 years ago, so I joined the Board at that time. The Retailer: Tell us about the D’Addario Foundation’s creation. When was the Foundation started? What was its founding mission? Was it centered on funding and supporting musiceducation programs from its inception? D’Addario Brouder: In the late ’70s, D’Addario had perfected pro-
fessional-quality classical guitar strings, but it couldn’t get any artists to try them. My father, John D’Addario, and my uncle, Jim D’Addario, also saw that up-and-coming artists were struggling to break through and make a living. The D’Addario Foundation, in its first iteration, was born from a desire to connect with those artists and support the development of their careers. A Performance Series was established in New York and a few other cities to present talented emerging artists, such as Ben Verdery, Paco Pena, and Michael Newman and Laura Oltman, at that time. After about 10 years of presenting the series, the D’Addario Foundation decided to shift its focus as it began to see music and arts programs being cut from regular school curricula. Ironically, at the same time, we found more and more evidence of the profound effect that active participation in music can have on education and well-being. Today, we see ourselves as a unique grant-making organization that supports the most effective organizations on the frontline to improve access to music education, trying to bridge the gap that still exists in our education system. We are particularly interested in partnering with programs that provide frequent, comprehensive and sustainable music education that, ideally, is available throughout a child’s primary and secondary education. Initiatives with strong leadership and futureminded thinking, which plant themselves firmly and create a beautiful community around music instruction, are the kinds of programs we seek to support.
The Retailer: When did you begin your tenure as Executive Director of the D’Addario Foundation? Upon taking the reins of the organization, what steps did you take to make it an even better, more valuable resource to the music products industr y and the community of music makers? D’Addario Brouder: I took over as Executive Director of the D’Addario Foundation about seven years ago. At that time, although the enthusiasm and dedication to our mission was there, the organization itself was run unconventionally…primarily led by a few family members. It was very clear early on that we would benefit greatly from peeling back the layers of our organization a bit and restructuring. First and most importantly, we did a deep evaluation of our mission
Another shot of Long Island NY students who directly benefit from the D’Addario Foundation’s numerous philanthropic efforts.
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Lastly, we are able to award a full scholarship to one deserving student each year to attend the Usdan Camp for the Performing Arts all summer. We are really proud of this program, which has been managed very cost effectively in our partnership with the Harmony Program. And we’re actively seeking support to help sustain it. In addition to the vital experiences we are providing the children and the families involved, we are learning valuable lessons about running our very own direct-service program. It has allowed us to better understand the unique challenges that not-for-profits face.
Jackson Browne was one of many A-list stars to support the D’Addario Foundation’s “Music Makes You” benefit concert last year.
The Retailer: Last year, the D’Addario Foundation held a hugely successful “Music Makes You” benefit concert, which helped to raise $160,000 in support of music education. (continued on page 60)
and grant-making processes to identify opportunities for improvement that, ultimately, would allow us to make more effective and impactful investment choices. That included a complete overhaul of our grantapplication process, our Web site, our method of evaluation, and our follow-up and measurement capabilities. Now, our strong suit as a grant-making organization is our ability to identify the most comprehensive and deeply impactful community-based programs in areas of great need, and to shepherd those organizations. In addition, we have brought great clarity to our mission by cultivating a dynamic Board of Directors, along with advisors who are extremely passionate about this work and who, as strong advocates for music education, are committed to bringing greater visibility to the cause. You mentioned DNA earlier, and it’s vital to our DNA as a family to continually expand our efforts to support access to music education, to develop new music-makers and, in turn, to use music as a vehicle for meaningful and long-lasting social change.
The Retailer: Discuss the D’Addario Foundation’s latest efforts to support high-quality music-education programs. I recently heard that the Foundation awarded 107 music-education grants. Tell me about that, as well as other recent activities. D’Addario Brouder: Our philosophy, based on many years’ experience, as well as carefully evaluating the net positive effect of our efforts, is to seed programs in the early stages of development, which is when support is most critical. Because there is not a one-size-fits-all solution, we believe in partnering with highly qualified leaders who understand the unique challenges in their communities. We also believe in supporting a diverse range of programs. That’s not to say that we wouldn’t entertain another approach. But, the bottom line is, we seek to support the most transformative and sustainable work in the area of music education. We receive quite a large number of requests each year, and we choose to support as many, as deeply, as possible, within the constraints of our budget. We give not-for-profits an opportunity twice yearly to apply for support. In our most recent round of review, we awarded 107 grants, spread across 30 states; forty-five of those applicants are first-time grantees of the D’Addario Foundation, and they’re doing really inspiring work in their communities. In addition to our primary grant making, we partner with the Harmony Program to run a wonderful, free music-instruction program on Long Island NY, close to the D’Addario & Co. headquarters. That program was created because we wanted to give back to the community of employees at D’Addario. A school district that a majority of our employees’ children attend was identified. That school district also had a very strong need, having been without a string program for more than 30 years. During the last three years, we have developed a robust program, providing stringed instrument instruction at least 30 weeks of the year, for up to eight hours per week. In addition, through our partnership with the Harmony Program, our students are able to participate in a large Saturday morning orchestra with students from other New York programs, as well as engage in a full-day workshop each year with members of the New York Philharmonic. MUSIC & SOUND RETAILER
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M I SPY
THE KING OF QUEENS Aerial pan past Manhattan’s gleaming skyscrapers and skim past the East River to the shores of Queens NY: the essential and glorious melting pot of New York City. No other area is quite as culturally dense in the same wholesomely eclectic way. Sure, there’s gentrification in parts, but the majority of Queens consists of families from all over the world, working hard and living the dream. The people and the scenery up-end and change drastically every few miles. You can find any type of person, neighborhood, food or party there, and that’s the way the residents like it. Record scratches and sirens blare. A car comes into view. Neon trail blazing, DJ Spy and his crew roar down Horace Harding Expy., feeling fresh and ready to spin some hot beats…at a policeenforced 25 miles per hour. Yeah, my crew had no clue about this DJ stuff. But, the mission had already been assigned, and we were the only spies presently available. The Chief had called us while he was at the airport, demanding that we find a DJ controller in Queens, right before hopping on a plane to some tropical paradise. On the road again, my crew—Dick and Tracey— hadn’t listened to my advice. They were decked out in interview-appropriate attire. I had grabbed an old hoodie, not gotten a haircut in a few months and forgotten to shave. Even so, my friends’ preppy style fatally marked our group. No amount of “dudes” or “mans” would be enough to win us cred. Or so I feared. 44
I DJ NOW u 181-24 Horace Harding Expy. u Fresh Meadows NY 11365 u 718.762.0100
We pulled over to a small building right on Horace Harding Expy., which is Queens talk for “service road,” and we parked in the abandoned parking lot across the street. I DJ NOW stands on a corner, looking geometric, like builder blocks painted grey, but with a triangular, blue roof. The front windows are almost completely covered in signage, advertising deals and services, such as DJ starter packs and rentals. I told Tracey to stay with the car, in case we needed to bug out fast. Dick and I walked over to the building. Three guys in beanies were hanging out inside, positioned to the left of the entrance in a corner pocket of the store. They looked over and said, “Hey,” but they stayed together. The store was set up well, considering the close quarters. It was strategically packed with gear, maximizing the floor-to-sale ratio. We floated around like big, dumb, lost balloons for a while. Given that this mission took place way back around the holiday season, we saw a sign on the wall for a holiday sale. It offered 15-percent off total purchases exceeding $249. We passed DJ controllers up near the front, and peeked into a back area with DJ lighting equipment spinning wildly. We were messing with some gear when we heard “Any questions?” emanating from behind us. One beanie had bobbed over quietly. He had a laid-back demeanor. Dick and I actually look alike (I keep him around in case I have to fake my own death), so I told the salesman we were searching for a DJ controller for our other brother. “Oh, where’s he live?” the salesman casually asked, as I began to break into a cold sweat. Not wanting our credibility to crack, I responded without hesitation, saying, “Right by Kissena Park…close by.” I knew that area well enough. Dick, meanwhile, was fidgeting beside me. “Yeah…uh…he’s sleeping in!” Dick said in a compressed falsetto. I let out a breath, and then held the next. “He still lives with our parents, but he’s been talking about learning to DJ.” Nice, I thought, time to bring this home! “We just want to get him out of the house,” I said, looking down at my feet. I felt some goodwill from the salesman after that. He started to tell us about the store’s DJ starter pack, which was $348.40. We followed him to a computer, where he loaded up the I DJ NOW Web site, explaining that we could see all the holiday deals and prices there. The starter set came with a Pioneer DJ DDJ-SB2 Portable Two-Channel Controller, a pair of Bluetooth monitors, Numark HF125 Pro DJ Headphones and an American Audio Patch Cable. To my ear, it sounded like an impressive amount of gear for the money. When Dick asked if there was a higher-end deal, the salesman pointed out a Pioneer DDJ-SX2 with Pro-X APRIL 2017
Case at $1,147 (List: $1,639.98). We also saw a Pioneer DDJ-SR Performance DJ Controller for $597. There were cheaper Numark Mixtrack models—Platinum and Pro 3—for $297 and $248, respectively. I brought up how cool it was that everything we were looking up would be discounted 15 percent, and he gave me a relaxed nod. At that point, we thanked the man, said we’d check the Web site for all the holiday deals and then come back. He let us know that there was another store in Babylon that we could check out, too. Later, I found out that I DJ NOW’s Web site offers free standard shipping. Delving deeper, I discovered that it has a warehouse in Ronkonkoma NY, which is out east on Long Island. If we purchased online, we wouldn’t have to wait very long! We met up with Tracey at the car and headed to the next store.
Sam Ash u 113-25 Queens Blvd. Forest Hills NY 11375 u 718.793.7983
The main shopping district in Forest Hills NY is swanky, safely nestled a block away from Queens Blvd., which is a beast of a street. You can recognize Brooklynites walking down Queens Blvd., because they’re crouched close to the ground, so as not to fall away into the great expanse before them. The road is split in three: The major thoroughfare in the middle supports multiple lanes of two-way traffic, and there’s street parking segmented to the sides (heavily metered). There’s something like 12 or more lanes in total, I think. In classic Queens Blvd. style, we pulled up to Sam Ash to a packed curb. Tracey brought our neon chariot to a stop next to a fire hydrant and winked. Dick and I left her in the car, engine idling. A sense of fatigue washed over us as we entered the store. There was no one to greet us by the entrance, which I had not expected from a Sam Ash. The floor was empty, but, because it was a Thursday afternoon, that wasn’t so strange. We could hear a saleswoman far off, akin to a fading echo, helping someone. Dick suddenly pivoted and pointed, blurting out, “DJ section!” “Good boy,” I affirmed. The DJ section was in a dark corner near the front of the store. There were stage lights around, but they were all powered down, which gave the area a cave-like feel. On a music stand, near the entrance to the section, sat a stapled packet that read “Post-Holiday Blowout Blitz.” It was a printed table of information, including brand, product description, SKU, quantity, list price, sale price and percent off list price. The thickness of the packet led me to believe it wasn’t just this store’s inventory. But, then again, this was a large store…and Sam Ash doesn’t mess around. Dick laughed and grabbed the packet, rolling it up and slowly sticking it into his pocket. We both looked around, but no one was there to scold us. (That really took the fun out of it.) We took it upon ourselves to explore the desolate and seemingly forgotten DJ area. We discovered a Numark Mixtrack Pro 3, regularly $249 (MSRP: $399), but at a Post-Holiday Blowout Blitz price of $219.77. There was a Pioneer XDJ-AERO for $398.77, a Pioneer DDJSZ Pro for $1,699.77 and a Denon MCX8000 Pro for $1,149.77. I decided that we had better try to catch a salesperson. So, we got out of the DJ section and walked into the blinding light of the proaudio area. We almost caught the coattails of an employee who was opening a door to a back room, into which he disappeared. Dick and I waited around for a couple more minutes, and then went back to the DJ section. We fiddled with a Pioneer DDJ-SR, which was $529.77 at the Post-Holiday Blowout Blitz price. I yawned. Dick said he’d wait around…that I should head out without him. With that, I was on my way.
Guitar Center u 34-17 48th St. Long Island City NY 11101 u 718.278.7777
Tracey and I were getting chummy on the ride over to Guitar Center. We had both been to the location before, and we knew exactly 46
what to expect. The employees there had always been friendly, and the store itself had a decent selection of gear in a wide-open layout. Guitar Center can be tricky to find, if you haven’t been to it before. The giant sign on the building leads you to an entrance with an escalator, but there’s no additional signage inside. Up the escalator, one is treated to groups of soda-popped toddlers—with their parents, one would hope—streaming out of Chuck E. Cheese’s. It struck me that I had never seen a child in Guitar Center. I had seen them in hordes a store or two down at Five Below. (There’s a lot that MI retailers could learn from that place, especially pertaining to inventory-selection practices.) Turn left once you see the mouse, and you’ve found the doors to GC, which open to a well-lit and inviting space. All the way back against the farthest wall is the pro-audio section; however, a few feet closer to the front, a sign reads “The DJ Experience.” A salesman, all smiles, was already there, helping an older group of Spanish-speaking customers. I witnessed an almost athletic act of customer service, as he answered multiple people, in multiple dialects, simultaneously. As I floated around the section, he, of course, locked on to me and asked if I needed anything. I replied, “Yes,” and proceeded to give the spiel about my brother who wanted to DJ. The salesman kept me on my toes by asking clarifying questions. However, I worked myself out of the hole I had dug, saying I was probably going to help him purchase it, and that we didn’t want to spend more than $1,500. He suggested the Pioneer DDJ-SX2 at $997.99 or the Roland DJ-808 at $1,499. When I asked if he had anything cheaper, just in case I decided not to help my brother pay for it, he pointed out a demo Numark NS7II DJ Controller for $849.97. I said I would have to hit up my brother to work things out. The salesman said I was welcome to come back anytime.
Mainline Pro Lighting, Sound & Video 218-12 Hillside Ave. u Queens Village NY 11427 718.479.4848
My crew and I had originally tried to go to Mainline Pro Lighting, Sound & Video before Sam Ash, but the door was locked, and we had thought the place was closed. Through the window, we could see a single, bare bulb illuminating stacked cardboard boxes. Although the store’s address says Queens Village NY, it’s more on the Jamaica NY side, and that can get a bit scary at night. Dick and Tracey were both getting jumpy, so I decided to come back another day, alone, without the dead weight. The first shopping day ended with us getting pizza nearby. Dick had been all bluster at the pizza place, and he started to bug the staff. Their conversation went something like…. “What’s your entry-level pie?!” “You want a personal pizza, buddy?” “Does it come with a case?” “Yeah, if you get it to go…. You’re freaking me out, boss.” Anyway, I made the trek back to the little strip mall off Hillside Ave. on a Saturday, around 2pm, as a light snow began to blanket the street. A metal gate was closed over the door. I had checked the company’s Web site in the morning, and it had said the place was open by 11am on Saturdays. So, I grabbed a late lunch, taking my time, and drove by again. Still closed. Resigned to my fate, I went home. Re-checking the Web site, I confirmed the store’s hours. In addition, I read a couple of testimonials that attested to the establishment’s fine character and long history, as well as its pro-audio repair services. Sounded very promising! The following Tuesday, I dropped by and refused to leave without getting inside. The door was still locked, but I could see people all the way in the back of the store this time. I searched and finally found a APRIL 2017
doorbell. When I heard the buzz, I was able to pull the door open. I could see The Chief’s rage-face fade away, “Back to the Future” style. Sweet relief! Inside, the Owner was finalizing a sale with the only customer in the store. I waved eagerly, immediately regretting my goofiness, but, still, I was damn relieved. The Owner is a very friendly, feet-on-the-ground kind of sales guy. He asked what I was looking for. I said DJ controllers. “We got a lot in stock,” he assured me, adding, “Pioneer, Denon…whatever you need.” He started to point out boxed gear and quote prices rapidly, in an off-the-cuff way that suggested that, perhaps, they were flexible…maybe even up for some haggling. I pulled out my phone to pretend-text Tracey and record some details, but the Owner blatantly asked if I was looking up prices. I had thought my millennial shielding would protect me from suspicion for being on my phone. Realizing that this had been a mistake, however, I pocketed the device. Most of the prices he was listing were quickly lost to me. The hurried texts I sent only managed to include a Pioneer DDJ-SX2 and a Pioneer DDJSB2. When I asked if he had anything on display that I could play around with, he said, “No. Not at the moment.” I remembered that there were signs for a DJ school outside, so I inquired about that. He told me that he has been running the store for 25 years, and maintaining classes for nearly the entire time. He handed me some small flyers with all the information on them. I must admit, I was slightly irked when I noticed that the store and class flyers both said, “Open every day, Monday– Saturday.”
The Sale
OK…so I’ve bought a few things from Guitar Center in my day. I’ll admit it! I see nothing wrong with the way the chain handles its business on the consumer side. But, I’m also a fan of the indie guys, who have that undeniable “cool factor.” That immediately brings to mind MUSIC & SOUND RETAILER
I DJ NOW. I dug the fact that you could get your DJ fix right off the expressway. And, I felt like it was the most authentic experience. If I were a DJ, I could imagine myself visiting I DJ NOW frequently, even if only to hang out. I liked Mainline’s Owner, despite all the running around. I think that, just because it might not be the store for me, its excel-
lent reputation is probably well deserved. I’m not a DJ, after all— only a spy. Mainline has been in business for 25 years, which says a lot. Also, the Owner spins in Queens, which I respect. And that speaks volumes toward his classes. Sam Ash’s DJ section felt abandoned. I might have hit the place at the wrong day or time,
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when that section’s salesperson wasn’t on shift. When I visited, however, the only sales help was in the form of a packet. So, well, there’s that. Yup, I’m giving the sale to I DJ NOW. I felt comfortable and welcome there, and the store’s holiday pricing would have made for an insta-sale, were I seriously shopping.
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OUTSIDE THE USUAL ARENA By Allen McBroom
As I write this, my bride and I have just returned from a week’s vacation to the Yucatán Peninsula in Mexico. We took a cruise ship to Progreso and Cozumel, and we spent a lot of time relaxing, napping, eating and enjoying refreshing beverages. As enjoyable as the cruise was, though, the most memorable parts were not the excellent dinners, fine service and warm February climate. Yes, those were wonderful to experience; however, for me, the best parts of the cruise were the musicians and the performers. Like you, I deal with musicians and performers all day, every day. Over the course of a work week, I listen to a myriad of issues that performers, whatever their level of training, are experiencing with their gear. You hear the same issues that I do, I’d imagine. Let’s try a few….
I’m thrilled when I sell a new guitar or a new mic, or when I help a musician get the other gear that he or she wants. But I think the biggest thrill comes from watching it all come to its natural conclusion: a live performance.
“I think my big E needs to be 1/64 lower. I measured it, and the article I read said….” “My in-ear monitor company has a new model earbud. Can you get me one to try out?” “I can’t decide if I’ll sound better with the $139.95 mic or the $149.95 mic. Which one do you think is better?” Any of those sound familiar? Sure they do. Musicians with lots of available options are always looking for the magic bullet that will make them sound, or play, better. And, like me, you probably have to resist the urge to suggest, on occasion, that the real solution for their situation might be more practice. While aboard the cruise, I had the chance to watch hardworking musicians in two very different scenarios. I found it refreshing to watch and hear. First, the onboard performers. There were numerous small acts (solos, duets, trios and quartets) that played in the various bars and lounges around the ship. We sat down to listen to a duo one night, and they played some covers of Johnny Cash and Arlo Guthrie…country and heartland music. Their setup was very simple: a small, basic PA, an acoustic guitar and a tambourine. Listening to them, it dawned on me that these two, although playing simple songs, had mastered something very difficult. The guitarist was playing I-IV-V tunes, but he used his guitar as a guitar, a bass and a percussion instrument. The woman with the tambourine used it effectively, making it sound like much more than what it was. And, the vocals hit all the right notes. The difficult part was they did all this flawlessly, while obviously having fun and entertaining the crowd. This duo played in various places around the ship, probably six hours a day, every single day. Considering cruise ships have no down time, and the shortest contract is three months, the duo easily played at least 500 hours live every three months. The stage show performers had less stage time, but what they pulled off was nothing short of amazing. The vocals were strong and stunning; the women jumped, danced and did something just shy of acrobatics in high heels, all while taking turns singing lead and backup. These folks performed at a very high level, and they were consummate professionals. The other scenario could not have been more different; however, the performers were just as polished. These musicians were the street and 48
bar guitarists in the Mexican ports. All these guys played for tips. First was a nylon-string player, playing a two-story courtyard. His rig was his guitar, one powered speaker and a small pedal board wrapped in Saran Wrap. He was playing complicated arrangements at 9am, entertaining a crowd that mostly ignored him. He nailed a version of Toto’s “Africa”… a version that included him playing all the vocal parts. It was spectacular. On cruise ship days, this guy probably plays seven or eight hours a day, almost nonstop. The most remarkable player was Felix. He rolled up to us as we were enjoying a few refreshing beverages, and he asked if he could play a love song for my wife. Felix had no legs, and he was playing his father’s 85-year-old Tres Pinos classical, the top seams held together with pink wood putty. None of his strings was from the same set. But, he played and sang with joy and abandon. There was no sense of self-pity—only boldness and a huge smile as he played and sang. His skill, honed by years of playing on the street for tips, made him the best professional that I heard the whole trip. There were a lot of other musicians…other bar guitarists…other lounge bands. And they were all very, very good. Despite their vastly different circumstances, they all had one thing in common: Their skill was honed by countless hours (perhaps years) of playing before a live audience. Practice and perform; practice and perform. Repeat. I came home from the trip exhilarated, and more convinced than ever that I must do all I can to put more musicians in front of more live audiences, as frequently as possible. I’m thrilled when I sell a new guitar or a new mic, or when I help a musician get the other gear that he or she wants. But I think the biggest thrill comes from watching it all come to its natural conclusion: a live performance. As wrapped up as I get in the minutiae of store operations, gear purchases, sales goals, marketing and everything else that goes along with living in the middle of the music store circus, a few days outside the usual arena can go a long way toward keeping my priorities straight. It also helps me remember why I got into this in the first place—for the love of live music. APRIL 2017
MUSIC & SOUND RETAILER
49
C O NFESSIO NS OF A R ETAIL ER
KEEPIN’ IT 100 By Donovan Bankhead
Keepin’ it 100. That’s what the cool kids say nowadays when they are telling the 100-percent real, unfiltered, sometimes-brutal truth. That’s what I’m going to do in this column. From an outsider’s perspective, it might appear that I have my shit together and that I have the music industry by the balls. My company is in the top one percent of our industry. We are on Inc.’s 5,000 List of America’s Fastest-Growing Companies. I’m a frequent NAMM presenter, and a past and present board member of a few different industry organizations. And, now, I’m a bimonthly columnist for one of my favorite trade magazines. But I know the truth. As my company has doubled in size the last few years, I haven’t adapted to be the leader that my company needs, and deserves. That’s keepin’ it 100. It’s real talk. As my company grew, I wanted to keep doing what I had always done. But it became apparent that wasn’t what the company needed from me. I didn’t know what it was that I should be doing. So, I would run around and put out fires, trying to be all things to all people. I kept that up for about two years, until it hit. Burnout. The only time I had ever experienced burnout was during the last 18 months of college. I had a goal of being the first person in my immediate family to graduate with an honestto-goodness four-year degree from a respected university. (Of course, it took me six years. Hey, I’m a learner—just a slow one.) And I only had 18 months to go. So, I pushed through and graduated with two degrees, both of them in music. But, at that later point in my life, those music degrees didn’t appear to be helping me very much professionally. A business degree would have seemed much more useful, in fact.
50
So, when burnout arrived at my door, I didn’t know what to do. In fact, at first, I didn’t even realize that’s what it was. A business consultant whom we often work with was the first to point it out. When I was discussing some of my frustrations with the business and the lack of engagement from my crew, his response struck me as being flat-out wrong. He said, “Donovan, you are clearly d isengaged from your business.” I thought he was way off base. I was working my ass off! How could I be disengaged? However, he said that the language I was using was a clear sign. Over the next week, I thought about what he had said. I will never forget the moment when I realized he was right. I was at a meeting of local executives, and I was the featured executive who was in the “hot seat.” That means the meeting was focused on me, and on whatever issue I wanted that team of smart, capable executives to give me insight on. As I began to talk about that feeling of burnout, I completely lost it. I couldn’t hold back the tears, and I ended up sobbing like a child in front of that group of high-powered executives. People from my own hometown. We aren’t talking about water welling up in my eyes or a few tears falling down my face, either. We’re talking about the kind of sobbing you did as a kid when you fell off your bike and skinned your knees so badly that you thought you would surely die. This time, though, my mom wasn’t there to hold me and tell me that it would be OK. It was humiliating. Remember, we’re keepin’ it 100 here…. That began my journey of finding out where I had lost my way and why I wasn’t feeling the love for my business…for my industry. I knew that I needed help. I needed someone from the outside to help me through this. I needed someone who had been there, done that and bought the T-shirt. So, I began to reach out to some business coaches. My first meeting with a business coach was revealing. He began by asking me about a typical day…about what kinds of projects I’ve been working on. I explained that I had been working relentlessly on finding a healthcare plan that would be a good one for my employees, but that I could afford. With our growth, our business was now considered an “Applicable Large Employer.” That meant we were federally mandated, under the Affordable Care Act, to provide quality, affordable healthcare—and that was fine. We had been providing healthcare for our employees for decades. And the health and well-being of a company’s people should be its top concern. But damn if dealing with healthcare isn’t a frustrating and expensive mess! You probably know what I’m talking about…. I’d also been working on bidding new business and casualty insurance. And I had been desperately working to improve our cash flow. And trying to provide a decent living for our employees. And trying to find good employees and train them. And trying to improve our finances, which meant constantly reviewing our financial statements and trying to understand how an income statement, balance sheet and cash-flow statement work. And did I mention trying to improve cash flow? Not easy to do for a guy with a music education degree. They didn’t teach us anything about that in school. After I finished my rant, the coach asked me a simple question. He asked, “Donovan, did you get into the music business so you could pick healthcare plans, bid insurance, be an HR executive, study financial statements and go to bed each night dreaming of improved cash flow?” My response was quick. “Hell no!” He asked, “Then why did you get into the music business?” Folks…that question stopped me dead in my tracks. In fact, it took me a minute even to remember my “why.” I remembered that feeling that I had when I landed my first job in the music retail industry: a part-time floor jockey/janitor for a small music store in Tulsa OK. I had always loved musicians and gear. Growing up in a poor, single-parent household, I could never afford nice instruments or gear, though. So, getting to work in a store (continued on page 61) APRIL 2017
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SHINE A LIGHT
CITY OF STARS
Canal Sound & Light’s diverse, multilingual team members are service-minded and long-tenured, making them an invaluable asset.
By Michelle Loeb Deep in the heart of New York’s lower Manhattan sits Canal Sound & Light, a retail destination for DJs, professional installers, and restaurant and bar owners in the Tri-State Area, and for anyone else in need of event production or equipment rental services. The store has deep roots in the community, dating back to 1977. That’s when Jeffrey Kwan’s father, a Chinese immigrant, opened Canal HiFi. “We sold TVs, home stereos, the Walkman and things like that,” Kwan said. He first began to work at the store in 2003, following a fouryear stint as a programmer at Microsoft. The focus shifted more toward pro audio and live sound in the early 1990s, when Kwan’s father—who met Kwan’s mother when she worked as a Customer Liaison at the store— bought out his other five partners and decided to realign the store’s goals with his own passion for sound. However, Kwan noted, up until recently, the store still sold some home audio products. “But we have tightened our focus,” he explained. “As a New Yorker living here, you can’t keep all that stuff. If you’re not selling it, you have to be constantly purging.” Today, the store, which is located in a building that was purchased three years ago, offers a wide selection of powered and passive speakers, lights, mixers, production gear, speaker parts, microphones, cables and all kinds of accessories in its approximately 2,000 square feet of retail space (along with 5,000 square feet of warehouse space). “We have more than 60 speakers to test, including installation speakers for restaurants 52
and hotels,” Kwan confirmed. “And then, our ceilings are full Canal Sound & Light of more than 60 lights, including 25 moving heads.” 319 Canal St. One thing customers will notice when they walk in is that New York NY 10013 the store is fully interactive. “The lights and speakers are on 212.925.6575 switches, and everything is plugged in,” Kwan explained. canalsoundlight.com “You can plug in your smartphone and test out the sound.” He Mon-Sun: 10am-6:30pm Jeffrey Kwan, Owner recently installed a video wall in the store to keep pushing the envelope. “With that, we’ll be able to show our digital signage and DJ products,” Kwan remarked. Being a New York City-based store has its benefits. Kwan noted, “Manufacturers want to reach the New York City market. So, that makes us attractive to them.” The location also puts Canal Sound & Light in the center of incredible foot traffic, as multiple subway lines are nearby. “Being in New York, we have a lot of opportunities for people to walk in and host in-store events and demonstrations,” Kwan said, adding, “But people like to shop on their phones now. Foot traffic has gone down, and that’s a permanent change in consumer behavior.” So, although in-store sales—and, to a lesser extent, Internet sales—are an important part of Canal Sound & Light’s business, a good portion of its efforts goes into its production, rental and installation businesses. “Seven or eight years ago, we started doing more outside installations,” Kwan explained. “We used to set up a rack for customers and tell them how to install it; now, we do it ourselves.” Customers can come in and simply rent a speaker, or they can hire Kwan and his staff—there are 10 full-time employees, as well as a team of freelance technicians who help with nighttime projects—to do production work for corporate events, galas, concerts and other occasions. “We need to work with the markets that offer the greatest margins,” Kwan contended. “We roll up our sleeves and use our technical and creative skills to do additional things and offer packages, and people like it. We have a delivery service, a set-up service and an operating service.” Canal currently operates seven live music shows per week at various nightclubs and bars. His hard-working, no-job-is-too-small approach is something that Kwan credits to his parents, who are still active at the store. Over their years of growing the business, they instilled a strong work ethic in their son, and in the entire staff. “My parents help to keep the business grounded, and they give us a good internal motor to work hard,” Kwan stated. “Most of the staff is long term, which I attribute to my parents caring about their employees like they are an extended family. And, they have a passion for the gear.” Kwan said, in fact, that one staff member has been with Canal Sound & Light for more than APRIL 2017
30 years, whereas most others have been employed at the store for somewhere between five and 10 years. Having a loyal, well-trained staff is also helpful because they have had a lot of experience using the gear. That deep product knowledge helps boost sales. “We don’t just sell the gear; we also use it,” Kwan declared. “So, we can sell with confidence, because we’ve seen how these pieces perform in the field.” He relies on manufacturer support, as well as himself, to train the staff. Having a tech background from his time at Microsoft is something that has been invaluable, as the products Kwan stocks and works with continue to become more advanced. “Retail was different before I came in; everything was in catalogs,” he said. “Nowadays, the technology is so cool. You’re able to do things wirelessly off an app. So, now, customers are smart, and they want to know more than just the specs. They want to see how things integrate.” However, even having come from the tech world and the social media generation, Kwan still shares his parents’ love for the business of face-to-face customer service. “I like being in front of people,” he said. “We don’t hide behind chat boxes, phones or online stores. So, our style is a little bit of a throwback, with the new technology mixed in.”
Looking to the future, Kwan is happy with the store’s current trajectory, and he doesn’t anticipate making many changes. He’s happy to continue the culture of service, knowledge and community that permeates Canal Sound & Light. “We’re a diverse group of immigrants,” Kwan said. “We’re a multilingual group that can deal with all kinds of people from different backgrounds. I’m very proud of our team.”
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V E D D AT O R I A L
PEOPLE WHO NEED PEOPLE By Dan Vedda
Ours has always been a “people industry,” driven by the relationships we have with our customers, suppliers and colleagues. Some of those relationships are gear-centric; it comes with the territory, after all, because part of the fun is talking gear with like-minded individuals. But, today, even more of our activity revolves around connecting music making to people. We recruit new players; we help with instruction, repairs and maintenance; and we offer a place for everyone to meet and share the experience. Certainly, some businesses cater exclusively to professional musicians or
There’s nothing like the power of genuine human contact. Because I’m on the sales floor every day, all day, I talk to well over a thousand people each week, and that’s not even counting phone calls. Just greeting our 350 students and their families ensures that I’m over that mark by Thursday. One thing I can tell you is that people like it. The old adage from “Cheers”—“sometimes you want to go where everybody knows your name”—is still true. And it’s true for all generations, not only those who remember Ted Danson with dark hair. We all like to walk into a place where we’re recognized and where we feel the employees—whether they’re salesfolk, mechanics, wait staff or nurses—are ready to help us. People—from the smallest kid to the retirement-age senior—are happy when someone takes seriously their needs and questions. And we all know it’s increasingly unlikely that that will happen to any of us in our pared-down, no-frills consumer landscape. I often get a reaction of surprise, mixed with gratitude, when I do something as simple as look up song availability, or discuss repair options. Some people are downright incredulous. “I can’t believe you spent all that time helping me!” is something I hear even when “all that time” is just two minutes.
One thing I can tell you about genuine human contact is that people like it. The old adage from ‘Cheers’—‘sometimes you want to go where everybody knows your name’—is still true.
vintage enthusiasts, for example. However, as time goes on, the community music store serves and mentors the largest (and fastestgrowing) segment of the market: the beginners, the students and the lifelong hobbyists. That’s why I’m getting on my soapbox about relationships again—because they are more important than ever. Stores face ramped-up expectations from consumers, and we are continually working our jobs with no margin for error or delay. Too often, though, we succumb to the temptation to forgo relationship building in favor of speed or convenience…or, frankly, out of simple exhaustion. We might also have employees whose relationship skills are limited to Snapchatting their peers, and some of us might rely too much on new technology to replace, rather than supplement, our efforts. Certainly, it can be very helpful to use social media skills to engage customers. Increasingly, it’s the best way to initiate engagement. Sometimes, however, it seems as though the value of face-toface encounters is ignored or misunderstood. I get that this is a new era—I really do—and I’m not saying that new is bad. I use social media all day long, and I crank through scores of e-mails every day, as well. But I use them as tools to sustain communication—not as my sole interface with humanity. 54
The kids are equally taken with the exchange. Many of them have had to Google most of the answers they’ve needed all their life; to get a pre-vetted answer, without wading through everything else the search pulls up, seems like a luxury. (Although, at times, it does feel as though my last name should be “Alexa”….) My point is that we’re in a position to level the playing field against any competitor that doesn’t have a personal relationship with its customers. A lot of people want that human comfort zone; a disproportionate number are the beginners, students and hobbyists whom a community music store serves. It takes time to build up that clientele, though. Many people no longer expect that recognition, because they assume that it no longer exists. Across most industries, retail stores have eroded expectations as they cut payroll to keep numbers positive. How’s that working out, mall anchors? Hello? I think that lack of customer care, and a shopping environment that’s increasingly negative, is just as much to blame for the sorry state of brickand-mortar retail as Internet pricing and convenience. Of course, this touchy-feely thing won’t appeal to some stores, particularly those that still remember when you could sell hot new products, newly minted at the NAMM Show, as fast as you could get them in the door. (“Why do you keep talking to these [expletive deleted] when they’re not spending money?” a rep asked me in those days.) But, for those who truly enjoy helping people to make music, it will be an easy fit. If you have staff members in customer contact, now is the time to spend some training effort to foster empathy. Some of the young hires might need a little nudge. For example, “My eyes are up here—not on that screen.” Likely, they’ll warm up to it once they flex their humanity a bit. However, this is a matter of changing the habits of otherwise-helpful people. This isn’t a “technique” you can teach to non-believers of any age. If a staff member doesn’t like to help, fake empathy is equally as effective as giving him or her a new coat of paint. Years ago, I actually heard a competitor counsel a new staffer at a parent night, saying, “Smile so they think you like them.” Psychopath. As music facilitators, we have one of the best jobs. We get to introduce people to something we love, and we have a ringside seat as we help them enrich their lives. The way I believe things are trending, we will get to do this more than ever. The rewards for doing it well will be both financial and emotional. If we take the time to get our stores, and our staff, ready for the people who need and appreciate our help, the whole industry will be the beneficiary. It’s time to lay out the welcome mat. APRIL 2017
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GUITAR MARKET ‘SUSTAINS,’ DESPITE SETBACKS
Ad Index
Company
Pg
ANTELOPE AUDIO.................. 24 AUDIX........................................ 51 BAM FRANCE........................... C-II BITTREE.................................... 61 BOURNS PRO AUDIO.............. 61 CHAUVET LIGHTING.............. 45 CHEM-PAK................................ 59 CHESBRO MUSIC..................... 11 D'ADDARIO............................... 27 D'ANGELICO GUITARS.......... C-III FISHMAN TRANSDUCERS..... 35 GALAXY AUDIO...................... 3 GATOR CASES.......................... 29 GEORGE L'S.............................. 10 GODIN GUITARS...................... 25 HAL LEONARD........................ 7 HARMONY MUSIC BAND RENTALS................................ 18 KALA BRAND MUSIC CO...... 22 KYSER MUSICAL PRODUCTS............................. 18 MANHASSET SPECIALTY COMPANY.............................. 6 MARSHALL AMPLIFICATION................... 23 NAMM...................................14-15 NEW SENSOR........................... 49 ODYSSEY INNOVATIVE DESIGNS................................. 47 PARTS EXPRESS....................... 32 PJLA MUSIC.............................. 26 PRO X......................................... 31 PRS GUITARS........................... 33 RAIN RETAIL SOFTWARE...... 16 REVERB.COM........................... 5 ROLAND.................................... C-IV SENNHEISER............................ 19 SEYMOUR DUNCAN............... 43 SHURE....................................... 9 STRING SWING........................ 12 TAYLOR GUITARS................... 21 TECH 21..................................... 17 THE CAVANAUGH COMPANY.............................. 37 TRUSST...................................... 30 U.S. BAND & ORCHESTRA SUPPLIES............................... 53 VOCOPRO.................................. 13 WD MUSIC PRODUCTS.......... 8 WESTCO EDUCATIONAL PRODUCTS............................. 61 XOTIC GUITARS & EFFECTS................................. 60 While every care is taken to ensure that these listings are accurate and complete, The Music & Sound Retailer does not accept responsibility for omissions or errors.
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(continued from page 37) because it’s providing acoustic guitar players with some very fun ‘toys’ not previously available to them. If this trend continues, as onboard and external systems are put into the hands of more acoustic players, we’ll see people playing more, being more creative, having more fun. And let there be no doubt about it: We are in the business of selling fun!” Of course, there are always headwinds in MI. However, both DeStafney and Grasso are optimistic about the remainder of 2017. “Guitar sales, both for used and for new instruments, were very strong in the first two months of 2017,” DeStafney affirmed. “We’re doing very well with the PRS S2 Series, and the return of Gretsch guitars in our store is precipitating sales. In the first two months of 2017, our customers bought good-quality, American-made guitars. That’s encouraging, and I’m very optimistic about 2017.” “I’m mildly concerned about the impact that the Lacey Act and CITES will have on our international sales of guitars made from rosewood and bubinga,” DeStafney admitted. “Essentially, we have discontinued our overseas sales of all instruments that contain those woods. This won’t have a huge effect, but it will result in the loss of some sales. We have some regular international customers who won’t be buying from us this year. Hopefully, common sense will surface in Washington DC, and we’ll see some amended legislation to reduce the significant impact to the MI industry.” DeStafney continued with another trend he’s seen that has to be considered good news: higher-priced guitars are selling better. “To define my terms, ‘higher priced’ in my market is any guitar that’s $800 to $3,000,” he stated. “I’ve been surprised by how well those are selling. Now, I’m not saying they’re flying out the door. But, we seem to be selling one or two a day in that price range…sometimes more. I can live with that.” DeStafney added, “We also do a lot of trading on more expensive pieces. I love trading. It’s a great revenue multiplier. Frankly, if you’re not an active trader, your
margins on many new guitars will be woefully inadequate.” Turning back to Grasso, he said he’s always optimistic. “Thus far in 2017, both Taylor and Martin have been very strong,” he affirmed. “There is a lot of buzz around the new Fender American Professional series of guitars. Also, PRS has redesigned its SE line, which always has a strong start.” Grasso’s prevailing optimism is backed by a strong economy in the outskirts of the nation’s capital. “Being outside of the Washington DC metro area, Baltimore MD and Annapolis MD, our economy remains very strong,” he commented. “Some price points will always remain a struggle. When it comes to the higher-end products—around the $3,000 range—it’s always a more difficult sale. We make sure to stay ahead with great customer service and salesmanship to keep the customer informed about higher-end products, as well as providing events to see, feel and play the guitars. And we have specialists available to answer questions.” The latest product launches from the NAMM Show this past January will definitely keep registers ringing throughout 2017. DeStafney joked that he’s never seen so much rain at the annual Anaheim CA mega event; however, once inside, he eyed plenty of great products. “Taylor Guitars’ introductions of the Academy Series—a line of lower-cost guitars—and the GS Mini Bass were impressive, and they’ll introduce a new group of musicians to Taylor quality at very affordable prices,” he enthused. “Taylor just keeps getting better.” DeStafney found plenty of other items he liked, as well. “Given the ever-increasing focus by the
entire world on wood conservation, there has never been a better time to invest in alternative materials of guitar construction,” he explained. “I was blown away by the new Rainsong Concert Hybrid Series, which mates a carbon fiber and glass body, with its extraordinary unidirectional carbon fiber soundboard, with a 12th-fret body/neck format. The samples I played at the NAMM Show exhibited all the tonal quality of a very high-quality wooden guitar. At the same time, the guitars are practically impervious to heat, cold and humidity. With an LR Baggs onboard pickup system, the price is only $1,500, including a nice case.” DeStafney added, “I foresee more all-wood guitar companies ‘branching out’ (pun intended) to the carbon fiber guitar business. It only makes sense.” He continued, “I was also impressed with the Breedlove line of guitars, and I’m not a dealer of their product. The consistency of quality was superb, and it offered tremendous ‘bang for the buck’ across all price points.” DeStafney added, “And, finally, a small, low-priced item that I’ve become a devotee of is Rock-Tips Liquid Callus Formula. This stuff is awesome! It’s great for beginners just developing calluses, or old guys and gals like me with thinning skin, or any player who finds their fingertips sore. It’s selling in our store now, and I use it myself.” “We, too, are very excited about the new Academy Series from Taylor,” Grasso said. “They hit a new price point for Taylor.” He added, “Ibanez has released the AEW Series acoustic guitars, and they look beautiful. We’re also excited to broaden our accessory department with the new items from D’Addario, Fender and Ernie Ball.”
DON’T FRET
(continued from page 34) of the independent stores that are succeeding have that in common: an educated staff that knows the gear and how to sell it. A lot of customers come in with questions, or they’re on the fence about their purchase. A well-educated staff is really the only thing that can turn those questions into sales. Nowadays, if customers know everything they need to know
about a product, they’re often going to make their purchase online. If they have questions, or if they want to feel the guitar in their hands, they’re going to go to a brick-and-mortar store. That’s where a well-educated staff becomes hugely important. Merchandising is also important in this regard. Making sure that the instruments are well taken care APRIL 2017
of, and that they’re displayed with care, is very important in terms of a customer getting an accurate read on the instrument’s feel. Patrino: Of course, right now, in the U.S. and worldwide, there’s a retail revolution. The actual sales mechanism has changed so much, as we all know. Having an online presence in addition to your physical store is practically required nowadays. Making the vibe of your store visible and present in your Web site presentation can show a customer who is exploring what’s important to your store, and what he or she can get from an in-person visit. Having knowledgeable staff, continuing service after the sale (string changes, lessons, etc.) and involving your business in community events can all make the difference, too. In-person customers can be extremely loyal to your store. Online customers, however, are often disloyal to a single vendor. Having community events, such as a Battle of the Bands, performances or clinics, can turn those online customers into actual store visitors. Friendly staff members should also have an instrument to pitch at most price points. That way, when a customer describes his or her budget, a salesperson can pitch the right match. Parker: Stores have to make sure that they are the guitar experts in the area. Provide in-store demos and record them; then, upload those demos on YouTube and your Web site. Host events where your customers can engage with guitars and guitar accessories that are new. Have an effect pedal night, when customers can come in and chain a bunch of pedals together, so they can see what they sound like together. The store’s guitar teachers can present clinics on guitar-related topics. I love to host events, because it brings in not only existing customers, but also brand new customers who haven’t had a reason to come by your store yet. The key is to provide reasons to come into your store. I can buy anything I want right on my phone—anything except experiences with real, live people. That becomes the responsibility of brick-and-mortar stores…to provide those real, live, personal experiences. Those types of MUSIC & SOUND RETAILER
experiences are at a premium in our digital age, and customers are willing to travel and pay extra for those experiences.
The Retailer: We all know that, if we don’t seed the next generation of guitar players, the future for guitar manufacturers and retailers will be uncertain. What are the best, most effective ways to cultivate that next generation? What efforts does your company, and do your dealer partners, undertake? What results have those activities yielded? Parker: I am sure the lessons theme has been pounded into everyone’s head a million times over. But, the best way to sell more guitars is to make sure the beginner guitar player has a positive experience with a quality beginner instrument. Not only do you need a quality guitar, but you also need quality teachers. Today’s guitar teachers have to be dynamic, and they have to make new musicians want to practice and stick with it, even after they realize it’s going to be way harder than they thought it would be. The best teachers get their students through that painful initial phase. Then, once the new players learn a few songs, they’re hooked! It seems like more schools are teaching guitar and ukulele as part of their music programs. Every high school and most middle schools in our area have both guitar and ukulele. We have teamed up with the school districts, and we’ve donated instruments to help them start their programs. This has seeded the market with new players who are excited about the instruments. Schaefer: I think younger people really need to see more aspects of guitar playing than being the front man in a rock group. The days of the guitar gods are fading. Don’t get me wrong: We still, and always will, have some greats. But not every kid who picks up a basketball is going to be Michael Jordan—and that’s OK! You can still enjoy playing, learning and growing. You can still create. You can even still make a living by playing guitar. One of the ways we try to communicate that is by engaging with non-traditional artists and influenc-
ers. Yes, we work with Carlos Santana and Mark Tremonti; however, we also work with Rob Harris, who wrote the theme for “The Lego Batman Movie”; Ricky Tillo, who backed Lady Gaga’s Super Bowl performance; and Tyler Larson of Music is Win. We also make a strong effort to engage with people at “ground zero” by showcasing at music festivals, as well as speaking with guitar students in communities across the country. Last spring, I was able to give a talk to young, female guitar players. The message was that, if you keep up with your playing, there are countless ways to have an MI career. Lastly, I think creating and sharing content that helps people for the months and years after they get their first guitar is hugely important. We need to support aspiring players early on, so that they’ll keep playing! There are some great apps out there now, and some wonderful online and in-store lessons programs that help the cause. There is no one-size-fits-all model. So, we work with several educational partners to help make sure the next generation can grow. Lovinggood: Cultivating the next generation of guitar players is something we have very much focused on for the past several years; it’s massively important. Not long ago, there were very few artists who endorsed D’Angelico; since, we’ve grown to have an expansive and diverse artist roster. In particular, we’ve made it a point to have both modern artists and well-respected legacy names playing our guitars. Our product line spans every genre, and our artist roster reflects just that: jazz cats, indie rockers, classic rockers, bluesmen, singer-songwriters, studio musicians, etc. Seeding the market in this particular way has really catapulted the D’Angelico name to much greater popularity, and we’re tremendously proud of the presence we’ve established across a number of music scenes. We’ve also put a huge amount of effort into developing our brand, rather than only focusing on where instrument companies market to players. We’ve made sure to have an impressive social media presence; to produce the
highest-quality video and photo content; and to consistently grow our young audience by sponsoring music festivals, working with music blogs and taking a creative approach to our marketing. The music industry can feel like a small place, where marketing constantly hits the same audience. So, we make a concerted effort to reach beyond our industry standards, because a lot of young musicians aren’t necessarily following what middle-aged musicians are. Our creative partnerships and events that go beyond just the music industry reach those younger players. And, combined, all of our efforts have seen us gain a much larger young following in the past few years. Patrino: Popular music will follow its arc regardless of what we, as manufacturers and retailers, are pushing. I don’t think accordion stores were responsible for that instrument’s decline in popularity. That said, finding young talent and going where they are is essential. As guitar builders, we’re looking for new artists at festivals, local shows and online. Starting, and then nurturing, those relationships has been extremely helpful and fulfilling both for us, as an instrument maker, and for the artists. Artist endorsements do affect sales, provided
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UNDER THE HOOD: ALVAREZ’S AG/AR ARTIST SERIES ARMREST MODELS
it’s the right artist and the right product. Guitars are still being used to make music. In fact, now, most songwriters who write and record out of their homes are going to have an acoustic guitar, an electric guitar and a bass. So, even if a lot of their sounds are electronic “in the box,” they’re still recording with at least three physical instruments. Sixty years ago, most players had one instrument. So, even with the changing styles of music, retail needs can be even greater.
(continued from page 62) the AG70AR. The AG60AR features an A-plus-grade solid Sitka spruce top, mahogany back and sides, and a rosewood armrest. The AG70AR has an A-plus-grade Sitka spruce top, rosewood back and sides, and a flamed maple armrest. “The difference between the two is the tone from the different combinations of tonewoods, as well as affordability,” Meikle said. Both models are grand-auditorium guitars. “Grand auditoriums have a shape that is very versa-
tile, because they’re big enough to generate the air volume needed to get great tone,” he explained. “They’re smaller than a dreadnought, and they curve more, so they’re great to put an armrest on.” The AG60AR and AG70AR both feature a scale length of 25.5 inches and 21 frets, with a one-and-three-quarter-inch nut. “One of the reasons we use an inch-and-three-quarter nut is so the guitars welcome fingerpicking as well as strumming, so they
can be as versatile as possible,” Meikle said. Alvarez’s AG/AR Artist Series Armrest Models are available in either acoustic or cutaway acoustic-electric versions. The acousticelectric models (AG60CEAR and AG70CEAR) feature LR Baggs electronics. The AG60AR carries an MSRP of $599 ($749 for the AG60CEAR), whereas the AG70AR has an MSRP of $699 ($849 for the AG70CEAR). All versions are currently available in natural finish.
FIVE MINUTES WITH: SUZANNE D’ADDARIO BROUDER: EXECUTIVE DIRECTOR, THE D’ADDARIO FOUNDATION
(continued from page 43) Tell us about how that came together. It must have been a tremendous undertaking. D’Addario Brouder: For more than 30 years, D’Addario & Co. has donated a significant portion of its net income annually to the D’Addario Foundation, thus funding our mission. What that essentially means is that a percentage of every product we sell goes directly to supporting music education. In 2016, as a result of a few things—the many improvements we, as an organization, made over the last five years; the continuing need to support music education; and the amazing results we were seeing—we decided that it was time to greatly expand what we do. Although D’Addario has been
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in the music industry forever, we really have never asked anything of anyone, nor are many people aware of the philanthropic work that we’re doing through the foundation. In 2016, our goal was to change that, and I think we achieved that goal. But the hard work is only beginning, as we answer to a larger pool of stakeholders and critically analyze our abilities, our processes and our impact potential in the future. We also have to remain flexible and move as needs change. And we have to constantly ask ourselves, “With the resources we have, what can we do to ensure we are the best champions for music education?” In 2017, we continue to seek out those interested in allowing us to invest in a diverse range of exceptional community-based programs that change the life trajectory of the children they serve.
The Retailer: What can you tell us about future events that the D’Addario Foundation might be planning that are similar to the “Music Makes You” benefit concert? Is anything on the horizon? D’Addario Brouder: We have a very exciting, bold plan for a benefit concert in New York, whose details we are just now ironing out. In addition to raising funds to expand the work that the D’Addario Foundation does, this approach, we hope, will generate a lot of attention, carrying the need to support music education to a much broader audience. The Retailer: You are ver y passionate about ensuring children have access to
high-quality music-education programs. Explain some of the benefits children enjoy by virtue of participating in robust music programs in school and after school. D’Addario Brouder: Making it possible for kids to study music is an essential element of education, and we want to support programs that give a child that opportunity through all stages of his or her education. Learning to play an instrument teaches collaboration, discipline, focus, resilience and confidence. It has also been proven to enhance a child’s academics: not just in mathematics, but also in language and science. It unlocks the ability to think in creative and innovative ways. When extending those opportunities, what we receive in return are children who will be better citizens of the world. As grant-makers, we provide support for programs that are not just teaching music, but also lifting human aspirations, elevating quality of life and strengthening disadvantaged communities. Since these programs began, we have seen amazing results. In neighborhoods where the high school dropout rate hovers at 50 percent, more than 95 percent of participating students are graduating on time and applying to college. Many are the first generation in their family to attend college. The rate of attendance for some of the daily music-training programs exceeds 90 percent. In many programs, participating students are involved for an average of seven years. Active participation in music via community-based programs gives kids the ability to defy the odds,
attend college and, ultimately, succeed in life.
The Retailer: The D’Addario Foundation has won the MSA for Outstanding Community Ser vice for four years in a row. That’s unprecedented in MSA histor y. Tell us a bit about how the D’Addario Foundation might differ from other company-rooted charitable organizations. D’Addario Brouder: Great question! First off, I would say that there are certainly a number of organizations and individuals in our industry that care very deeply about supporting the development of music education, and they do the best they can to make a contribution. Receiving this recognition is also an acknowledgment from our industry peers that they understand that, by purchasing D’Addario products, they, in turn, are supporting something incredibly meaningful, because a percentage of every product sold goes to support music education. There are many ways that I think we are uniquely equipped to significantly impact access to music education. First, we have more than 30 years’ experience researching the methods required to make the right funding choices. One-hundred percent of our budget is dedicated to our partner programs, as D’Addario & Co. absorbs all our operating costs. Unlike many other philanthropic organizations, we seed programs in the early stages of development, and we support a very diverse range of programs. The credibility of our company name makes it possible for grantees to garner other forms of support. APRIL 2017
Our affiliation with D’Addario also allows us to donate critical instrument accessories, as well as provide monetary grants. And, lastly, our experience running our very own lessons program provides critical insight into the daily challenges and successes of running programs that are very similar to those we support.
The Retailer: What’s the most motivating, inspiring aspect of your job? When your inbox is overflowing and there are a million things to do, what makes you eager to get out of bed in the morning and get to work? D’Addario Brouder: It’s simple, really: Music itself is inspiring to me. The effect it has on me fuels my desire to ensure that as many children as possible have access to its beauty. But, every day, I am inspired, in particular, by the countless individuals who, despite significant odds, are doing extraordinary work to positively impact the lives of kids through music. They are people who, on a daily basis, give their free time, their own money, their food and their kindness to others in need. I am amazed every day by their passion, and I want to do as much as possible to help them achieve success. Keep in mind that many of the programs we support are doing much more than just teaching a child to play an instrument. These programs, particularly those that
take place during after-school hours, become a safe haven for kids. Students receive homework help, snacks and other forms of assistance. When a child is shepherded through that type of program, you suddenly see the development of a conscientious individual…someone who wants to give back and be a mentor to the next generation…someone who dreams bigger for himself or herself.
Additionally, the D’Addario Foundation has only scratched the surface in terms of collaborating, and making connections, with others in the music industry (and beyond) to instill a desire to make music in future generations. In five years, I imagine having stronger partnerships with dealers and a systematic way to work together
The Retailer: What do you foresee the D’Addario Foundation doing five years from now? D’Addario Brouder: Currently, much of our support is directed to independent not-forprofits that bring music instruction into schools where it does not exist during after-school hours. Five years from now, I hope that our work will have made inroads, influencing school districts across the U.S. and beyond to institute music programs during the school day, or to build more time during the week for more robust music instruction. In five years, we will also have even more powerful statistics that provide further proof that students—particularly those from disadvantaged communities, who are at risk—have much-improved outcomes in terms of graduation rates and college enrollment when they participate regularly in music instruction.
to encourage that development. Similar to the DNA of D’Addario & Co., we will continually seek innovative solutions to encourage the widespread development of music education, and to help ensure that as many children as possible have access to profoundly impactful musicmaking opportunities.
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CONFESSIONS OF A RETAILER: KEEPIN’ IT 100
(continued from page 50) where I could get gear at cost, and where they gave me money to sell gear to other musicians, was a dream that I didn’t even know was possible. As I shared that memory with him, the coach was quick to point out that, when I was talking about our products and our people, I was invigorated. I was passionate! His suggestion was simple: Find a way to tie my job back to the people who, and the products that, made me love this industry in the first place. That started a journey that began several months ago—it’s one I feel like I’m still on—a journey to find my passion every day and work from that place. As the boss, I have a responsibility to make sure that my people are taken care of. But I don’t have to MUSIC & SOUND RETAILER
be the one who does it all. I can find people and partners who can help with the burden of HR, insurance and finance. (Some of those people were already in my company, just waiting to be trained.) That frees me up to do what only I can do: share my passion for our industry, our products and, most importantly, our people. So, that’s what I’m doing. In the next article, I’ll dive into the changes I’ve been making so that I can lead my people, and my company, in the manner in which they deserve to be led. So, how are you doing? Are you passionately focused on your people and your products? Reach out to me (donovan@springfield music.com) and let me know. And, when you do, remember to keep it 100.
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UNDER THE HOOD
ALVAREZ’S
AG70AR
AG/AR ARTIST SERIES ARMREST MODELS By Anthony Vargas
AG60AR
AG70CEAR
AG60CEAR
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Guitar manufacturers have many options, including new neck shapes, cutaways, softer strings and smoother frets, when it comes to increasing comfort for guitarists.One comfort-enhancing option that seems to be having a moment as of late is the built-in armrest. Owners and operators of brickand-mortar music retail stores have been seeing a lot more armrest guitar offerings recently. However, they might not know the benefits that the product category provides, or how to explain to potential customers how an armrest guitar can change his or her guitar-playing experience for the better. According to Chris Meikle, Head of Development at Alvarez and Senior Vice President of St. Louis Music (Alvarez is a St. Louis Music brand), “When you’re playing a guitar for a long time, the big pressure point is underneath the strumming arm. Reducing that edge with a bevel makes it more comfortable.” He added, “For some players, depending on their body size, a bevel may actually make the guitar easier to play.” With those benefits in mind, Alvarez’s new line of AG/AR Artist Series Armrest Models makes player comfort a top priority. But, although the beveled armrests of the guitars are indeed functional, they also take the look of the guitar to a level of sophistication not often seen at this price point. “Without a doubt, an armrest allows the maker to add some flourish to the design,” Meikle explained. “So, it’s not just the comfort that appeals to the player, but also the aesthetic.” He continued, “It allows us, as a maker of primarily affordable instruments, to show how much we can do. We can take an idea like an armrest, which originally came from great luthiers in the past, and we can show that we’re able to attain high quality in that style and, through some careful considerations, make a guitar with a street price of $399.” One of the major design process focal points for Alvarez’s AG/AR Artist Series Armrest Models was working to differentiate the guitars from other armrest offerings in the greater guitar market. According to Meikle, “I started armrest development over two years ago, and we were going to launch them at the NAMM Show in 2016. But, I delayed it because I thought that we hadn’t differentiated ourselves enough among competing armrest models at the time. We were too ‘me, too.’” He continued, “So, we went back to the drawing table and made a more beautiful and more comfortable armrest. We improved the natural radius of the bevel, so the armrest looks more elegant and offers something better than many affordable guitars that were already in the marketplace. Compared to many armrest bevels, we believe ours is more elegant and natural to the shape of the guitar.” Meikle added, “The challenge with making the armrest models was in making the bevel slimmer and more elegant. In doing so, we were working with less material. So, we had to be more careful, precise and efficient. Finding the balance between craftsmanship and efficiency is something we always spend time on.” Alvarez rigorously tested the new armrest guitars to ensure their durability and playability. “Speaking to the stages of development, we build several sets of samples and test them from a player’s perspective, and we also test for stability and structural integrity,” Meikle offered. “We do a series of stress tests, along with drying and humidity tests, as we go into preproduction. When we know we have it right, we go on to production.” Two AG/AR Artist Series Armrest Models are available: the AG60AR and (continued on page 60) APRIL 2017
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