Music & Sound Retailer May 2017, Vol 34 No 5

May 15, 2017 Volume 34, No. 5

THE NEWS MAGAZINE FOR MUSIC PRODUC TS RETAILERS

Pro-Audio Issue

Honored To Serve

BE SURE TO WATCH

CELEBRATING ‘THE GOOD STUFF’ THAT MI COMPANIES DO TO SERVE THEIR COMMUNITIES

By Dan Ferrisi

Although the main purpose of going into business is, of course, to make a profit, MI isn’t just any old business. We’re not selling aluminum siding, cutlery or shoes; instead, we’re selling the joy of music-making. That means our industry is fueled by passion and a profound personal commitment to one of the most joyful activities in the human experience. As a direct outgrowth of those aspects of our industry, the MI community is heavily invested in charitable, philanthropic and community-affirming work. And, in honor of the humanitarian commitment of music products makers and sellers, we present our annual “The Good Stuff” cover story, in which we spotlight a handful of companies whose charitable efforts stand out from the crowd.

This year, we received submissions from companies large and small, whose philanthropic activity ranged from supporting music-education access to funding programs for veterans who’ve returned home from war. All of these companies deserve to be commended for the selflessness of their service, although, of course, that’s not what motivates them. Rather, they’re driven by the irrepressible desire to give back.

We’re honored to share their stories with you. (continued on page 19)

(continued on page xx)

SPEAKING OF SOUND…

Pro-Audio Sales And Service Present Opportunities For Repeat Business

By Anthony Vargas

Instrument sales may rise and fall, but sound reinforcement remains the foundation of the music products industry. It’s a simple fact of biology; as long as we continue to listen to music with our ears, pro-audio products, such as speakers, amplifiers, mixers and monitors, will remain indispensable. And it may be cliché, but even the most talented musicians will sound terrible if they’re using a subpar sound system. For all these reasons, music retailers should strongly consider making pro audio a central part of their business—if they aren’t already.

As part of our annual look at the pro-audio market, The Retailer reached out to some high-profile names in MI retail in an effort to gauge the health of this particular category and to glean some advice as to how music store owners can cash in on new opportunities for pro-audio equipment sales, service and training. Participants in this discussion include Matt Ray, Owner of Eat My Beats (eatmybeats. com), Pat Sullivan, Vice President of Merchandising – Tech at Guitar Center (guitarcenter.com), and Mike McAfee, Tone Guru and Chief (continued on page 50)

L AT E S T

Chauvet Acquires ChamSys Chauvet & Sons LLC has completed the acquisition of ChamSys Ltd., the Southampton, U.K.-based designer and manufacturer of lighting controllers. ChamSys provides Chauvet a strong presence in the controller market, complementing its CHAUVET Professional lighting fixtures and LED video panels. “We are very excited about the opportunity to join forces with ChamSys,” Albert Chauvet, CEO of Chauvet & Sons LLC, said. “ChamSys has a well-deserved reputation for innovation, quality and value…the same principles that are at the heart of our own Chauvet brands. Together, ChamSys and Chauvet are now in a position to better cover and serve worldwide markets.”

ChamSys will continue to operate as an independent business unit from its facility in Southampton. ChamSys’ Founders, Chris Kennedy

and George McDuff, will remain as Managing Directors of the company and, together with Sales Director Tony Cameron, they will continue to lead its current staff of software and hardware engineers, as well as the operations, sales and support teams.

ChamSys’ MagicQ series of lighting control products will continue to be sold by the company’s current network of distributors, except in the U.S., where Chauvet will sell and support ChamSys products from its headquarters, which is located in Sunrise FL. The CHAUVET Professional sales team will assume responsibility for ChamSys sales in the United States. They will have the full-time support of Phil Watson, former CEO of ChamSys, Inc., who has been appointed to serve as ChamSys USA Director.

Yamaha Generously Funds Music-Education Program An auction of Yamaha guitars used in the live “Mad T Party” show at Disney California Adventure raised $9,000. The funds were used to purchase 40 instruments, including trumpets, clarinets and flutes, to benefit the music-education program in Anaheim CA’s Anaheim Elementary School District (AESD).

When the popular Disney show ended, the instruments were returned to Yamaha, which is the exclusive musical instrument sponsor of the Disneyland resort. Of the guitars returned, three were purchased by musicians in the band and Yamaha kept one for display; that left four Yamaha Pacifica Mary Grace, Assistant Superintendent, Educational Services for Anaheim Elementary School District, models and one bass model BB1024x for the receives a check for $9,000 from David Jewell, Marketing auction. All were decorated with a full-color Communications Manager, Yamaha Corp. of America. graphic of the Dormouse character from the Tim Burton-directed, live-action “Alice in Wonderland” movie.

“We thought auctioning the guitars would be a good way to help get musical instruments back into some of the schools, and to get more visibility of the needs of school music programs,” David Jewell, Marketing Communications Manager, Yamaha Corp. of America, stated.

“With Disneyland and Anaheim in our backyard, it made sense to

donate the $9,000 to their school district’s music-education program.”

According to Jewell, none of the 24 Anaheim elementary schools had music programs three years ago. Today, half of them have full-time music teachers and full programs. The money raised from the auction will help expand music education to all 24 schools. “Studies repeatedly show that, when children are exposed to music in school, all their subjects will improve, leading to a better academic experience,” Jewell added.

“Yamaha has always been a leader in music education, and it is personally gratifying to help further that mission in the Anaheim schools.”

Eastman Music Co. Partners With D’Addario D’Addario & Co., Inc., has forged a partnership with Eastman Music Co., whereby the prominent instrument manufacturer will exclusively use D’Addario’s strings on its entire range of fretted instruments, including its electric guitars, acoustic guitars and mandolins. Established in 1992 as an orchestral stringed instrument manufacturer, Eastman is committed to the handcraftsmanship and heritage of historic luthiers and builders. That commitment to tradition and artisanship led to the creation of Eastman Guitars & Mandolins in 2003. Since then, Eastman Guitars has prioritized the use of premium tonewoods and fine appointments, building a tradition of its own.

Speaking about the exclusive partnership, Bob Bakert, Director of Eastman Guitars, commented, “It was a very easy decision for Eastman Guitars to partner with D’Addario Strings, given their world-class quality and rich history. Couple that with the tremendous talent both internally at D’Addario and externally with their players, and this is really a fantastic opportunity for Eastman.”

MUSIC & SOUND RETAILER

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VOLUME 34 NO.5

Features ON THE COVER

Honored To Serve

Our industry is fueled by passion and a profound personal commitment to one of the most joyful activities in human experience: making music. As a direct outgrowth of those aspects of our industry, the MI community is heavily invested in charitable, philanthropic and community-affirming work. In honor of that, we present our annual “The Good Stuff” cover story.

ON THE COVER

Speaking Of Sound…

As part of our annual look at the pro-audio market, The Retailer reached out to some high-profile names in MI retail to gauge the health of this particular vertical and to glean some insight into how music store owners can cash in on new opportunities for pro-audio equipment sales, service and training.

42 Shine A Light

Ed Intagliata recently started his 40th year as the Owner and Manager of Cassell’s Music. It’s a store whose heart is big as can be, and it’s one that fosters community and camaraderie among local music makers.

44 Retailer Rebel 34 Special To The Retailer

Chances are, you can think of at least one business with which you have a personal connection. But how does a person feel an intimate connection to a company or its products? Through branding.

Columns 28 Five Minutes With

Chris Doss’ appreciation for Audix moved him toward a career at the company. In this interview, he talks about Audix’s, and his own, moral fiber, as well as their shared devotion to the dealer network. Doss also discusses breaking into system installations.

32 MI Spy

For this month’s deep-cover excursion, the MI Spy was ostensibly shopping for a pair of headphones for his son, who wanted them for practice on his electronic drums. Our resident super sleuth started his search in the northern part of San Diego County CA and finished it at the southern end, near the U.S.-Mexico border.

4

36 Anniversary Spotlight

Following several decades of advances in digital mixing, Yamaha continues to enjoy the loyalty of many audio engineers and musicians worldwide, as it celebrates its 30-year milestone in the digital mixer field.

38 Front And Center

Kristy Porter is all about business––the music retail business, that is.

Since 2001, she’s been a top performer at Guitar Center, one of the largest music retailers in the country, where she’s served in numerous prominent roles.

40 From The Trenches

There’s a great deal of wisdom in Charles Darwin’s observations about “survival of the fittest.” Here in the brick-and-mortar retail environment, however, a more fitting observation might be “survival of the persistent.”

Gabriel O’Brien is acutely interested in organizational tools that offer him efficiency and convenience. After doing a little searching and downloading a few apps, he found one that really stuck out: Slack.

46 Veddatorial

Dan Vedda is dismayed when he hears the supplier/dealer connection expressed in terms of “us” versus “them.” It’s too easy for some of us to forget that the “people part” of our business works both ways.

54 Under The Hood

MXL Microphones’ DX-2 Dual-Capsule Variable Dynamic Instrument Microphone allows limitless customization of tone and pickup, while boasting an innovative design for optimal microphone performance and placement.

Buzz Latest...3 People...13 Products...17 MAY 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 futu of selling gear. future

JON HABER

Owner, Alto Music AIMM Member Reverb.com/altomusic

EDITORIAL

A Passion For Service All too often, we—whether as individuals, businesses, communities or society at large—tend to be self-focused, rather than devoting equal attention to the wellbeing of others. This tendency is understandable in light of our Darwinian origins, but it’s important to keep our solipsism in check and remain concerned with, and attentive to, those who share our planet. In our day-to-day private lives, that might mean donating to a worthy cause, volunteering to spend time with foster kids, working in a food pantry or restoring polluted areas to their natural beauty. In our professional lives, it often means bringing to bear music products companies’ considerable resources to make a life-changing difference to those who benefit from a worthy organization’s work. This is the essence of good corporate citizenship, and the MI community is fortunate to exemplify that essence.

This month, we return with our “The Good Stuff” cover story, spotlighting charitable, philanthropic and community-affirming work performed by music products companies over the past 12 months. As one might expect, many of our collective charitable efforts center on expanding access to music-education programs and music-making opportunities. Indeed, The D’Addario Foundation, Alfred Music, Guitar Center, Yamaha Corp. of America and many others work with diligence and passion to put instruments into people’s eager hands.

And, because so many of us are musicians ourselves, it’s no mystery why: We know firsthand the transformative effect that music-making has on people. Whether it’s increased creativity and imaginativeness, improved mental acuity and critical-thinking skills, or greater camaraderie and social cohesion, the benefits of music-making are numerous, inarguable and dramatic.

I felt privileged to attend the NAMM Music Education Advocacy DC Fly-In three times over the past several years—including 2015 and 2016—not only because I had

the opportunity to lobby our government directly, but also because I got a front-row seat to the delegates’ achingly sincere evangelism on behalf of music making. Senators and representatives have scores of meetings each week, and the process must become rote after a while. I have a hard time believing, however, that very many of them left their NAMM delegate meetings unmoved. Thanks to the incredible body of research that NAMM has amassed, we have the facts on our side—but we touch the heart just as much as we persuade the mind.

As I write these words, the next Fly-In is about seven weeks away; however, as you read them, it’ll be nearly upon us. It might be too late to sign up for the Fly-In if you’re not already on the roster, but I hope those who haven’t signed on as delegates strongly consider joining our group on a future advocacy mission. And for those who will be traveling to Capitol Hill? There’s been perhaps no year in recent memory when the need for your wisdom, passion and persuasion has been more pressing. Leaving all partisan considerations aside, the arrival of a new administration— particularly one that benefits from single-party control of the executive and legislative branches—means big things can happen on the federal level.

Although all of us rightly celebrated President Obama’s signing of the Every Student Succeeds Act in December 2015, the law’s implementation is just as important as its initial passage. Washington’s current predilection is for decentralizing control, limiting federal mandates, and delegating decisions to state and local officials. To the extent that such decentralization could affect music and arts education as well-rounded subjects in our nation’s public schools, NAMM delegates must speak loudly and in a unified voice to argue that every student, in every public school, in every state must have access to music programs.

It’ll help us do well; more important, it’ll be doing good.

May 15, 2017 Volume 34, No. 5

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MAY 2017

L AT E S T

The WiMN’s Advisory Board Has Been Officially Unveiled The Women’s International Music Network (The WiMN) has announced the members of its newly formed Advisory Board. Composed of a dynamic group of leaders, its members represent a broad range of roles in the music industry. The group will serve to advise and guide The WiMN, contributing time, ideas and resources to aid its growth and outreach.

Members of the new Women’s International Music Network Advisory Board are as follows: Mindi Abair, Grammynominated saxophone player and singer/songwriter; Brian Berman, Vice President of Marketing, Guitar Center; Janet Billig Rich, Founder, Manage This Media; Dawn Birr, Commercial Manager, Audio Recording, Sennheiser Electronic Corp.; Monique Boyer, Director, Artist Relations/MAC Pro Membership, MAC Cosmetics; Rob Christie, President of A&R, Robo Records; Tish Ciravolo, President, Daisy Rock Girl Guitars; Lisa Foxx, on-air personality, MYfm Los Angeles, iHeartRadio; Dinah Gretsch, Executive Vice President and CFO, The Gretsch Company; Leslie Ann Jones, Director of Music Recording and Scoring, Skywalker Sound; Karrie Keyes, Monitor Engineer for Pearl Jam/Eddie Vedder and Co-Founder of Soundgirls.org; Beth Marlis, Vice President, Musicians Institute; Dani Markman, Director, A&R, Disney Music Group; Heather Dembert Korg USA is now the exclusive U.S. distributor of Crush Drums and Percussion’s line of Rafter, Principal, RafterMarsh US; Paula products, which are made for drummers by drummers. The partnership will involve Korg USA Salvatore, Vice President/Studio Manager, working hand in hand with the brand’s founders to manage all sales, marketing, supply manageCapitol Studios; Brad Tolinski, Editorial ment and customer support, as well as efficient shipping, warehousing and financial procedures.

Director of Special Projects, AMG Parade; Jeff Shreiner, Korg USA’s Drum Product Brand Manager, stated that the company is excited and Karen Webb, Founder, PR Squared to add the Crush name to its roster of brands. He continued, “As the new distribution partner Public Relations. for Crush, we aim to provide dealers with [a high] level of customer service, satisfaction and overall total value.” He continued, “We look forward to supporting Crush and bringing new energy to an already-exciting brand.”

“Making the decision to align the Crush brand with Korg USA, which is such a respected company in the industry, is the most strategic way for us to establish dealer confidence in our product line,” Terry Platt, CEO and Co-Founder of Crush Drums and Percussion, noted.

“Since our launch in January 2011, Crush has been very fortunate to have been so well received by drummers all over the world…. As we venture through 2017, we are absolutely elated with the progress we have made, and we trust in the exceptional service the team at Korg USA will help us provide to dealers….”

Crush Drums Announces New U.S. Distributor

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MAY 2017

L AT E S T

Music & Arts’ ‘Upgrade Your Sound’ Tour Rolls On Music & Arts is fully underway with its “Upgrade Your Sound” event tour. The popular, free event invites students, musicians, educators and parents to test drive a wide assortment of woodwind, brass and stringed instruments, speak with instrument specialists from major brands, and receive discounts and special financing offers from Music & Arts. Through the end of this month, the tour is visiting multiple cities across the U.S. It includes two event series: Horns of Plenty events offer a large selection of woodwind and brass instruments, whereas String Showcase events offer orchestral instruments. Guests can also consult with instrument specialists from Music & Arts and top brands like Yamaha, Bach,

Giardinelli, Conn-Selmer, Buffet, Fox, Eastman, Strobel, Howard Core, Vandoren, Rico and others.

Participants can sign up online to request brands and models they would like to try at the event.

“Selecting a new instrument

is a fun process, but it can also take some time and bring some questions along with it,” David Fuhr, Vice President of Sales, Music & Arts, said. “We created these events to invite the community to try the widest assort-

ment of instruments available and to speak to specialists, all in one place. It’s an engaging, fun and educational experience that addresses a variety of musical scenarios and needs.”

National Sales Director Jeremy Mueller added, “We are excited to also offer the community a wide variety of special financing options during our ‘Upgrade Your Sound’ events. We’ve developed attractive pricing and financing solutions to suit a number of customer preferences and provide offers everyone can take advantage of, making every instrument affordable for every budget.”

The “Upgrade Your Sound” Spring 2017 event tour takes place at various Music & Arts stores and other locations in communities across the U.S.

International Drum Month Has Arrived

This month is International Drum Month (IDM), and the Percussion Marketing Council (PMC) is again hosting the “Roadie for a Day” promotion. It’s intended to create excitement for drums and drumming among current and potential drummers across the U.S. Through the promotion, drummers are introduced to online retailers, music stores and drum shops nationwide, and they’re encouraged to visit local music shops.

“PMC’s mission is to instill excitement about playing drums and to put sticks in kids’ hands,” Karl Dustman, Executive Director of the PMC, said. “This promotion is one of our best vehicles to help build the drumming community and raise awareness of the fun of playing drums.” Now in its 22nd year and further supported with grants from the NAMM Foundation, IDM might have its most successful campaign to date in 2017.

The “Roadie for a Day” 2016 grand prize winner, Henry Saad, gawks at Rich Redmond’s drum kit, as drum tech Jon Hull looks on.

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In addition to connecting drummers to retailers across the U.S., International Drum Month is meant to inspire new and young drummers to further their passion for drumming by connecting them with a drumming community. The driving force behind International Drum Month is the “Roadie for a Day” promotion, where one lucky winner is able to attend a complete recording session or concert performance with backstage passes. Previous spokesmen have included Shannon Larkin of Godsmack and Rich Redmond, drummer for Jason Aldean. Both helped the promotion become a resounding success, and they gave the grand prize winner a once-in-a-lifetime experience. This year, Matt Greiner, drummer for August Burns Red, is hosting the contest.

If you’re interested in becoming a participating retailer for IDM, register at playdrums.com/retail.

MAY 2017

L AT E S T

MI Community Gears Up For Make Music Day

Make Music Day, an annual global celebration that features more than 4,000 free, outdoor concerts, music lessons and jam sessions in the U.S., returns this year on June 21. The all-day musical celebration on the summer solstice, which brings people of all ages, backgrounds and skill levels together to make music, will feature more than 50 U.S. cities hosting major celebrations. The list includes New York NY, Los Angeles CA, Boston MA, Chicago IL and Detroit MI, plus the entire states of Vermont and Rhode Island, with smaller festivities popping up in other communities nationwide. Make Music Day encourages all people to experience the pleasure of making music. Every kind of musician—from bucket drummers to opera singers—pours onto streets, parks, plazas, porches, rooftops, gardens and other public spaces to share their music with friends, neighbors and strangers.

Highlights of Make Music Day in the U.S. will include Sousapaloozas in six different cities, bringing together hundreds of brass and wind musicians to play the music of John Philip Sousa; Street Studios in five different cities, where DJs and producers bring their gear and engage passersby in the spontaneous, collaborative production of original music on the street; and more than 150 Mass Appeals across the country, gathering musicians to play together in large, single-instruments groups. Instruments with Mass Appeal events include guitars, harmonicas, accordions, flutes, percussion, trombones, bassoons, French horns, synthesizers, ukuleles, djembes, harps and voices.

Make Music Day, which began in France in 1982 as the Fête de la Musique, has since grown to include more than 750 cities across 120 countries. It’s presented in the U.S. by The NAMM Foundation and coordinated by the non-profit Make Music Alliance.

Magic Rosin Joins Connolly Music Family

Connolly Music Co. recently acquired boutique company Magic Rosin, contributing to its lineup of orchestral music products. Magic Rosin is premium rosin used for violin, viola, cello and bass. Made with natural ingredients, it produces minimal dust, and it has no hidden ingredients that can be hazardous to instruments or players. Formulated from premium-grade pure pine resins, it provides good grip for a clean, complex tone to suit professional musicians and students alike.

The rosin comes in two formulas—3G and Ultra—which both provide excellent grip, although Ultra delivers the strongest grade of grip.

With Connolly Music acquiring Magic Rosin, it will distribute the product more widely through music stores, while also providing customer support. “We are thrilled to have Magic Rosin as a member of the Connolly family of brands,” Jake Connolly, President of Connolly Music, said. “We’re delighted to bring this inspired boutique line to more string musicians throughout the world.”

MUSIC & SOUND RETAILER

Paul Reed Smith Bestowed With Honorary Doctorate

Paul Reed Smith, Founder and Managing General Partner of PRS Guitars, has received an honorary doctorate of public service from Maryland’s Washington College. The degree, which was in recognition of Smith’s significant achievements as an innovative and creative thinker, was presented by Washington College’s President, Sheila Bair, during a public ceremony on April 13. Smith was recognized for PRS Guitars, which has been designing and manufacturing electric guitars and basses, acoustic guitars and amplifiers for more than 30 years, and for his new company, Digital Harmonic, LLC, which marries art and science with developed image and waveform technology.

“I am very appreciative to be recognized by the Department of Business Management at Washington College,” Smith said. “I hope it serves as an inspiration to the students that, regardless of where you start, things are possible with determination, a plan and a great work ethic.”

Smith joins a prestigious circle of honorary degree recipients, among whom are U.S. presidents (including George Washington) and nationally renowned scientists, writers, artists, historians and statesmen. Smith has visited Washington College on several occasions, offering master classes in music and performing with The Paul Reed Smith Band.

MONO Plans Direct-To-Dealer U.S. Distribution MONO plans to distribute its full line of cases and accessories directly to premier music dealers across the U.S. The new initiative coincides with the conclusion of a joint distributorship with KMC Music that had been in place since June 2014. According to Meng Ru Kuok, CEO of BandLab Technologies, “We are proud to be launching a direct dealer network, which will allow us to build deep and meaningful relationships with the dealers who are best positioned to help grow the MONO brand in the U.S. We would like to thank KMC for their expert handling of our retail business, and we are pleased to be ending our partnership on good terms. We are extremely proud of the growth and success we experienced together with KMC.” Randy Couvillon, Senior Manager of Global Sales, said, “Twentysixteen was a big year for MONO, with strong continued revenue growth. MONO was acquired by BandLab Technologies and, subsequently, we made significant investments in our team, product development and marketing efforts. That means that we now have the capacity and ability to manage distribution of our products directly.”

Approved dealers will have access to MONO’s instrument cases and accessories, including MONO’s new range of pedalboards, launched at the NAMM Show. Dealers can e-mail Couvillon at randy.couvillon@ monocreators.com.

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L AT E S T

Zoom Corp. Listed on Tokyo Stock Exchange

(L-R): Scott Kettner, Micheal Czimback, Joe Bergamini and Jeff “Lo” Davis.

SEN Returns To Drummers Collective In New York

On March 13, the Sabian Education Network (SEN) returned to the legendary Drummers Collective in New York NY for another event aimed at drum teachers. With SEN Director Joe Bergamini moderating, Sabian artists Scott Kettner, Jeff “Lo” Davis and Micheal Czimback discussed various topics tailored to the attending educators.

Attendees took notes as the panel shared views and ideas on pedagogical and business-related topics.

Each attending teacher received a pack of SEN materials, including the Educators Handbook and Curriculum guides, Sabian literature and a SEN T-shirt only available at these events. Two of the 40 attendees got extra lucky, walking away with a cymbal door prize. An 18-inch B8X Ballistic Crash and a 19-inch HHX Evolution Crash were given away to two randomly drawn attendees.

According to Bergamini, “It was great to return to The Collective, which is a familiar, homelike setting for me. It’s an honor to be part of the visiting faculty, and I am indebted to Anthony Citrinite and Tony Maggiolino for welcoming SEN with open arms ever since the program was launched. Today’s panel discussion and hang felt like a meeting of old friends mixed with a focused seminar to assist drum teachers in improving their skills. I look forward to hosting more of these events here.”

Sennheiser Recognizes TMP-Pro With Award

Underscoring the strong relationship between the two companies, Sennheiser USA presented TMP-Pro Distribution with the 2016 Professional Systems Distributor of the Year Award on March 10. Michael Cleary, Sennheiser USA’s Area Sales Manager, and Chris Clay, Director of Sales for Sennheiser USA, were on hand to present the award to the TMP-Pro Team.

“Sennheiser is proud to name The Music People our 2016 Distributor of the Year,” Clay declared. “The award recognizes outstanding sales, service and representation of the Sennheiser brand, and TMP is more than deserving. As we close in on 30 years of partnership, we are appreciative of the past and excited for the future. We look forward to many more years of continued success. Congratulations to The Music People!”

TMP-Pro was proud to receive the recognition. According to the company, the quality of Sennheiser products makes them a favorite of the sales team and customers alike. TMP-Pro concluded by saying it, too, looked forward to continued partnership with Sennheiser.

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Zoom Corp. announced its successful listing on the Tokyo Stock Exchange (code 6694) on March 28. Founded in Tokyo, Japan’s Akihabara district in 1983, Zoom started as a third-party developer for other brands. Seven years later, Zoom developed its own proprietary DSP technology; eventually, that led to the creation of its first product: the innovative 9002 Multi-Effects Processor for guitar. In recent years, the Zoom brand has grown in worldwide popularity among musicians, as well as sound designers and video makers, for its ever-evolving series of portable Handy Recorders. Zoom recently introduced its line of professional field recorders, the F8 and F4, used in sound recording for film and broadcast.

“Our listing in Tokyo represents a new beginning for Zoom, in which we will build upon our success in the development of sound processing, and our continuation to expand with new and original products for the wider market of audio and video content creation,” Co-Founder and CEO Masa Iijima said.

(L-R): James Nicoloro, Owner of East Cambridge Piano and Casio’s 2017 Digital Piano Dealer of the Year; Stephen Schmidt, Vice President of Casio’s Electronic Musical Instrument Division; and Bobby Nelson, Regional Sales Manager for Casio’s Electronic Musical Instrument Division.

Casio America Awards East Cambridge Piano

Casio America, Inc., honored James Nicoloro, Owner of East Cambridge Piano in Massachusetts, by naming him Casio’s 2017 Digital Piano Dealer of the Year. The award recognizes one outstanding Casio dealer for its exceptional sales achievements for Grand Hybrid Pianos, as well as its continued advocacy and support for the digital piano industry overall.

While attending Berklee College of Music in Boston MA for percussion and arranging in the 1970s, Nicoloro worked as an apprentice piano tuner and technician. He quickly discovered there was a strong demand for affordable student pianos, and he began to recondition old and neglected uprights. Nicoloro established East Cambridge Piano in 1978 and the business quickly expanded, eventually settling into its current location in Somerville MA. In recent years, the company welcomed the Casio brand into its operations, and it has been very successful with introducing the CELVIANO Grand Hybrid piano line to pianists of all levels.

Nicoloro said, “The CELVIANO Grand Hybrid line of pianos is quality all the way, and the fact that it features the same materials and processes as the C. Bechstein action is [a testament] to Casio’s high standards.” He added, “It’s incredible to be recognized for our efforts, and we are so proud and thankful to Casio for honoring us as a 2017 Grand Hybrid Dealer of the Year.”

MAY 2017

PEOPLE

A Perfect ‘Fitz’

Music for All has added Maddie Fitzgerald to its staff as Participant Relations Coordinator. Fitzgerald joins the organization full time after having served as a Participant Relations intern. Music for All is a 501(c)(3) not-for-profit educational organization that combines regional and national music-education programming with awareness and advocacy efforts aimed at expanding access to music in schools and communities.

Fitzgerald will support Music for All’s participant relations team, which serves as the first point of contact for directors and students involved in the organization’s programs. The team also attends local and national conventions and maintains participant and event data.

Fitzgerald received her bachelor’s degree in arts administration, with a concentration in music, from Butler University.

Calling On Collin

Reverb.com has hired Collin Williams as General Counsel. As Reverb.com continues to grow, Williams will be responsible for setting up and leading all legal functions in the company.

Formerly, he worked at healthcare decision platform Outcome Health (previously ContextMedia), where he served as Corporate Counsel. Prior to Outcome Health, he served as Corporate Counsel in Oracle’s cloud computing legal department, focusing on complex SaaS, PaaS and IaaS transactions, data privacy, intellectual property, licensing and risk mitigation. Before going in-house, Williams spent nearly 10 years practicing as an attorney at Greenberg Traurig, LLP, in Chicago IL. Williams will serve on the leadership team, working closely with Reverb.com’s CEO and Founder, David Kalt; its COO, Dan Melnick; and the Board of Directors. In addition to proactively safeguarding the company, Williams will participate in future fundraising initiatives, review and negotiate Reverb.com contracts, and work closely with the Director of International Strategy, Kevin Drost, to lead negotiations as the company continues to expand internationally.

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ADVERTORIAL • MAY 2017 • NAMM.ORG

Note From Zach Phillips • NAMM Director, Professional Development

The Retail Store of the Future Here’s one more reason to join us at 2017 Summer NAMM: You’ll get an intimate look at the future of retail—and what it means to your business.

On Thursday, July 13, NAMM welcomes Doug Stephens, founder and CEO of Retail Prophet, for a special NAMM U Breakfast Session. Author of the groundbreaking bestseller The Retail Revival, Stephens will sit down with NAMM President and CEO Joe Lamond for insights into the future of retail that you won’t hear anywhere else. This free session is a must-attend event for music retailers and manufacturers alike, and will be exclusive to Summer NAMM in Nashville.

(Did I mention there will be free breakfast?)

It then examines how every one of those underpinning factors is now coming unraveled. Today, retailers face a prolonged slowgrowth economy, a new generation of consumers with different needs and sensibilities, and an accelerated technological environment in which consumers hold the biggest store of all in the palm of their hands in the form of their mobile device.

We recently caught up with Stephens to get a preview of the session. Here are highlights from that conversation.

My newest book, Reengineering Retail: The Future of Selling in a Post-Digital World, picks up where The Retail Revival left off and paints a very clear and specific picture of the steps that retailers need to take to adapt to a world where the line between physical and digital shopping is rapidly disappearing with each passing day.

Q

Q

The Retail Revival was a groundbreaking look at the state of modern retail. What was the premise of that book?

The Retail Revival was written to impart both a warning and a battle cry to retailers. It looks first at what was clearly a historically unique and unrepeatable combination of economic, demographic and industrial circumstances that led to the unprecedented growth of retail across most developed economies between the mid-1950s and the late 1990s.

Have any developments at retail surprised you since you wrote The Retail Revival?

Perhaps the only thing that continues to surprise me is the sheer speed of change that is taking place. When I began writing The Retail Revival in 2012, retailers were largely still pointing to the recession as the cause of many of their woes. Many remained dismissive of e-commerce as something that was more a distraction than a core strategy.

Today, online retailers are coming offline and opening stores, connected devices in our homes are capable of ordering products, Facebook advertising has become mainstream, e-commerce is growing at a rate of 14 percent year on year and Amazon is capturing 60 percent of each new dollar spent online. Change is now happening at an exponential pace.

Q

What are the biggest trends influencing retail right now that NAMM members will want to be aware of?

There are many, but the most crucial, in my opinion, are first that selling on mobile is no longer optional. Consumers are demanding that retailers be prepared to serve them where and when it suits them. This comfort with buying online is only going to increase as technology advances. With that, members would be wise to stop looking at their stores primarily as a distribution point for products and begin instead regarding them as an important media channel.

And if done properly, the store experience can draw customers into the retailer’s brand ecosystem where they will happily buy across channels because they feel a strong connection to the brand. But it all starts by designing remarkable store experiences.

Q

What can music products retailers expect from your NAMM U Breakfast Session interview at Summer NAMM?

It’s one thing to articulate the trends, shifts and changes that are taking place, but what I really hope to share are the strategies and tactics that retailers can use to do something about it and make positive and progressive change in their businesses. We all know that business as usual is over and that change is inevitable, but it doesn’t make it any easier to break the inertia in a business. But simply by taking a few proactive steps to change one’s perspective and paradigms, change not only becomes possible but it actually becomes inevitable.

I want retailers to leave feeling a sense of urgency about the need for change but also inspired and enlightened about their ability to achieve it!

Q

What are some of the big opportunities that retailers have to succeed in today’s environment?

The certainty is that someone is going to completely reinvent your category. The opportunity is to be the one who reinvents it.

ATTEND A SPECIAL NAMM U BREAKFAST SESSION AT SUMMER NAMM AND DISCOVER HOW TO:

Identify strategies to make a positive, progressive change in your business

Develop a brand ecosystem and create remarkable store experiences

Register Now namm.org/summer/2017 JULY 13-15, 2017 • MUSIC CITY CENTER RETAIL BOOT CAMP • JULY 12 NASHVILLE, TENNESSEE • NAMM.ORG/SUMMER

Capitalize on trends, shifts and changes influencing music retail

PEOPLE

Yamaha’s Young Announces Retirement

Effective June 30, Rick Young will retire from Yamaha Corp. of America, following a distinguished 30-year career.

Young has most recently served as one of three Senior Vice Presidents for the company, as well as Senior Vice President and Director of the Yamaha Music and Wellness Institute. Over his career in senior management, Young has been responsible for the company’s Piano, Band & Orchestral (B&O), and Pro Audio and Combo Divisions, as well as the Music Education Department.

In addition, he was President of Yamaha Artist Services, Inc., in New York NY and responsible for Yamaha Corporate Artist Affairs, Inc., in Nashville TN, and Yamaha Artist Services in Hollywood CA and Indianapolis IN. “Leaving my daily work with the Yamaha family will be bittersweet,” Young said. “After 30 years, I can truly say I thoroughly enjoyed working with everyone at Yamaha, both in Buena Park CA and in other areas of the world. I have learned that, with each additional responsibility, it becomes more about the people: the ones you have hired, mentored and guided in their careers. Having a positive influence on people’s lives is the most important outcome, and I hope that I have made some small impact on the culture here, helping others find the same success that I have enjoyed.”

Among his many accomplishments at Yamaha were leading the B&O Division’s move to Buena Park; helping to institute the company’s Customer Sales and Marketing Group, an initiative designed to align Yamaha Corp. of America with the needs of a broad base of select dealers, top artists, performance venues, and academic and institutional facilities; and driving One Yamaha organization changes over the last decade.

Three’s Company

Shure Inc. has promoted three key executives in its Global Marketing and Sales Division. Ray Crawford has been promoted to Senior Vice President of Global Marketing and Sales. Since he joined Shure in 2005, Crawford has been responsible for implementing Shure’s strategic business plan, and he’s overseen the company’s global business initiatives. He’s a member of the Executive Staff and Chairperson of the Shure Corporate Management Committee.

Althea Ricketts has been promoted to Associate Vice President of GMS Operations. Since 2014, she has been leading that function, ensuring demand for Shure products is met throughout the Americas. In her expanded role, she will be responsible Ray Crawford for the global finance, customer service and support departments, as well as sales and operations planning.

Erik Vaveris has been named Associate Vice President of Global Marketing. In the role, he will monitor the consolidation of specific 16

In Memoriam: Ikutaro Kakehashi

Ikutaro Kakehashi, Founder of electronic instrument company Roland, has died at the age of 87. His career began as an engineer, making electronic drums and rhythm pattern generators, but transformed when, in 1972, he founded Roland and became a corporate leader.

Besides creating an industry-leading company in electronic music, Kakehashi was also instrumental in the development of MIDI—a standard that allows hardware and software to communicate—and he can claim responsibility for the Roland TR808 drum machine, creating it in 1980. You can hear the 808 in iconic pieces, such as Marvin Gaye’s “Sexual Healing” or Whitney Houston’s “I Wanna Dance with Somebody,” and it continues to be a classic for artists today.

Under Kakehashi’s leadership, Roland pioneered many more drum machines, synthesizers and audio interfaces, and the innovation extended into the guitar field with sister company BOSS. Before retiring in 2013, Kakehashi was awarded a Technical Grammy and a spot on Hollywood’s Rock Walk of Fame.

Gagliano Order

Cordoba Music Group (CMG) has announced that Rick Gagliano is now Director of Brand Management. With more than 25 years in musical instrument retail, product development and management, he will oversee the entire product lifecycle for CMG’s quickly growing portfolio: Cordoba, Guild, DeArmond and HumiCase. Most recently the Private Brands Manager at Guitar Center for the last eight-and-a-half years, Gagliano is ready to take Cordoba Music Group’s product department to the next level.

“I’m very excited to be joining the CMG team,” Gagliano enthused. “Cordoba is the obvious leader in the nylon string category and, of course, Guild holds a special place as one of the world’s historic guitar makers. These amazing brands, coupled with the skilled, passionate and energetic team assembled here in southern California, are the reason that I’m so happy to be part of such a fine organization.”

Althea Ricketts

Erik Vaveris

marketing functions worldwide and lead the planning and implementation of Shure’s marketing efforts, ensuring global consistency with its brand position and localizing, where appropriate.

MAY 2017

PRODUCTS

Power Greb

Over view: Vic Firth’s Benny Greb Signature Stick Specifics: Vic Firth’s Benny Greb Signature Stick is the result of collaboration with German drumming sensation Benny Greb. In 2016, Greb brought his talents to Vic Firth in search of “The Perfect Pair.” Greb’s stick is similar in diameter to a 5B, but it features some unique adjustments that optimize feel and sound. A medium taper places the shoulder of this stick in an ideal spot for durability. To get a little more response than a medium taper typically offers, additional length is “borrowed” from the neck by moving the tip further up the stick. While increasing response usually requires changing the taper or length of a stick, Greb’s signature model does it all within 16 inches. The tip is a shortened tear drop shape that’s smaller than is typical on sticks of this diameter and provides a more focused cymbal sound. The Benny Greb Signature Stick is personal on every level, right down to the green ink, which is a calling card of this drumming mastermind.

MSRP: Call company Ship Date: Now Contact: Vic Firth Co., 617.364.6869, vicfirth.com

Hybrid Moments

Over view: GLP’s GT-1 Fixture Specifics: GLP’s GT-1 is a true hybrid fixture, working as a Beam, Spot and Wash fixture with high levels of performance.

A new 440-watt Osram discharge lamp improves output, while its optical system produces a beam that features a 22:1 ratio zoom range from 3.5 degrees to 57 degrees. Full-feature functionality is available at any time, with no optical lens changes required.

The GT-1 offers CMY color mixing, eight rotating gobos, 14 fixed-pattern gobos, additional beam-reduction gobos and a variable-speed animation wheel that can be repositioned and continuously rotated within the beam, plus three rotating prisms and a fixed color wheel with color-correction filters. In its narrowest Beam mode, the GT-1 produces a near-parallel beam of light at 3.5 degrees through its 145-millimeter-diameter front lens, which remains bright and consistent over long distances.

In its widest Wash mode, the GT-1 produces a soft-edged beam from a variable-filter that can be inserted into the beam to give the desired level of wash required.

The GLP GT-1 also features a baseless design, full 16-bit pan and tilt movement, full-range dimming and shuttering capability, a built-in battery for fixture setup, an auto-sensing power supply and a weight of 55 pounds.

MSRP: Call company Ship Date: Now Contact: German Light Products, 818.767.8899, germanlightproducts.com MUSIC & SOUND RETAILER

String SOLO

Over view: Thomastik-Infeld’s VERSUM SOLO Specifics: Thomastik-Infeld’s VERSUM SOLO offers users many possibilities of combining color, sound and texture. It is the product of years of development and more than 18 months of testing by more than 100 international soloists and professional musicians in 300 independent tryouts. VERSUM SOLO strings deliver optimal power, response and projection. The VERSUM SOLO A String offers smooth, saturated, warm tone colors and soloistic brilliance. Even in full performance it does not compromise in sound, both in the delicate Pianissimo as well as the rich Fortissimo, and still offers the diverse tonal palette a cellist needs on stage. The VERSUM SOLO D String compensates for the common flaws of D strings and offers a strong presence, textured body and vast color spectrum. Its ultra-light aluminum design and a synthetic coated copper winding allows for a much smaller string diameter than commonly expected from a D string. The result: rich sound that turns the D string into a bridge between G and A. MSRP: Call company Ship Date: Call company Contact: Thomastik-Infeld/Connolly Music Co., 800.644.5268, connollymusic.com

Featured at

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PRODUCTS

Weir Would

I Love It Loud

Over view: Fishman’s Mahogany Loudbox Models Specifics: Fishman’s Loudbox acoustic amplifiers are now available in high-quality Solid African Mahogany. The company’s lightest and most portable amp, the Loudbox Mini Mahogany produces 60 watts of clean acoustic power and has two channels featuring Fishman’s preamp and tone control designs. The amp also features digital reverb and chorus for the instrument channel and reverb for the microphone channel. The Loudbox Artist Mahogany is a portable model that features 120 watts of bi-amplified acoustic power and includes two flexible mic/instrument input channels with Fishman’s three-band EQ, precise feedback-fighting controls and a new dual digital effects section. The Loudbox Performer Mahogany produces 180 watts of clear, bi-amplified acoustic sound with two flexible mic/instrument input channels that accept both 1/4-inch and XLR sources. Each channel includes Fishman three-band EQ feedback-fighting Phase switch and Notch filter controls, and a dual digital effects section with Reverb, Chorus, Flanger, Delay, Echo and Slap Echo.

MSRP: Call company Ship Date: Now Contact: Fishman, 800.347.4626, fishman.com

Over view: D’Angelico Guitars’ Bob Weir Signature SS Specifics: D’Angelico Guitars’ Bob Weir Signature SS was co-designed with input from the Grateful Dead and Dead & Company guitarist through multiple rounds of research and design over the course of 2016. Celebrating the partnership between D’Angelico and the worldrenowned guitarist, the Bob Weir Signature SS is a single-cutaway, semi-hollow electric and comes in a custom Stone finish. It will be available at three different price points (including a hand-signed collector’s edition). Featuring a gold Bigsby tremolo system, coil-tapping push/pull tone knobs, a master volume pot and a full center block for feedback resistance, the Weir SS is fully equipped to produce both the artist’s legendary sounds and allow players to craft their own voice.

MSRP: Call company Ship Date: Now Contact: D’Angelico Guitars, 646.460.8472, dangelicoguitars.com

Presto Piano

Over view: Alfred Music’s “Premier Piano Express, Book 4” Specifics: Alfred Music’s “Premier Piano Express, Book 4” is an all-in-one accelerated piano course designed for students who need a fast-paced approach to piano study. Book 4, which completes the series, continues the steady development of artistry and keyboard skills that began in Books 1, 2 and 3. The book is organized into skills-based units that feature clear explanations of important musical concepts.

Worksheets within each unit provide review and strengthen understanding. Audio recordings of performances on acoustic piano can be downloaded.

MSRP: $12.99 Ship Date: Now Contact: Alfred Music, 800.292.6122, alfred.com 18

Chromatic For The People

Over view: D’Addario Accessories’ Chromatic Pedal Tuner Specifics: D’Addario Accessories’ Chromatic Pedal Tuner features a sleek, reduced-size and lightweight design to preserve valuable space on a player’s pedal board and a vertical-sweeping LED pitch display for a clearer, more intuitive read. Its 32-bit chip has four times the processing power of a standard headstock tuner for a fast and accurate readout, and it makes the display visually smoother for precise tuning. It features true bypass, so when the pedal tuner is activated, it automatically cuts its output signal to eliminate noise during tuning and instrument changes.

MSRP: $119.95 Ship Date: Now Contact: D’Addario Accessories, 631.439.3300, daddario.com MAY 2017

HONORED TO SERVE: CELEBRATING ‘THE GOOD STUFF’ THAT MI COMPANIES DO TO SERVE THEIR COMMUNITIES

(continued from cover)

Roland Corp. U.S. In 2016, Roland Corp. U.S. supported many worthy causes, which benefit children, musicians and veterans, through various music-related charitable events.

The selections below are just a few examples.

Roland and BOSS U.S. sponsored a backstage artist lounge in support of the Academy of Country Music’s 4th ACM Party for a Cause Festival in Las Vegas NV last April. The festival benefited ACM’s charitable arm, ACM Lifting Lives, which supports military programs that use music therapy to aid veterans and wounded warriors, while also providing funding to help them ease back into civilian life. The lounge boasted a hands-on “petting zoo” that featured new Roland and BOSS gear that inspired a number of impromptu jam sessions during the evening.

Roland was a co-sponsor of the BRIDGES benefit gala in support of the Children’s Music Foundation (CMF), held in Seattle WA last May. The CMF was created to promote the study of music as an educational tool in U.S. elementary schools, as well as to support school music programs and promote music in education through-

out the U.S. A live auction held during the gala included a Roland “Start Your Own Band” package that featured TD-11K-S V-Drums with headphones and an accessory package, an ELCajon EC-10 Electronic Layered Cajon and a JUNO-DS61 Synthesizer.

Last spring, Roland also supported the annual Light Up the Blues concert for autism awareness, held at Hollywood CA’s famed Pantages Theatre. Last year’s event was emceed by Jack Black and attended by many celebrities. Roland donated a dozen musical instruments—they ranged from pianos and keyboards, to percussion instruments, to guitar effects and amps—that were hand-signed by the performers, as well as a Rock ‘n’ Roll Fantasy Camp package, tickets to future shows at The Pantages and autographed Light Up the Blues posters. All of them were included in a silent auction to benefit Autism Speaks.

4 BAGS 4 CASES REAL SIMPLE

Electro-Harmonix In the past 12 months, Electro-Harmonix has given the company’s products to a variety of worthwhile causes. That includes pedals donated to Habilitat’s Luau, Auction and Benefit Concert.

Habilitat, established in 1971, is recognized as one of the nation’s foremost long-term addiction treatment centers.

It is located in Oahu HI and, for more than 40 years, it has described its mission as “teaching people to live beyond their addictions.”

Guitar Mash, a guitar-centric 501(c)(3) that creates participatory events for guitarists and music lovers, while also supporting arts education, was a recipient of pedals donated by Electro-Harmonix. The organization was founded in 2012, and it hosts a number of “jams,” culminating with its Inaugural Benefit Event at City Winery in New York City. In addition, ElectroHarmonix donated pedals to support an auction in coordination with The Creative Artists Agency Task Force, Nashville. It hosts an annual fundraising event that benefits Communities in Schools of Tennessee (CISTN) at Nashville. The organization focuses on helping kids stay in school.

Ithaca Underground is an organization whose goal is to “nurture a sustainable, all-ages supportive environment where music and art outside of the mainstream are encouraged and able to flourish.” Electro-Harmonix’s Founder, Mike Matthews, attended college in Ithaca NY, and he earned his EE and MBA degrees there at Cornell University.

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Hal Leonard In 1997, Hal Leonard worked with Winona State University to create a scholarship that would honor the company’s founders, the late Harold “Hal” Edstrom, Everett “Leonard” Edstrom and Roger Busdicker. All three of the men attended Winona State University (then known as Winona State Teachers College) and, while in school, they formed the Campus Kings Band. After graduation, both brothers began their careers as school band directors (Harold began his teaching career right at his alma mater), boasting a flair for arranging the popular music of the day. Other band directors started to ask the Edstroms for their arrangements; that began their journey into music publishing.

To date, the Hal Leonard Edstrom and Busdicker Families Scholarship fund has awarded 128 individual scholarships. Awards are provided annually to full-time students who have declared a major in the music program. In addition to scholastic requirements, the students must also show ability and promise in the field of music. A faculty committee within the music department chooses the recipients.

“We couldn’t be prouder of the fact that our founding fathers were band directors and music educators,” Keith Mardak, Chairman at Hal Leonard, said. “We are happy to keep their legacy alive at the school where it all began.”

“Hal” Edstrom and “Leonard” Edstrom.

Roger Busdicker

KMC Music With a mantra of “30 for 30” permeating internal planning sessions, KMC is shooting to raise $30,000 for the Paul Newman Hole in the Wall Gang Camp when it tees up for the 30th annual KMC Music EPU Charity Golf Tournament. It’s scheduled for June 5, in Avon CT, at the Blue Fox Run Golf Course.

“Over the last 30 years, this event has raised more than $180,000 for charitable organizations, such as the Paul Newman Hole in the Wall Gang Camp and the FIDELCO Guide Dog Foundation,” KMC’s President, Mark Terry, stated. “We could not have done that without the support of the dealers and manufacturers who sustain us every year with their participation and sponsorship support. This year marks the 30th time we have held this event, and we want to raise $30,000 for the camp. We call it ‘30 for 30,’ and we think we can do it.”

The event’s Committee Chair, Roger Hart, calls upon manufacturers and dealers to help the cause by making a donation to the raffle prize selection and/or by sponsoring a hole, a beverage cart or some other event component. Platinum Level Sponsorships, which include a hole sponsorship with corporate signage, mention in print materials, four rounds of golf (including carts), lunch, cocktail reception and dinner, can be purchased for $1,250. Gold Level Sponsorships include many of the benefits of the Platinum Level, along with two rounds of golf, for $625. The Beverage Cart Sponsorship can be purchased for $1,500; that includes corporate signage on the cart, mention in print materials, four rounds of golf (including carts), lunch, cocktail reception and dinner. Individual golfers can play for $150 and still enjoy lunch, cocktail reception and dinner.

“We’re open to new ideas from everyone who wants to help us reach our goal for the Hole in the Wall Gang Camp kids,” Hart stressed. “Bring more golfers, sponsor a hole, donate a prize—we can all do something to make the 30th annual KMC Music EPU Charity Golf Tournament the biggest and best yet.”

20

MAY 2017

Yamaha Corp. of America Lack of funding is the main hurdle teachers say they face in music education today. They spend, on average, $945 of their own money to equip classrooms with adequate supplies. However, a partnership between the Yamaha Band and Orchestral Division and DonorsChoose.org, an online non-profit platform where teachers ask for the resources their students need most, is changing that equation.

With a $125,000 matching donation from Yamaha, $250,000 worth of supplies were donated to 369 schools, 88 percent of which were high-needs

Lindsey Stirling

institutions. Nearly 83,000 students benefited from the partnership by receiving the instruments and supplies they needed to pursue a music education. Joining the effort were Yamaha artists—violinist Lindsey Stirling and saxophonist Jeff Coffin—who are equally committed to giving young music students the environment and essentials they need to be successful.

“I am fortunate to be part of an organization that cares deeply about the future of music education and leads the industry in supporting the teachers who are devoted to nurturing the next generation of music lovers,” Garth Gilman, Corporate Vice President and GM of the Band and Orchestral Division at Yamaha, stated.

“We need music in schools because it helps students learn to express themselves and gain real-life work skills, while also teaching them how to be respectful and considerate of their classmates’ needs,” Sarah Azevedo, Director of Bands at Ronald McNair Academy in East Palo Alto CA, said. “Despite the lack of funding we sometimes face, I will fight for these kids to have the same opportunities as anyone else. DonorsChoose.org and Yamaha are making that possible.”

In addition to that project, Yamaha is committed to serving young musicians everywhere. Other efforts and partnerships include the Yamaha Young Performing Artists Competition, Music for All and hundreds of other instrumental music organizations in the U.S.

MUSIC & SOUND RETAILER

21

Chauvet Lighting As International Sales Director for Chauvet Lighting, Stéphane Gressier has seen his company’s products light some impressive concerts, clubs and televised events.

However, there’s one accomplishment that, although not as large as those projects, nevertheless gives him a unique sense of personal satisfaction and allows him to use his knowledge of lighting, along with his earlier DJ background, to help adults who have developmental disabilities.

Every September, Gressier and a group of his Chauvet colleagues volunteer their services to pump up the excitement and add a dash of glamour to the WOW Experience, which is a fundraiser that benefits the WOW Center for developmentally challenged adults in Miami-Dade County FL. Also chipping in is his employer, Chauvet, which provides a well-stocked lighting rig for the event.

Gressier and his wife, Monika, have been actively involved in the fundraiser fashion show since its inception nine years ago. During that time, the event has grown by leaps and bounds, with attendance rising from 300 to 700 guests and the money raised mushrooming from $20,000 to $250,000. The fundraiser’s success, however, cannot be measured merely by numbers. Beyond the financial benefits, it also provides WOW Center clients with a priceless opportunity to take center stage as they sing, dance and model the latest fashions.

For Gressier, involvement with this magical evening can be traced back 24 years to when he met Monika. At the time, she had an 11-year-old adopted son named Charlie (since also adopted by Gressier), who had been born with fetal alcoholism. When the couple moved to Miami FL in 1996, they enrolled Charlie in what is now the WOW Center.

According to Gressier, “The entire experience is very moving for many reasons: from interacting with the clients themselves, to witnessing the dedication of the staff, parents and volunteers, to appreciating the generosity of sponsors like Chauvet, which ensure the event’s success.” lightsforlife4_12x4_37.pdf 4/11/2017 9:02:29 AM

You’d look a little beat up too if you spent the last 30 years on the road.

If you purchased a Littlite in 1986, chances are it still works. And if it doesn’t, chances are it is still under warranty.

Korg USA Each year, Korg USA selects several charitable and philanthropic organizations to support through its roster of brands: Korg, VOX, Blackstar, Dean Markley, Spector, LAG, Sakae, HK Audio and RightOn! Straps. In the past year, Korg has continued to host an office-wide toy drive around the holidays, collecting hundreds of toys for their local Toys for Tots organization. Long Island Cares – The Harry Chapin Food Bank continues to be a focus for Korg, as are other organizations that are important to its employees: The Leukemia & Lymphoma Society, The Children’s Medical Fund of New York and The Long Island Children’s Museum.

Supporting music education remains a priority in Korg USA’s charitable efforts.

In addition to donating products, such as guitars, to programs like Guitars in the Classroom and other community-based initiatives, Korg also supported the Museum of Pop Culture’s (MoPOP) Sound Lab exhibit. The company contributed gear and prizes for the museum’s annual Sound Off battle of the bands event.

“It was an honor to be a part of MoPOP’s Sound Lab exhibit and to be a part of their Sound Off event,” Korg USA’s Sales Manager, Kyle Taylor, enthused.

“MoPOP’s mission to celebrate creativity in music, science fiction and popular culture with innovative, thought-provoking exhibitions and programming is a perfect partner for the innovative Korg instruments that inspire creativity and

Gooseneck Lamps & Accessories 22

Made in Hamburg, MI USA www.littlite.com sales@littlite.com

MAY 2017

HARMAN HARMAN continues to support programs that help bring musical arts both to children and to the wider community. Through its award-winning HARMAN Inspired program, the company has partnered with Little Kids Rock, a national music-education non-profit, to bring music and more music-technology education to more than 1,800 public school teachers. The teachers have trained in the non-profit’s Modern Band program, which teaches kids to play, compose and improvise the popular music styles that are culturally relevant to them.

HARMAN also donates professional-grade equipment to the program.

Recently, the HARMAN Professional Solutions team brought the rockstar life to students at Miramonte Elementary School in Los Angeles CA. The HARMAN semi-truck mobile stage was set up on the school’s playground for an afternoon concert that featured 30 students of all different ages. Students selected and performed hits from their favorite artists, including The Beatles, Guns N’ Roses and Ray Charles.

“We are proud to help inspire the next generation of musicians and music enthusiasts through our many community programs,”

Mohit Parasher, EVP & President, HARMAN Professional Solutions, said. “From collaborating with non-profits that specialize in music education to supporting our critical performing arts institutions, HARMAN is dedicated to ensuring music and the arts continue to be accessible to our communities.”

HARMAN has also collaborated with many cultural institutions, such as The Palace Theatre in Stamford CT and The John F. Kennedy Center for the Performing Arts in Washington DC. At The Kennedy Center, a recent expansion saw the addition of HARMAN’s high-performance audio and lighting products, including JBL Professional speakers, AKG Acoustics microphones, Crown amplifiers, AMX receivers and digital lighting from Martin. The gear will amplify and elevate the more than 3,000 productions, performances and classes that take place each year at the nation’s busiest performing arts center.

Mike Peters, from The Alarm.

self-expression.”

Korg USA is always looking for ways to support its growing roster of brand-supported artists. Most recently, as the U.S. distributor for Blackstar Amplification, the company supported a charitable auction hosted by Mike Peters from The Alarm. It benefited The Love Hope Strength Foundation’s mission to raise funds and awareness for cancer research and encourage communities to participate in bone marrow donor drives.

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Conn-Selmer Inc. Conn-Selmer Inc. introduced its Division of Education in 2011 with the goal of partnering to provide music for every child. Through the vision of Tim Lautzenheiser, Vice President of Education, it is a leader in providing programs, services and advocacy tailored to the positive growth and development of music education.

In 2016, Conn-Selmer’s staff of former music educators traveled the country to provide free consultations, instrument inventory and assessments for directors; strategic and financial planning for schools; and personal assistance to more than 2,000 school music programs. In addition, the company’s Educational Clinician roster of 70 master educators provided more than 250 clinics for schools across North America.

Conn-Selmer’s partnerships reach beyond the public school setting, including non-profit organizations and community music schools. The VH1 Save the Music Foundation, Little Kids Rock, New Orleans Collective Impact Group for Music Education, Chicago West Community Music Center, United Sound and The Harmony Project are just a few of the programs that the company supports.

Conn-Selmer is also a leader in providing professional development for music educators. Through ConnSelmer Institute (CSI) and other programs, more than 850 music program directors, leaders and administrators, as well as college students, earned in excess of 17,000 hours of professional development in 2016 alone. The company’s support for

music education dates back 89 years, when C.G. Conn, a Conn-Selmer brand, founded the nation’s first National School for Music Educators in 1928. Conn-Selmer continues to set a standard of excellence and innovation in the field of music education.

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MAY 2017

Kirlin Cable In the past few months, Kirlin Cable has had the opportunity to come in contact with a number of groups and organizations involved with musiceducation programs and community music engagement. The company works with programs that include One Step Beyond, Inc., and Rock ‘n’ Roll Camp for Girls San Diego, and it involves itself with benefit opportunities like the Women in Rock Benefit Concert for the American Cancer Society.

One Step Beyond is a non-profit organization that provides programs for individuals who have intellectual disabilities. Its programs help empower individuals with skills that might help them participate in areas throughout their communities.

Although Kirlin Cable is a latecomer to charitable and philanthropic opportunities, and it’s a small company with limited resources, it will continue to leave a footprint in music programs. The company looks forward to a new year of contributing to music education and helping music programs create new opportunities for their communities.

Guitar Center Guitar Center has provided monetary support and instruments to thousands of schools, music educators, music programs, charities and non-profit organizations over the years. Here, we provide just a sampling of its recent donations and contributions to worthy organizations and programs across the country.

Non-profit organization Guitars For Vets (G4V) teaches guitar to veterans, allowing them to gather each week for free lessons. Once a veteran is referred to the program, he or she is given a loaner acoustic guitar to use in the sessions, and they can take it home to use for practice. If they keep with it for 12 weeks, the national G4V program sends the veteran a new guitar that is theirs to keep. Guitar Center helped expand the program by donating guitars, as well as strings, tuners and other accessories.

The Heal The Hood Project (HTH) is dedicated to finding and implementing creative methods, utilizing multimedia science and the arts, to provide educational, cultural, socioeconomic and community change in the city of Memphis TN and surrounding areas. Guitar Center donated more than $9,000 worth of equipment to the project, hoping to encourage antiviolence alternatives through arts education.

National PTA and Guitar Center have teamed up to bring resources to families, schools and PTAs across the country, working to inspire students’ creativity through the National PTA’s Reflections arts in education program. As part of the partnership, Guitar Center donated musical instruments to a number of local PTAs across the country to support their arts-education efforts, as well as to inspire students to participate in the National PTA’s Reflections program and spark an interest in creating music. Local PTAs also have the opportunity to tap into a wide range of support from Guitar Center’s 280-plus locations, such as having Guitar Center instructors serve as judges for the Reflections programs, or offering access to Guitar Center Lessons’ music education in nearly 100 stores across the country.

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D’Addario & Co., Inc. The D’Addario Foundation has cemented itself on the frontline of the fight to ensure access to quality, robust music education for as many children as possible. It’s trusted and praised for its ability to identify, and partner with, the most transformative programs. D’Addario & Co., Inc., and the D’Addario family have put their money where their mouth is through the D’Addario Foundation, and they continue to support these efforts.

In 2016, the D’Addario Foundation committed almost a million dollars to a diverse range of music-education programming. In addition, the organization set a goal to greatly expand the impactful work it does by actively raising visibility for the cause, as well as fundraising to increase reach. The D’Addario Foundation is determined to support the efforts of not-for-profits that provide access to music instruction where it does not exist, to offer additional opportunities to participate in music where resources are compromised and to deliver unique initiatives that will attract more students to the study of music. The organization fundamentally believes that supporting music education now is going to reap benefits for the industry, and the children it will serve in the future. It’s a long-term commitment, but it’s strongly believed that dedication to supporting such efforts will ensure the study of music is part of a well-rounded education and fortify music-making as an appealing, attractive and beneficial activity.

Each year, a percentage of the net profits of D’Addario & Co. are dedicated to supporting the D’Addario Foundation, which, in turn, means sales of D’Addario products directly support music education. In addition, every dollar contributed to the D’Addario Foundation goes directly to serving its partner programs, because D’Addario & Co. absorbs all the operational costs.

Alfred Music Alfred Music helps the world experience the joy of making music and wholeheartedly believes that music should be accessible to anyone who wishes to learn, teach or play. As part of its ongoing philanthropy, Alfred Music strives to support as many music-making opportunities as possible.

On June 21, 2016, Alfred Music teamed up with Kala Brand for National MakeMusic Day, donating more than 1,300 copies of “It’s Ukulele Time” for national ukulele mass events. Additionally, Alfred Music supplied the rights to eight songs for a guitar mass events booklet, which was given to 5,000 participants nationwide.

In collaboration with the ASCAP Foundation, and in support of the VH1 Save the Music Foundation, Alfred Music delivered more than $14,000 of music to more than 40 schools across the U.S. In July 2016, flooding hit the small community of Richwood WV, leaving the town a federal disaster area and its school’s music room full of mud. Alfred Music worked with Kerr’s Music World to donate $1,500 worth of choral music.

Melodic Connections, a non-profit organization based in Cincinnati OH, provides community music therapy to individuals with developmental disabilities, believing that each voice is unique and every voice should be heard. After a

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devastating flood, Alfred Music worked with Antonio Violins, and others, to help the organization replace guitar, ukulele, piano and classroom music.

Ron Manus, Alfred Music’s Chief Business Development Officer, said, “I am inspired every day by stories that teachers, students and parents share with us about their music-making journeys, and I am so grateful that Alfred Music gets to play a part. It is up to us to ensure that every person who has the desire to learn has access to a quality music education. Because if we don’t, who will?”

MAY 2017

On-Stage On-Stage is continuing its tradition of supporting not-for-profit foundations, including this past year’s donations to three particularly deserving organizations. For the second year running, On-Stage delivered the products featured in its NAMM Show booth to a local agency. This year’s recipient, The Harmony Project, provides music education to at-risk students in Los Angeles CA’s most marginalized neighborhoods.

Among its achievements, The Harmony Project boasts 100-percent secondaryschool graduation and college-acceptance rates.

Vet-Traxx Project, which marks a new partnership for 2016, is based in the Sacramento CA area and devotes itself to the alleviation of post-traumatic stress disorder (PTSD)/traumatic brain injury (TBI) through music therapy. Its dedicated recording studio, cooperating artist/songwriters and corporate partners, such as On-Stage, provide veterans with an “alternative expression,” facilitating their often-difficult reengagement in civilian life.

This year, the company also supported

Casio America, Inc. Throughout 2016, Casio America, Inc., partnered with and worked to support various foundations that strive to make a musical difference both in and out of the classroom. According to Stephen Schmidt, Vice President of Casio’s Electronic Musical Instrument Division, “At Casio, we recognize the importance of music and the opportunities it provides to students across the nation.

We are proud and honored to support these foundations and their initiatives through something as powerful as music.”

For the past several years, Casio has partnered with the Grammy Foundation and its Grammy Career Day program.

In 2016, the company gave a Casio CGP-700 digital piano and XW-P1 synthesizer to a high school senior looking to pursue a career in music, helping to expand the student’s skills. Last year, the company also worked with The Mr. Holland’s Opus Foundation, providing 60 electronic musical instruments that were sent to more than a dozen schools throughout the country.

Additionally, Casio continues to support the Dallas Songwriters Association (DSA) Annual Song Contest, which offers amateur songwriters around the world the opportunity to share their talents with industry professionals for various prizes. In 2016, the company sponsored the 26th annual contest, of which the grand prize winner was awarded a Casio Privia PX-350 digital piano. Casio also regularly provides keyboards for various music programs to the Berklee City Music Network, which allows the organization to help youth from underserved communities develop musically, academically and socially. The company also supports the VH1 Save the Music Foundation by being part of its Keys + Kids Leadership Circle.

(continued on page 53)

MUSIC & SOUND RETAILER

a third organization: The Sing Me a Story Foundation. It works with organizations that “serve children who’ve fallen victim to circumstance” by connecting them, their stories and their illustrations with artists who, in turn, write and record songs based on their experiences and dreams for the future. Then, those songs raise funds for participating organizations through the organization’s downloadable jukebox.

“We’ve always considered our growth a blessing, as well as an opportunity to make a difference in people’s lives,” On-Stage’s Executive Chairman, Jim Hennessey, said. “These organizations do great work, harnessing the healing and educational power of music to help the wounded and underprivileged break barriers and achieve their full potential. We’re privileged to assist them in their missions. It’s a natural fit for us, and it’s something we’re thankful for.”

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FI V E M INUTE S W ITH

CHRIS DOSS

VICE PRESIDENT OF SALES AND MARKETING, AUDIX

By Matt Van Dyke What makes Chris Doss’ introduction to the music industry so relatable is that it happened experientially. That’s a word that you, as a music products retailer, just can’t avoid anymore. The template is there: A high school band influences a younger student to play, or a bandmate’s suggestion shapes your entire perception of a brand. Only, Doss’ appreciation for Audix moved him toward a career at the company and placed him in a prime spot to talk about Audix’s, and his own, moral fiber, as well as their shared devotion to the dealer network. And, of potential interest to those who aim to enter this lucrative sector, he discusses breaking into the installed-sound market.

This interview cuts through the noise in the pro-audio market, providing insights from a unique point of view to which retailers might not regularly have access. Enjoy!

How did you initially become interested in, and passionate about, music and pro audio?

I became interested in music at an early age…around five years old. I got my first record player—the portable kind that had a lid and a built-in speaker—at that age, along with a handful of 45s. I also had a transistor radio that I kept under my pillow, and I listened to it every night. That was when the notion of having favorite songs worked its way into my life.

It was a momentous moment when I purchased my first album of my own choosing: a K-tel record, for those old enough to remember albums and K-tel…. And, now that I think about it, I haven’t seen a transistor radio in 25 years!

My kids would laugh if I showed them a transistor radio and said, “It’s like the iPod.” This was definitely during first grade, and I still have that K-tel album!

I was eight when I decided to pursue learning a musical instrument. The local high 28

school band played a concert at my elementary school, and I was immediately drawn to the drums. My parents relented and I got my first drum set—the kind you get from the JCPenney catalog—for my ninth birthday. I’ve never looked back since. I formally studied both classical performance and jazz, and I earned a degree in music from the University of North Texas.

As a musician, I have been around pro audio for years, both in live performance and in recording settings. But, my involvement has usually been centered on the drum sound, FOH or monitor drum mix, or a very simple band mix or recording. I understand some of the basics, but, in all honesty, I have been an observer more than an active player behind the sound console.

What brought you to Audix?

It was more than 20 years ago that I first learned about Audix. I was playing in a band, and our guitarist, along with one of our backing vocalists, came to a show with a brand new Audix microphone. The guitarist shared that it was the “most amazing” microphone he had ever used. By the next show, the lead vocalist and other backing vocalist were also using Audix microphones.

That guitarist mentioned his enthusiasm for Audix microphones frequently, and he is still among the “faithful.” I got a call from him immediately when he heard that I had joined Audix. I think he was as excited as I was about the opportunity!

His devotion to the brand and the products is what any manufacturer strives to achieve, and that stuck with me. Audix has been a “game changer” over the years, with innovative products that set new standards. And I’m going to do my best to make sure that Audix is a “game changer” in the future, too.

In many ways, and as cliché as it sounds, it was a serendipitous set of circumstances, which just seemed to fall perfectly into place, that brought me to Audix. When I expressed interest in joining the company, they weren’t actively recruiting for the Vice President of Sales and Marketing position. However, they were quietly looking for the right person to join their team; meanwhile, I was of the same mindset, searching for the right organization. I came across an outdated posting for the Vice President of Sales and Marketing opportunity, via a long and winding path online, and it immediately caught my eye.

I knew Audix well, and I was an advocate of their vocal and instrument microphones. I felt that my background across the music industry, which includes experience with musical instrument manufacturers and live entertainment companies, offered a unique perspective that Audix might find interesting. So, I reached out to the company to inquire if the opportunity to join Audix as Vice President of Sales and Marketing might still be open. And, wouldn’t you know, it was. I happened to be traveling in Seattle WA when Audix called and, following our conversation, I adjusted my travel plans home to California to include a stop in Portland OR to visit with the organization in person.

Personally and professionally, I was attracted to Audix because of their culture, values, reputation and business structure. The ideals and principles that guide Audix align very well with my own values. Integrity, honesty, innovation and a drive for excellence are truly present at Audix, and the team is composed of people who genuinely like each other. We’re all colleagues and friends. You hear laughter and see smiles almost every day in the office. That’s a sign of a healthy environment.

MAY 2017

The Audix factory in Wilsonville OR.

What is the best part of being Vice President of Sales and Marketing at Audix? What makes you most excited to get out of bed in the morning and go to work?

The best part of being Vice President of Sales and Marketing at Audix would be the people I work with, as well as the customers we serve.

As touched on a moment ago, my colleagues and I share common professional values. We are collectively navigating the company toward the same point: to design, engineer and produce innovative pro-audio products that advance the industry and serve as outstanding solutions to our customers’ needs. This pursuit is relentless and never-ending.

Every day, I wake up and ask myself, “What can Audix and I do today to improve upon yesterday?”

As the leader of sales and marketing, I am focused on inspiring and developing our internal team, which serves our customers and our customers’ customers, while simultaneously creating long-term value for Audix. That effort can certainly be a balancing act, and you don’t make everyone happy 100 percent of the time. Sometimes, you don’t make anyone happy, and then you start over. This is particularly true in times of significant change. Hitting the mark takes open eyes and ears, along with a big dose of humility, reflection and tenacity. When I do get it right, the team responds with enthusiasm and the customers let us know that we’re doing a fantastic job. That is the reward—one brand advocate at a time.

identity, which all of us understand and appreciate, is a strength that keeps us on track and keeps us focused on activities that align with our goals and values.

What is the “secret sauce” at Audix that ser ves to distinguish the company not only from its direct competitors in pro audio, but also from companies in the music industr y more broadly?

I would say the “secret sauce” at Audix is a combination of two important traits. The first is hiring for character. A high degree of individual character exists across the entire Audix team. Audix takes great care when hiring people to join the organization. We look for individuals who “fit” the organization’s culture. The first questions we ask ourselves when hiring are, “What kind of integrity does this person possess?” and “Will this individual do the right thing in a challenging situation?” Then, we ask ourselves, “Does this individual bring the desired skills, qualifications and experience to the position?” Obviously, we hire for both, but never for skill or experience alone.

The second ingredient in the “secret sauce” is that we know who we are, who we aren’t and who we want to be. Having a solid company

Looking at the areas in which Audix products are used, are there particular categories or markets that are seeing growth, contraction or other changes?

Installed sound is a market space that is seeing tremendous growth at Audix. We are also placing significant focus on the wireless product category, which serves all of our markets. Our engineering team is growing, and our pool of talent is getting deeper; that’s enabling Audix to develop and manufacture high-tech pro-audio products in these categories, in-house, at our facility in Wilsonville OR. There will be several new and exciting product additions in the next few years.

Also, our international presence is expanding. We have partnered with experienced and talented pro-audio representatives, who understand the nuances of their respective territories, to increase worldwide distribution. The initial results have been positive, both in improving our international operations and with regard to revenue growth.

MUSIC & SOUND RETAILER

In your opinion, who are the people walking into retail stores to purchase Audix equipment? Does it run the gamut, or can you point to a certain group that represents the company’s “sweet spot”?

I believe that Audix’s customer base runs the gamut. Our microphones are found in classrooms, rehearsal spaces of bands that are just beginning their musical journey, and arena stages and stadium shows.

In the installed-sound space, we have placed products in small business offices, corporate boardrooms and government facilities. It runs the full spectrum.

Our “sweet spot” lies in providing value to the customer. Creating products with exceptional build and features, at price points that are within reach for most people, is something that Audix does very well.

The one area where we intentionally do not place much focus is the entry-level market space. As many in the pro-audio industry know, Audix has extensive design, engineering and manufacturing operations that are based here in the U.S. This allows us to ensure that the products entering the market space with our name on them meet our standards of excellence.

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equipment needs. Clubs come and go; they change format and change ownership. All those dynamic aspects create opportunities to sell products to the facility. Clubs are also where many sound engineers get their start in the business, and those relationships might carry forward as the engineer’s career progresses.

I have been fortunate to be involved in the opening of a few major performance halls, most notably Marion Oliver McCaw Hall in Seattle WA and Winspear Opera House in Dallas TX. Sound design in performing arts halls involves a team of acoustic engineers, sound engineers and building architects, who design the performance hall for a specific performance application: symphonic orchestra, opera or theater. If a retailer wants to be in this market, relationships with installedsound contractors and consultants are absolutely necessary, because the contractors spec all the installed products. Both McCaw Hall and Winspear Opera House were designed for opera. Sound reproduction in any performance hall can be quite interesting, as these rooms are incredibly “live.”

Chris Doss, Cliff Castle, Co-Founder of Audix, and Todd Brushwyler, also from Audix, present Chuck Surack, President, Sweetwater Sound, with the Dealer of the Year Award at the NAMM Show.

Given your histor y with festivals and performing arts venues, as well as Audix’s strength in the installedsound and wireless systems categories, what would you say to retailers that want to participate in the pro-audio installation market?

I would encourage any retailer who would like to be involved in the pro-audio installation market to explore the possibility.

Aligning your business with facilities that serve the music industry might be a great start. However, one must want to be in that segment of our industry. If your dream and your passion (L-R): Cliff Castle presents the 2016 Asia-Pacific Distributor of the Year is to own and operate a music store, don’t lose sight of why Award to Graeme Stevenson, Production Audio, Australia, with Cindy Bigeh, CFO, Audix, and Chris Doss. you got into this business. Installed sound might add to your bottom line, but it might not provide much day-to-day happiness Understanding the specific sound characteristics of the room, and then if you’re pursuing that business for reasons that are entirely financial. providing the optimal solution for the application, is essential. If you get A retailer should anticipate significant investment of time and the sound “wrong” in a performing arts hall, it is unforgiving. resources to operate in the installed-sound market space successfully.

More recently, I was involved with the Monterey Jazz Festival. Most The customer can be quite different from the typical MI customer, and of the performances took place on outdoor stages, and the festival had the work is much more involved than adding installed-sound products a longstanding relationship with the sound production company. There to your offerings. I would advise any retailer that is looking to enter are literally thousands of festivals that occur in communities during the installed-sound sales to identify one or more persons in their operation summer months across America, and they all require pro-audio support who will be 100 percent focused on that business segment. A deep understanding of product applications, installation procedures and system of some kind. Building relationships with these events might take no more than a phone call or a meeting. And, in addition to adding to the environments is required. financial bottom line, there’s an opportunity for exposure, marketing Live music venues that support touring artists generally fall into a and publicity for your business. few types of facilities (e.g., clubs, arenas, amphitheaters and stadiums.)

I would also look to the house of worship and education markets as With years of experience, sound engineers have these facilities “dialed in” for peak sound quality during performances. They have an excellent potential entry points into installed sound. Every community has these institutions, and they all need pro-audio solutions. idea of what will sound best before the show has even loaded in at the As an MI retailer, getting into the corporate side of installed sound venue. would likely be a more difficult endeavor. It’s really an entirely different When I was at KeyArena, we often had different major acts booked business from MI, and it’s steeped in business-solution technology. Geton consecutive nights. The load-in and load-out process is nothing ting up to speed might be a monumental and expensive effort if you’re short of a spectacular effort. These great sound engineers know their just starting out; and, by the time you catch up, everything might have gear, their act and the characteristics of the venue. That allows them to changed overnight. This side of the business moves at the pace of get great sound in a matter of hours, not days.

Silicon Valley. But, if a retailer wants to go that route, it appears to be a If a retailer wants to be more closely tied to the touring industry, I side of the industry with unlimited growth potential. would recommend that they start by connecting with their local venues—particularly clubs—so they can learn more about their pro-audio (continued on page 52) 30

MAY 2017

MUSIC & SOUND RETAILER

31

M I SPY

OPERATOR (Can You Help Me Find

In a past life, I was a professional tour guide in San Diego CA. Once, while speaking to a small group of tourists about the city’s historical Gaslamp Quarter downtown, we paused across the street from the original (Jim) Croce’s Restaurant. As I shared a few facts about the late singer, a petite lady stood nearby, eavesdropping. When I asked if I could help her, she, in a raspy, Kim Carnes-type voice, gleefully introduced herself as Ingrid Croce: the late singer’s wife!

Today, Croce’s two restaurants have closed their doors after 30 years of music and fine dining. San Diego, meanwhile, is “Almost Famous” in the music industry. The city is home to a lot of popular artists, including Iron Butterfly, Blink-182, Jewel, Stone Temple Pilots, Slightly Stoopid and many others.

For this month’s deep-cover spying excursion, I was ostensibly shopping for a pair of headphones for my son, who wanted them for practice on his electronic drums. I started my search in the northern part of San Diego County and finished it at the southern end, near the U.S.Mexico border.

Music Mart u 122 Solana Hills Dr. Solana Beach CA 92075 u 858.259.3940

My first stop was Music Mart, which is located near San Diego County’s North County coastal area. The local Chamber of Commerce calls out its “unique seaside villages [that have] a quintessential southern California surf vibe.” Although locals might have been hitting the waves, I had only one thing on my mind—headphones—lest The Chief pop by for an unexpected spot check.

The first thing I noticed about this strip mall music store was the difficult-to-read store name, which was in black lettering, above the darkened front windows. It was equally dark inside, although the Heritage Guitar electrics and acoustics, hanging from above, were spotlighted nicely.

Upon entering the front door, I saw a display of Hosa cables immediately to my left, inside the front window. Knowing that window displays 32

draw customers into a store, I couldn’t help but think that a seductive window display would work even better. However, the store’s Web site says it has been “serving San Diego’s musical instrument needs for over 30 years.” So, it’s kind of hard to argue with that kind of in-the-trenches retail experience. To the right of the front door, I believe there was a small office.

An interesting factoid: Established customer traffic-flow patterns indicate that customers tend to turn to the right upon entering a store.

In fact, according to Traf-Sys, a people- and traffic-counting solutions provider, “Ninety percent of people are right-handed, which also means they are right-footed. When people enter your store, they are more likely to turn right and work their way around your establishment in a counter-clockwise fashion.” It’s something for all retailers to keep in mind as they determine what to place just to the right of their store entrance.

This “boutique” store was tightly packed, and it featured a good selection of guitars, amps that included Mesa Boogie and Ampeg (new and used), a few drum kits, banjos, keyboards and ukuleles, as well as plenty of accessories. In the back right corner was a small stage used for product demos. A full-service operation, Music Mart, I learned, offers repairs, lessons and installs.

The friendly employee who greeted me asked how he could help me. When I explained my headphone search, I was told the store had a few options. Immediately, I was drawn to a pair of Yamaha headphones that I’d spotted. Admitting that they were good headphones, the man nevertheless said he felt a couple of other brands were better suited to my needs.

He showed me Stagg SHP-I500 Deluxe Portable headphones, which were selling for $79. They offered high sensitivity, dynamic sound and deep bass response, I learned. Next, he pointed out what he considered the best deal of the day: a pair of iSK HP2000 monitoring headphones.

I thanked the man for his time and started to leave. As I did, he suggested that I might want to check out headphones at the AT&T store a MAY 2017

These ’Phones?) couple of storefronts down. I was impressed that he was still trying to help me.

As I walked out the front door, a female employee greeted me with a smile and a friendly “Hello!” I found Music Mart an interesting store, boasting a hip musician vibe and a helpful, no-pressure sales staff. They were confident enough to “tell it like it is,” and they get points for that.

Warehouse Sound and Lights u 8430 Production Ave. San Diego CA 92121 u 858.578.6660

As I headed south, the next store I visited was Warehouse Sound and Lights, located a couple of blocks from the Marine Corps Air Station Miramar in San Diego, the former home of the Navy Top Gun school.

Driving toward the industrial neighborhood where Warehouse Sound and Lights is located, I spotted what I thought was a drone. The closer I got to it, though, the bigger it got, and I realized it was a Marine Osprey hybrid twin prop tilt rotor airplane with its propellers facing upward like a drone. This was definitely Marine Corps country!

When I entered the store, the husband and wife Owners were standing behind the sales counter. They welcomed me with smiles and hellos. Warehouse Sound and Lights is definitely pro-audio-oriented, carrying rugged cases, speaker stands, mixers, plenty of accessory items and a good selection of loudspeakers, including those from JBL, QSC and Mackie. On any given day—including the day I visited the store—the speakers are cranked up good and loud, as the skies are often filled with the deafening sound of McDonnell Douglas Hornets buzzing mightily above.

The Owners are big fans of Audio-Technica, and I was first shown the top-of-the-line ATH-M50x headphones ($129.99). Then, I was acquainted with the less-expensive Audio-Technica ATH-M40x at $79.99. One of the Owners explained to me that that model costs less because it had less frequency response.

The husband, an old-school audio tech, explained, “Studios don’t like sound bleeding from headphones into the mic, creating feedback. The A-T headphones isolate really well.” His wife added that the ear cups swivel, too. I liked the fact that both models came with two cords—one coiled and one straight—and that both could be adjusted to come safely unplugged, just in case it got caught on something. (They would be great for a drummer whose arms were flailing about.)

I spotted a pair of Shure headphones and asked about them. The wife explained that, although they were excellent headphones, the ear cups didn’t swivel. The final pair was American Audio’s HP-550, and I was informed, “They’re definitely DJ-oriented, with good quality. They’re very popular with DJs.” Priced at $49.99, the headphones come in a variety of colors.

As I left the establishment, I thought, If you like DJ equipment, this store is the place for you!

Sam Ash u 3418 College Ave. San Diego CA 92115 u 619.573.9669

Continuing south, I followed Siri’s directions and arrived at the shopping center where a new Sam Ash location was supposed to be. But, for the life of me, I couldn’t find it. Spotting a side road, I followed it around to the back of the center and—voila!—there it was. There was a huge marquee, which was as big as a drive-in movie theater screen, which said, “Sam Ash Music Stores – Come In And Play!”

The inside of the one-year-old store was cavernous, with 20-foot-high walls covered in all things music. Entering the front door, I was immediately greeted by the Operations Manager, who, upon hearing my search MUSIC & SOUND RETAILER

parameters, directed me to the resident drum instructor.

The instructor was joined by a second salesman, and both of them shared their opinions about headphones with me. The instructor explained, “With electronic drums, it’s not like you’re mixing stuff. So, it doesn’t have to be studio quality.” He intimated that the best bang for the buck was Samson’s HP10 playback headphones ($59.99). However, the other staffer favored Sennheiser’s HD 280 Pro headphones ($99.99), citing “the cleaner sound.”

I noticed some Beats headphones on display and asked about them. A third clerk, from behind the counter, shook his head in a disapproving manner. He stated they were “stylish and popular, but not the best for musicians.”

I was encouraged to tour the store, which I did. Sam Ash had stacks of drums kits, lots of drums for drum circles, wall-to-wall electric guitars, an acoustic guitar room, keyboards, pro-audio gear, tons of accessories and a stage with about a dozen chairs. Most impressive was the ’60s-era black Fender Stratocaster ($14,000) that hung high on the guitar wall.

(Do Not Touch!)

Impressive as this store was, I would have liked to see a larger proaudio selection. But, the bottom line is, this brick-and-mortar store had all the cool goodies, as well as a friendly and helpful staff. I was impressed by the group of people who spoke to me, and I came away feeling they really enjoyed helping their customers.

I must note, however, that this store was virtually empty, save for one customer who was playing electric guitar. Granted, it was around 2pm on a weekday. Nevertheless, one can only hope that more people visit this Sam Ash store to “Come In And Play!”

Guitar Center u 4548 Camino De La Plaza San Ysidro CA 92173 u 619.662.1245

Finally, I arrived at the southernmost city in the United States: San Ysidro CA. It’s literally blocks from the U.S.-Mexico border. In a small strip mall, I found a Guitar Center, which formerly was an “outlet” shop but, now, is a full-service music store. As I approached it, I noticed numerous entry-level acoustic guitars, which were displayed like a police lineup in the front window.

Inside, I encountered five employees, who greeted me with a friendly “Hi!” I had been in the store before, and the first thing I wanted to check was to see if GC had repaired a torn piece of flooring with new wood.

The store had, in fact, and it looked great in general.

The inventory change from outlet to full store was obvious, and I was impressed by the enhanced pro-audio section. The guitar displays were top notch, and I was blown away by the number of near-mint used electric guitars on floor stands. That included a beautiful Rickenbacker 350V63 electric guitar that I just had to pick up and pluck.

The first salesman to help me provided an earful of reasons why he preferred Audio-Technica. He said A-T was “high definition, super reliable, super comfortable, with good low end, and ergonomic and adaptable to your needs.” Looking around the backside of the headphone display, I spotted some Vic Firth SIH1 isolation headphones. I hadn’t realized that manufacturer made headphones, so I was intrigued. The GC staffer admitted that, at $62.99, they were a good deal. He said they were super padded and great for acoustic drums—but not as good for electronic drums.

Then, he directed me back to the Audio-Technica section. In particular, he thought the ATH-M40x model was the best choice. The salesman was super helpful, and I appreciated his enthusiastic—yet low (continued on page 52) 33

S PEC I AL T O THE R ETAIL ER

5

QUESTIONS TO ASK YOURSELF BEFORE DEFINING YOUR BRAND

By Lynette Sage Think about the companies that you love. Are you a diehard Diet Coke drinker? Do you only buy Apple products?

Are you a self-proclaimed Levi’s addict?

When you travel, do you swear by one hotel brand or airline? Chances are, you can think of at least one business with which you have that type of relationship.

But how does a person feel an intimate connection with a can of carbonated soda, a computer or a pair of blue jeans?

Through branding.

Branding—this includes everything from the layout of your store to the words on your Web site, and everything in between—allows you to give your inanimate company a personality that people can relate to and rally behind. A strong brand makes customers feel as if they’re part of something…as if the company belongs to them. When deliberate and consistent, your brand will create loyal fans who want to support your musical instrument business over and over again.

You don’t have to be an international corporation to create a brand that customers love; instead, you simply have to consider what you want your company to be known for, and then ensure that it echoes throughout your company. It should reverberate from your promotional flyers and social media posts to the employees who speak directly to your customers on the showroom floor.

Creating and cultivating a brand is no small task. To the right are five points to consider.

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1

What do I admire about other brands inside and outside of the music industry?

When considering how to define your brand, don’t be afraid to get initial inspiration from other companies, whether they are other musical instrument retailers, other companies within the broader music industry or even companies that sit completely outside the realm of music. What’s working for them? What’s not working for them? What aspects of their branding do you like, but think you could do better?

Look at other brands to learn what you like, what you don’t like and what inspires you; however, don’t replicate another company’s aesthetic. If something is working for a brand, it’s because it’s genuine. Not only will borrowing from another brand feel disingenuous, but customers will also see right through it.

2

What sets me apart from other businesses in the music industry?

Whether you’re competing with the musical instrument retailer in the next town or dozens of available options in a bigger city, your ability to define your brand starts with identifying the key aspects that make your store different.

Do you have tons of unique vintage inventory? Do people come from miles around to view your extensive folk instrument section? Does your store offer unique services, such as an on-site room where people can test out pro-audio equipment?

Identify what makes you different—or where your competitors are lacking—and own it.

3

What do I stand for?

Are you committed to selling instruments that uphold a standard that your grandfather created decades ago? Do you donate a portion of your proceeds each month to a charity that’s near and dear to your heart? Do you guarantee that everyone who enters your store will leave feeling like family?

Your company’s ability to articulate and uphold a unique set of values will directly relate to your customers’ ability to feel connected to you.

Your values should act as a filter when you interact with customers. Whether you’re communicating with them through social media posts, posters, advertisements or blog posts, you have to consider whether you’re reflecting what your company stands for.

4

What do I want my brand to look like in the future?

If you’re taking the time to define, or even redefine, your brand, consider not only who you are as a company today, but also who you aspire to be in the future. If, for example, you largely cater to an older crowd, but you have a five- or 10-year plan to attract younger musicians, don’t define your brand based solely on your current customer base.

Along the same lines, avoid latching on to what’s trendy. Fads come and go; you want your brand to stand the test of time. The strongest brands remain classic for years by maintaining their core values, while remaining flexible as the market changes around them.

5

Who can bring this vision to life?

Once you’ve asked yourself all the previous questions, hire a professional designer. Bringing on a great designer is an investment in the interactions and relationships your customers will have with your brand for years to come. It might be tempting to hire an amateur…a friend or family member.

However, only an experienced professional can take your vision and mold it into a cohesive, comprehensive and effective design strategy.

Before you meet with your designer, have a complete understanding of brands that you like and dislike, your competitive advantages, your values and your plans for the future. Being prepared will help you ensure that your vision—rather than that of the designer—will come to life.

Today’s consumers have many options when it comes to purchasing music gear.

By carefully considering and crafting your brand, not only do you enable your store to stand out from the crowd, but you also create two-way relationships with consumers that keep them coming back. Particularly in the music products industry—where gear and the music it makes is extremely personal—customers want to align themselves with brands with personality. By understanding what makes you unique, and by staying true to your core values, you can create a brand that makes your customers and you both feel good at the end of the day.

Lynette Sage is Art Director at Reverb. com, the online marketplace for buying, selling and learning about music gear.

MAY 2017

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A N NI VERSARY SPOTL IGHT

Yamaha Professional Audio Celebrates 30 Years Of Digital Mixers

As the world of professional audio continues its migration into the digital realm, many companies have jostled for an advantage on the long road to this technology becoming the standard. Although each manufacturer brings its own advantages, Yamaha continues to enjoy the loyalty of many audio engineers and musicians worldwide following several decades of advances in digital mixing, as it celebrates its 30-year milestone in the digital mixer field.

In 1987, the company unveiled the DMP7, a digital mixer that offered parametric EQ, internal effects, stereo compression and something called “scene memory,” which became an essential feature for every manufacturer. The ability to store and recall multiple mix setups and fader control meant the end of what’s commonly known as “marking the board,” which was a time-consuming task.

The first Yamaha digital mixer arose from a need on the digital musical instrument side of the pro-audio business. In the mid-1980s, a successful line of synthesizers utilized a new sound-generation technique, known as FM synthesis. The Yamaha DX7 synthesizer was among the most popular keyboard products of that time, and one of the derivatives was a rack-mount tone module series: the TX. Keyboardists wanted to layer the sounds of the DX7, and the TX816 was essentially eight independent DX7 engines in a rack-mount form factor, with each sound engine having its own discrete line output.

The company wanted to provide a solution to allow keyboard players to combine all the layers of their sound patches from the tone modules easily, as well as recall them quickly.

According to John Schauer, Senior Technical Specialist for Yamaha Professional Audio, “The DMP7 represented a significant milestone: the company’s first digital mixer, which provided a solution not only for mixing in live and studio situations, but also for keyboard players.”

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Yamaha’s RIVAGE PM10 Digital Mixing System.

Subsequently, Yamaha produced 22 unique series of digital mixers, with the technology steadily winning acceptance in professional circles. Incorporating the latest feature developments, along with input from audio professionals who use the products, Yamaha digital mixers are now deployed in applications that range from stadiums to nightclubs and from professional recording facilities to home studios.

“Yamaha got an early start in the field of professional mixing consoles with its first PM Series analog mixer in 1972,” Nithin Cherian, Marketing Manager for Yamaha Professional Audio, recalled. “That led to a string of launches spanning four decades.” With the reliability of digital mixers improving, and as they proved more effective than analog, Yamaha’s segue into the digital realm was natural. The company further made a mark in the digital domain by pioneering many of the features now considered commonplace.

Let’s look back at the company’s 30-year digital mixer history, punctuated by key products.

1994: The ProMix-01 programmable mixer offers analog-like operation. It is adopted for use as a PA mixer for small events, where it delivers smooth operation and sound quality competitive with comparable analog mixers.

1995: The 02R, featuring 44-channel mixing capacity, four-band parametric EQ, dynamics processing, input delays and a compact size, becomes standard equipment in studios.

MAY 2017

Yamaha’s ProMix-01.

Yamaha’s 02R Digital Recording Console.

Yamaha’s TF-Rack Digital Mixer.

2001: The PM1D digital mixing system, designed for live sound reinforcement, emerges. Following its debut at Carnegie Hall in New York NY, it becomes an industry standard for live sound.

ny that is not afraid of it. They embrace it wholeheartedly.” He added, “What digital mixing did was allow us to concentrate on the music, rather than on which buttons were pressed where, on which console, to do what you needed to do.”

To see Yamaha’s complete chronology, visit msr.io/2pybtcd.

2004: The PM5D marks a significant upgrade in layout, function and reliability.

Because of its easy-to-use, intuitive operation, it’s a drop-in replacement for analog consoles. Many rental companies describe it as a particularly “rider-friendly” digital mixer.

2005: The M7CL, designed for simple operation and creating a smooth transition for analog users, makes its debut. Houses of worship, where board operators range from seasoned professionals to volunteer tech teams, find particular value in it.

2006: The LS9, suiting club, theater and amphitheater live-music venues, is introduced. Providing all the essential functions of a live sound system in a digital package, it’s small and light enough for a single operator to transport and use. It comes in both tabletop and rack-mount versions.

2011: Yamaha’s 01V96i offers multitrack recording capability, advanced VCM effects and a refined, high-performance head amp section. The mixer offers more direct interactivity with Steinberg Cubase AI6 and other DAW software suites.

2012: The CL Series concentrates a great deal of processing power into a compact package. It features quality onboard plugins, considerable routing versatility and a higher level of performance from its onboard processing.

2015: The TF Series debuts, with the TouchFlow Operation interface, optimized for touchpanel control, an excellent processing library and expansion capabilities.

With an affordable pricing structure, the mixers are sufficiently versatile and intuitive to suit experienced engineers and newcomers to the field.

2015: The RIVAGE PM10 is Yamaha’s newest flagship. It focuses on sound quality, with Rupert Neve Silk and Transformer emulation, and it has a streamlined workflow for quickly managing large channel counts. RIVAGE has set the stage for Yamaha’s involvement with professional sound-reinforcement applications in the coming years.

Yamaha’s achievements and milestones over the years certainly have not gone unrecognized. In 2007, the company received a Technical Grammy from the Recording Academy, recognizing the company’s long tradition of recording products; this includes the DMP7, DMC1000, ProMix01, 02R and DM2000 digital mixing consoles. And the company’s tradition of evolution driven by new technologies and user response continues today.

Stan Miller was there at the beginning of Yamaha’s digital mixing era. A veteran sound engineer and touring sound pioneer, he has been using Yamaha mixing consoles since the 1970s. Miller has provided concert sound for artists such as Neil Diamond, Johnny Cash, John Denver, The Supremes, The Young Americans and many others. So, his voice is one of experience.

Summing up the role Yamaha has played in the evolution of digital mixers, Miller said, “Some people don’t embrace technology. They don’t want to try anything new. They’re afraid of it. Yamaha is a compaMUSIC & SOUND RETAILER

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F RONT AND CE NTER

KRISTY PORTER

Director of Merchandising, General Accessories/ Media, Guitar Center

By Leslie Buttonow “Front and Center,” supplied by the Women’s International Music Network (The WiMN) is a bimonthly column that showcases accomplished women who work in the music and audio industries. We spotlight successful female performers, manufacturers, retailers, educators, managers, publicists and everyone in between. Want to be featured? Go to thewimn.com/contact.

Kristy Porter is all about business––the music retail business, that is. Since 2001, she’s been a top performer at one of the largest music retailers in the country: Guitar Center. She’s served in a number of roles in the chain’s retail stores and at its Westlake Village CA headquarters, receiving several promotions and distinctions along the way.

A guitarist since age 14, Porter walked into Guitar Center’s Oxnard CA store as a teenager to buy some strings, and she was quickly impressed by the cool vibe and gear in the store. That first impression, combined with her love for music, inspired her to apply to work there. Little did she know that she had begun a journey that, in time, would turn into a full-time career.

Porter has put her experience as a guitarist, as well as her knowledge of pro audio, to use in recognizing customers’ need for an enjoyable, stress-free shopping experience in Guitar Center stores. She has a passion for music and for gear, and she continually learns about new SKUs, thereby benefiting her customers and her company.

In this interview, Porter shares more of her story, as well as some advice for other young women starting out in their careers. Plus, she offers a behind-the-scenes tidbit about life behind the counter at a music retail store.

Women’s International Music Network: You’ve held a number of roles at Guitar Center, working hard and climbing the proverbial ladder. Share some of your previous positions there, and discuss how long you’ve been with GC. Kristy Porter: I’ve been with Guitar Center for 15 years. I started as a Sales Associate at the front door in our Oxnard CA store when I was 38

‘Accessories are a vital part of Guitar Center’s overall business.

From a merchandising standpoint, the power of presentation is very important. We want to ensure we have the right selection, and that our products are easy to identify, easy to shop and easy for our customers to buy.’

18 years old. I quickly moved into the accessories department, and then I became Accessories Department Manager. Soon after, I was promoted to Assistant Manager of the whole store. Along the way, I took several training courses to learn all about pro audio and guitars, so I could sell in all departments. I was also the top salesperson for three years running while I was there.

Several years into my career, a job opportunity—Assistant Category Manager of Accessories—came up at Guitar Center’s corporate office in Westlake Village CA. That was my dream job, so I applied and I got it. I became the first female to have a buying role at GC at the time.

The WiMN: Your current role focuses on a specific business segment: musical accessories. Many people might not realize how something so seemingly small can be so impactful.

Yet, your track record proves it true. How important is that segment of Guitar Center’s business, and how do you keep it a success?

Porter: Accessories are a vital part of Guitar Center’s overall business. From a merchandising standpoint, the power of presentation is very important. We want to ensure we have the right selection, and that our products are easy to identify, easy to shop and easy for our customers to buy. It’s also important to analyze the business on a daily basis, looking for opportunities, trying new things and taking risks.

The WiMN: Time to dish a little dirt. During your time working on the retail side of things, what challenges did you have from customers? And what songs were the most overplayed by customers in the guitar department?

Porter: I think that, with any retail store, you will have great customers and difficult ones.

I always viewed the difficult ones as an exciting challenge, so I could try to make their experience great. I’ve had a few customers not want to deal with me, because I was a female and they thought I didn’t know my stuff. I saw it as an opportunity to prove them wrong.

MAY 2017

I’d say the most overplayed songs in my store would definitely be “Enter Sandman” by Metallica and “Crazy Train” by Ozzy Osbourne.

The WiMN: Guitar Center seems very supportive of female customers and employees, from the ground floor to the top floor. During your time with the company, what changes and advances have you seen? What do you attribute them to?

Porter: When I started, the industry was very male dominated. In all the positions I have had––from a salesperson, to a category manager, to a director––I was the first female in merchandising. Now, I see more and more women joining the industry every year.

Guitar Center has worked hard to change the ratio of male-tofemale customers and employees, and our efforts seem to be working.

The WiMN: What advice do you have for young women who want to break into our industry?

Porter: The best advice I can give is to be assertive and tenacious. Don’t be afraid, and seize every opportunity. Learn who you are, and don’t let fear of failure talk you out of taking risks, branching out and putting your best face forward.

During my time as Assistant Category Manager, a head accessories buying position opened up. I spoke to my boss and told him I was very interested. He was reluctant, though, because I had only been in the Assistant Buyer seat for a year.

Instead of accepting that answer and waiting, I asked him what I had to do to prove myself. He told me to write up a business plan for the department; so, I did. He was very impressed with my plan, and I got the job.

Remember, you are your own business card. Tap into the confidence you were born with, so you can stand toe to toe with anybody and be successful.

The WiMN: Are there any new events or promotions coming up at Guitar Center that our readers might be interested in?

Porter: Guitar Center MUSIC & SOUND RETAILER

‘Tap into the confidence you were born with, so you can stand toe to toe with anybody and be successful.’

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F ROM T H E TR E NCHE S

SURVIVAL OF THE PERSISTENT

By Allen McBroom

Charles Darwin is frequently credited with having coined the phrase “survival of the fittest.” The general idea, of course, is that the creatures that are best suited to their environments thrive and multiply, whereas the ones that fail to adapt die off. In the natural world, I think there’s a lot of wisdom in Mr. Darwin’s attributed observation. Here in the brick-andmortar retail environment, however, I think a more fitting observation would be “survival of the persistent.”

Specifically, I think persistence pays off most when it’s applied to self-promotion (i.e., marketing). The drawback to being persistent in a promotional effort is that it requires us to add a new cog to our time wheel. Now, I’m not talking about a one-time event or promotion, such as a 20th anniversary sale or a meet-and-greet event at the store for some touring band. I’m talking about adopting selfpromotion as a part of your regular routine, and then sticking with it over the long haul.

I started a weekly e-mail before Christmas one year, and I thought it was a pretty cool idea. It was sort of a here’s-what’s-happening update, and I sent it out every Wednesday.

It listed what bands were playing where, the regional music festivals, the solo gigs at the Sunday brunch venues, etc. I thought it was a cool, easy way to keep our name in front

40

of folks who had already visited the store. And it was…for as long as I did it. Then, I started to think about the Wednesday newsletter on Thursday. One week nothing much was happening, so I skipped it. Next thing I knew, my great marketing idea was living in the Realm of Forgotten Things. I wasn’t persistent. (Bad! No cookie for me.)

Some retail wizards operate using a marketing calendar. It’s not rocket science, but it’s a simple way not to fail at being a regular self-promoter. It can be paper or digital…that part is irrelevant. But, for ease of explanation, I’ll refer to a paper calendar. There are many ways of approaching this, but here’s a simple one: Get a regular, 12-month calendar, and then write down all your store’s events. No matter how small those events are, just jot them down. Free restring day, product rep demo day…whatever you do on a regular basis. Then, think backward for each event and write down the days you should do prep work for the events. Once each event or promotion, along with the requisite prep work, is entered on your calendar, you’re half done.

Now comes perhaps the most important part of having that calendar: Write down the days you want to have planned Facebook posts. If you like posting Wednesdays and Saturdays, great! Every Wednesday and Saturday, mark that day with a little “FB” to remind you, “Hey, it’s Facebook post day.” Once you’ve done your post for that day, “X” out the little FB. You’re done!

If you’re somewhat green when it comes to using Facebook, don’t despair. Business pages can schedule posts far into the future, and the posts can be scheduled for date and time. If you have a Facebook post that you know you want to pop up at 8am on October 6, go ahead and make that post, and then schedule it for October 6 at 8am. Now, flip to that day in the calendar and “X” out the FB marked for that day. You’re done, far in advance!

Don’t forget Instagram, Pinterest, e-mail lists or any other social contact process you use.

Facebook isn’t the whole world; in fact, among the 35-and-younger crowd, it’s less important than other platforms.

Now, think about other things that are going to happen during the year. Do you give little gifts to your regular customers during the Christmas season? When should you be ordering those items? October? September? Mark it on the calendar, because that’s another promotional thing. Is there a local arts festival that you sponsor? Grab the calendar and jot down a reminder to get together your banners, giveaways, demo models and other items the day before. If it’s a long list, write it on a separate piece of paper and staple it to the back of that calendar page.

So far, the only thing we’ve seen here related to persistence is the regular social media postings. But, if you think of your calendar as your promotional and marketing compass, then you’ll really begin to benefit from the few hours you put into developing this bit of mercantile organization. Your calendar isn’t a diary of what you’ve done (or will do) this year but, rather, a benchmark for all coming years. When November or December rolls around, grab a new calendar for the coming year and start to fill it out based on the dates you’ve already noted on the previous calendar. (Here’s a hint: Use a pencil, because dates have a way of changing.) If you felt rushed while preparing for a certain event during the year, then move the prep date back a bit for the new year. If Joe Bob didn’t show up on time to DJ for the big drum sale, then put it on your calendar to call Joe Bob the day before and remind him to show up early.

Also, remember that your promotional calendar is not a static thing. You’re not limited to what’s on the calendar; the items on the calendar are the minimal things you will do. Add to it as opportunities present themselves. At the end of the year, before moving your dates forward, review the year, redline the events that didn’t work and adjust the events that could have worked better.

Moving the new year’s dates forward is where the persistence comes in. Seeing a task written helps prompt action. Learn to find joy in “X”ing out each promotional task as it is completed. Look at your calendar every day and knock out the tasks early.

In our little corner of the retail world, your store might not be the best-financed, biggestselection option in your area. But you know what? That’s OK; you’re in great company.

And using the free tools that are available (e.g., Facebook, in-store events) and keeping yourself out there, in front of your potential customer base, might make you the most recognizable store…the most in-touch store…the most persistent store. The store that ultimately survives.

Happy trails.

MAY 2017

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SHINE A LIGHT

KING OF THE CASSELL’S

By Michelle Loeb Ed Intagliata recently started his 40th year as the Owner and Manager of Cassell’s Music. It’s a store whose heart is big as can be, and it’s one that fosters community and camaraderie among local music makers.

It was a caring spirit that first brought the Intagliata family to Cassell’s Music. Intagliata’s father, Salvatore, was looking for a family-run business to buy in order to fund his children’s college education. In 1977, he came across Albert Cassell, who had opened his business in 1947 and who, by then, was ready to retire. After a few months of negotiations, the Intagliata family took control of Cassell’s Music on January 3, 1978. Ed Intagliata, having recently graduated with a bachelor’s degree in music education from Cal State Fullerton, was tasked with running his family’s newly acquired music store.

“I’m the second oldest of eight siblings and, with six more children to put through college, my dad asked if I’d be willing to run a family business that would employ my five younger broth42

Cassell’s Music 901 N. Maclay San Fernando CA 91340 818.365.9247 cassellsmusic.com Mon-Wed: 9am-6pm Thurs-Fri: 10am-7pm Sat: 9am-5pm Ed Intagliata, Owner & Manager

ers and sisters while they were college students,” Intagliata explained. “Without hesitation, I agreed. I worked my way through college as a part-time employee with Sears. At the time, I was mired in the customer service department…aka the complaint department. So, anything was a step up from that!”

Intagliata’s time at Sears gave him great insight into the inner workings of a retail business: everything from customer service to sales, product display, merchandising and teamwork. Those lessons only added to the valuable input that Intagliata received from his “brilliant businessman” father, who held an executive position in the aerospace industry.

“My expertise in music and his expertise in business were a match made in heaven,” Intagliata said, “and we’ve managed to stay in business and be profitable all these years, while other stores have packed it in.” He noted that there were five or six other music stores, plus one large Guitar Center, in the area at the time that they bought the business. Only the Guitar Center remains today. All of this is a testament to Intagliata and his father’s strong business acumen; their store has survived, even as the local competition has been forced to call it a day.

The family moved Cassell’s Music from its original location in a downtown outdoor mall to a standalone building that they purchased on Memorial Day in 1984. The move cut the store in half: It went from 5,000 square feet to 2,500 square feet. So, Intagliata had to figure out how to maximize his space. However, he said, “We’ve owned the building free and clear now for 13 years, and I sleep better at night knowing there won’t be any landlord problems in the future.”

Cassell’s Music is no longer part of a commercial strip. “So, we don’t have many passersby who just wander in,” Intagliata explained. “Whenever someone walks through our door, it was because they made a special trip to drive here. I like to think of our customers as friends, rather than as just customers. I want to be sure everyone is greeted promptly, they have any questions answered and, most of all, they feel welcomed by Cassell’s Music.” He continued, “To do that means having a pleasant and friendly attitude at all times, regardless of which side of the bed you MAY 2017

got up on.”

Over the years, Cassell’s Music’s customers have included some very famous faces.

Seals and Crofts were frequent customers while utilizing a nearby recording studio in the 1970s, and Ritchie Valens bought his guitars at Cassell’s Music.

“I have a copy of the receipt for one of them, dated October 1957, for a Gibson ES225T that his mom bought for him on payments, because he was only 17 and too young to sign the contract,” Intagliata recalled.

He was also one of the first to meet a young up-and-coming country star named Reba McEntire. According to Intagliata, “Back in the early 1980s, when we were still selling records and tapes, one of the label’s artist relations managers brought to the store a skinny redhead who was coming out with her first album.

He said, ‘We think she might have a career ahead of her,’ and we all went out to lunch.”

Cassell’s Music might be popular among a celebrity clientele, but the store is equally as welcoming to those on the opposite end of the economic spectrum. Intagliata launched a program called Play It Forward, which gives customers who have fallen on hard times a chance to buy a refurbished instrument of their own.

“Many times, I get a sense that mom and dad just don’t have the money to purchase an instrument for their child,” he lamented. “Then, I go in the back room and bring out one of the Play It Forward instruments and offer it to them for a dollar. Just to see the look in the child’s eyes when mom or dad buy it and hand it to them is worth every penny I put into it.”

Photos of Play It Forward recipients are posted on Cassell’s Music’s Facebook page, and they garner many likes. “It has resulted in dozens of people digging into their closets and bringing me instruments to donate,” Intagliata said. “They wish to MUSIC & SOUND RETAILER

see a disadvantaged child put an instrument that had been collecting dust to good use. It’s been a win-win for everyone involved, and it’s resulted in tremendous goodwill for the store that cannot be purchased at any price.”

With Intagliata eyeing retirement in the coming years, he

hopes to use his remaining working years to continue to pass on his love of music to any and all who walk through his doors.

“My life has been enriched greatly due to my involvement in music, and I wish to share that enrichment with others so that

they may experience it also,” Intagliata stated. “Studies have shown that participating in music-making does so much good for an individual, and it makes them better-rounded socially.

I want my love for music and music-making to be apparent to all who come into my store.”

6 6 % O F V I E W E R S V I S I T E D A C E RTA I N B O O T H A F T E R S E E I N G I T F E AT UR ED O N IN FO C O M M TV N EW S

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InfoCommTV News, the official news program of InfoComm17, delivers the latest news and events in a half-hour news format. We produce a new news program for each day of the show, with the third day including highlights from the first two days’ news and events.

WRITTEN BY THE EDITORS OF SOUND & COMMUNICATIONS

For more information, please contact 1.800.937.7678: John Carr (x509) | Rob Iraggi (x519)

soundandcommunications.com/infocommtvnews-media

43

R E TA I L E R R E B E L

SLACK(ER) FOR PRODUCTIVITY

By Gabriel O’Brien I promised you a tech column, and here it is. Well, sort of….

I’m really the last guy who should talk about productivity. If you want to learn about being productive, then you should talk to Donovan Bankhead or one of many other industry people who are smarter than I am.

For my whole life, I’ve stayed up too late, slept too little and probably never left work feeling as though I got everything done. I’m prone to tangents, getting involved in too many tasks at once and stretching myself way too thin. My wife says I’m like a dog that sees a squirrel, like in the Pixar film “Up.” So, what I’m really interested in are ways to organize my life that will offer me convenience and efficiency.

I lose everything I don’t break—particularly things I deem important. It’s amazing how much stuff I’ve lost (or broken) in my life. In light of that fact, using paper is the absolute worst way I can do anything. Paper notes, reminders, orders or anything else will be set down and never seen again. Paper, along with my guitar picks and socks, goes into a black hole, never to return. In our store, for many years, we successfully used a simple, old-fashioned paper filing drawer system for sheet music and product special orders. It worked fine, because the Owner, Brad Shreve, was in charge of it and it worked really well for him.

However, once he bought the store, special orders became part of my job; and, as we’ve established, paper is my nemesis.

Because I’m unable to completely untether myself from work, I also really hated that the paper stayed at the store. So, I tended to bring a lot home in my laptop bag. Some things would get lost in transition, and it quickly became clear to me that a solution had to be found. So, I began to search for another means of keeping track of things. In the era of mobile technology, I knew I wanted it to be something I could access anytime from my iPhone, in case someone else had a question on my day off or, say, while I was at the NAMM Show. So, I did a little searching and downloaded a few apps, one of which really stuck out: Slack.

I’ve been mentioning Slack in columns since I started to use it over the last year, but I wasn’t really sure how well it had been catching on in our, or any other, industry. As you’ll recall, I wrote a cover story for the January issue in which I discussed my visit to Reverb. com headquarters in Chicago IL. While I was 44

HOW AN APP HELPED ME COMMUNICATE BETTER

there, I got to meet a bunch of great staff members, including PR & Communications Manager Heather Farr.

While sitting next to her in a meeting, I noticed a familiar sight in my peripheral vision: She had Slack on her laptop.

At that moment, it didn’t really occur to me to ask about it. So, I reached out later to find out why Reverb.com had made the switch, and how it’s affected business. I heard back from COO Dan Melnick, who said, “As we continue to grow—both within our Chicago headquarters and internationally—it’s crucial that we have tools in place to help us easily communicate and collaborate across teams. Slack enables us to ensure transparency across teams and projects, without inundating our team members with tons of e-mails. It also integrates with the other apps our teams use for sales tracking, content collaboration and more, which means everything can be viewed in one place.”

Slack is a messaging system that uses hashtags, like Twitter, to create channels. Channels can be anything you like, and they’re great ways to organize your communication by topics.

The first things I found appealing were that it’s free and that it works on any operating system, including macOS, iOS and Android. Secondly, I was impressed by the organizational system’s simplicity, and its ruthless ability to segment the common threads of my day into organized categories that I could create and define any way I wanted to. In Slack, you can create private channels for limited members and public channels that anyone can join. The categories I created the first day are still the ones we use now, and the included descriptions are exactly as the channel purpose reads to each team member:

Same Mission AUGUST 14-17, 2017

#general – A channel for team-wide communication and announcements. #random – A place for non-work banter, links, articles of interest, humor or anything else that you’d like concentrated someplace other than in work-related channels. #reminders – Things that need to be checked up on. #sheetmusic – Sheet music special orders. #specialorders – Items that must be ordered for customers. #tasks – Things that must be done. #notestoself – A private channel of reminders that only I can see.

Seems pretty simple, right? Those are the most common categories I could think of for all the messaging, e-mails, texting, phone calls and note writing that our staff does every day. By giving each a category, they’re all organized and each topic is segmented into its own space. All the channels are keyword searchable, too, which makes finding old messages a snap. You can also add “reactions” using emojis, which is how I denote the status of a special order: When it’s been ordered, it gets a thumbs up; when it’s been received, it gets a green checkmark.

A new feature I really love is the ability to “start a thread” of sub messages. That feature allows me to tell people when I ordered something, to inform them if it was backordered and to update the status of a particular item or topic, all without spamming the whole group. And, it eliminates the fear of losing a thread in back-and-forth messages.

All these channels are “public,” which means any team member can contribute once he or she joins the group. There’s also the ability to set a private channel for yourself, however, which I use for “notes to self.” By default, you also have messaging directly with other team (continued on page 52) MAY 2017

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V E D D AT O R I A L

(MORE) PEOPLE

WHO NEED PEOPLE

By Dan Vedda In our previous episode, we talked about retailers’ need to engage with customers face to face. To review, we, as humans, are social animals.

Tech is amazing, but Alexa is a rudimentary AI assistant—not a relationship. (Sorry, parents’ basement dwellers.) Shopping, particularly in a music store, is experiential, tactile and, when done correctly, fun. We should hone our interpersonal game and make our stores not just appealing but also welcoming, because anyone who walks in the door has already decided to interact with people.

Today, I want to talk about these skills pointed upward, as they apply to our relationships with our suppliers. I’m always dismayed when I hear the supplier/dealer connection expressed in terms of “us” versus “them.” It’s too easy for some of us to forget that the “people part” works both ways, particularly at a time when so much of our energy is needed just to keep all the plates spinning.

Some people also have a double standard about the way they handle these relationships. The guy I worked for before I opened my own store would rail against the price grinders who came in with competitors’ ads and quotes, and who tried to squeeze him for a deal. (Of course, that was before most of those folks left for the Internet). He would refer to the grinders in creatively scatological terms…and then he would behave the same way toward his suppliers. He never saw the parallel 46

or, for that matter, the irony.

Today, we also see many techsavvy retailers happily adopt business-to-business tools, ordering from a dealer Web site with nary a word spoken to an inside sales rep. One retailer even told me, “I know what I want, and I don’t need some guy trying to oversell me. And I don’t have time for chitchat.” Well, OK. But, again, I’ve heard the same thing from customers to justify their gleeful forays on the Internet.

As always, my take is that technology is the tool I use to enhance, not replace, human interaction. Today, I e-mailed a supplier about a customer request, and I followed up with the rep on the phone. The e-mail was efficient, because I did it at 7am, while I had the time and before I could forget, and I sent pictures and links to ensure he had the whole story. However, the dutiful e-mail reply from the rep left a question in the air, and it was far more efficient to call and get an answer rather than exchanging more e-mails. Plus, it gave me the opportunity to thank him personally for his help. Those viva voce interactions also make it more likely he’ll be willing to do another customer research task in the future.

That’s the part about supplier relationships that harried retailers sometimes forget. Our suppliers are our business partners, vested in our success and passionate about music. We aren’t just negotiating an electric rate with a faceless utility; we’re working with people who (like us) have often come up with retail,

teaching or performance experience—perhaps all three—and who usually have an understanding of our side of the fence.

Very often, our success floats their success; thinking of them as teammates works better for everyone.

Sure, you can still opt for the perceived convenience of an all-digital workflow…but remember, folks: The Algorithm doesn’t love you. It might know your buying habits, but it’s not designed to act in your best interests. If the free freight kicks in at $500, it will likely prompt you that “you’re $40 away from FREE FREIGHT,” rather than telling you, “Close enough, man.

I know you’ll order more next week.” Further, my human rep is the one who believes that I’m in the trenches, promoting the company’s products; he or she doesn’t necessarily equate lower sales with a lack of effort. If I’m talking to my rep regularly, he or she knows more about my store than the info contained in any online user profile.

Having a personal relationship with a supplier has also gotten me better pricing, free samples, inside information, and insight about product development and marketing—none of which I ever would have received electronically. Oh, I suppose a particularly thorough supplier might make some of that available online, and there is certainly a wealth of information on some suppliers’ sites. But I’d have to spend a lot more of my time to find it. Chitchat is sometimes more efficient.

Certainly, there are suppliers that do not live up to my “warm and fuzzy” expectations. In truth, I’ve stopped doing business with more suppliers in our industry than the total that I deal with today. Yet, I hope to discover more good partners; after all, I haven’t tried them all. Not every supplier is a great partner, nor is every dealer a great partner. However, just as retailers have adapted to enter the current century, so, too, have the best suppliers. Those companies are ready and willing to invest in a relationship. They’re smart enough to realize the power of partnership. Of course, just as we must be discerning about our supplier relationships, so, too, must they look for dealers that will be a good fit.

It’s easy to think (metaphorically) of our suppliers as grocery stores, where we buy what we want, preferably on sale and with coupons, and then use it as we please. But I would submit that it’s better to approach the process as a restaurateur, where we source every item carefully and count on suppliers to provide us with the best for our curated vision. Although the overall mechanics of procurement are similar, the shared vision, respect and interdependency of dealers and suppliers are rooted in the restaurant view. How many of you want to go to a place that puts items on the menu because they were “on sale” or, even worse, “discontinued”? Sure, there’s room for a “fast food” vision…but I think that’s what the Internet is pretty much killing already.

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Ad Index

Company

SPEAKING OF SOUND… PRO-AUDIO SALES & SERVICE PRESENT OPPORTUNITIES FOR REPEAT BUSINESS

(continued from cover)

Pg

Instigator at Maxwell’s House of Music (maxwellshouseofmusic.

AUDIX......................................41 com).

When asked to identify which BITTREE..................................51 pro-audio product categories BOURNS PRO AUDIO............51 have been performing well in their stores over the past year, all CELESTION.............................C-III three respondents unanimously pointed to powered speakers.

CHAUVET LIGHTING............31 “We see continued strength in D'ADDARIO.............................23 the powered speaker market,” said Sullivan. “All-in-one speaker GALAXY AUDIO....................3 enclosures have become adopted at all price points, from entryGATOR CASES........................39 level to pro sound and stage. We HARMONY MUSIC have also seen a rise in portable PA systems, with customers BAND RENTALS..................10 migrating toward portable, all-inone units. On the other side of JBL PROFESSIONAL this trend, passive speakers and

BY HARMAN.......................7 power amps have given up some of their momentum to the powKYSER MUSICAL ered speaker market.” Affordability and advances in powered PRODUCTS...........................24 speaker technology seem to be LITTLITE.................................22 the major factors influencing this trend. “In our local area and onMANHASSET SPECIALTY line, powered speakers continue to grow because of the ease of COMPANY............................6 use, better-sounding boxes and NAMM......................................14-15 cheaper prices,” said Ray. The continued dominance of ODYSSEY INNOVATIVE DESIGNS. digital technology in the proaudio space and the increased 19 prevalence of digital technology PARTS EXPRESS.....................25 in consumers’ everyday lives, coupled with falling prices, PRO X.......................................27 have resulted in strong sales of products like digital mixers and RAIN RETAIL SOFTWARE....17 wireless mics and PAs. “Digital REVERB.COM.........................5 mixers and digital rack units have come down in pricing, so you SABIAN....................................C-II see them in smaller venues now, and even lots of local bands now SENNHEISER..........................35 use them,” said Ray. “Of course, SHURE.....................................9 people are more in touch with the iPad and smartphones, so THE CAVANAUGH the technology is not as intrusive as it once was.” Added McAfee, COMPANY............................37 “Wireless mic sales are also way TRUSST....................................21 up as digital offerings become more affordable without sacrificVOCOPRO................................13 ing performance. We’ve seen a slight drop in corded mic sales WD MUSIC PRODUCTS........8 with this wireless growth.”

XOTIC GUITARS & As far as other product categories go, “digital mixers, studio EFFECTS...............................52 monitors and drum mics have all seen large growth this year,” YORKVILLE............................C-IV said Ray. “Analog mixers, amps, passive speakers and headphones have all seen significant drops.”

And, according to McAfee, “InWhile every care is taken to ensure that ear monitors are continuing to these listings are accurate and complete, The Music & Sound Retailer does not acbecome the norm, and we’ve now cept responsibility for omissions or errors. got more, and better, options to 50

‘Digital mixers and digital rack units have come down in pricing, so you see them in smaller venues now, and even lots of local bands now use them. Of course, people are more in touch with the iPad and smartphones, so the technology is not as intrusive as it once was.’

—Matt Ray offer than ever before.”

While it’s important to note which products are selling in high numbers, pro-audio sales offer retailers many opportunities to create additional revenue streams beyond the initial purchase. The industry abounds with stories of retailers who turned their flagging businesses around by branching out into small-scale pro-audio installations, equipment rentals and servicing of sound-reinforcement products.

While some product categories may have their brief moments in the sun, and stocking the latest trendy accessory can yield shortterm gains, speakers, monitors and the like are less susceptible to the whims of a fickle public.

For all these reasons, the proaudio segment offers an opportunity to capitalize on a proven commodity rather than riding the unpredictable waves of product trends.

Across the board, all our respondents expressed enthusiasm on the topic of small-scale proaudio installations. These types of projects involve the permanent installation of a sound system in a venue, which typically includes hanging speakers and subs, providing instrument and vocal mics, setting up a mixer and some presets, equalizing sound coverage in the room and training end

users on the use of the system.

(And, lucky for retailers, the cost of these services includes parts and labor.)

The respondents suggested that small-scale installation services present an indispensable opportunity for retailers to offer their clients something that they can’t do themselves (or, at least, not effectively) and that they certainly can’t get from the Internet.

“We feel this service is a must, and the success it’s led to has proven us right,” said McAfee.

“True service is not just click and buy, and, by offering audio and video installation, we set ourselves ahead of other area stores in terms of what we provide to make music more impactful.”

The ability to maximize a client’s return on investment for a new speaker system by ensuring that it is properly installed, EQ’d and maintained will make your store the go-to destination for your customers’ pro-audio needs.

Simply put, how to produce professional-quality audio remains a mystery to most people, even seasoned musicians. And most customers would rather not worry about setting up their own system, preferring instead to have it set up by a professional; they just want to plug in and play, and have everything sound great. “Customers are looking for all-inclusive solutions to their proaudio needs,” explained Sullivan.

“Installation is usually the hardest part of the overall system integration, so it is a missed opportunity if you don’t provide that service.

We have a dedicated team of business-to-business integrators who work with our customers and sales associates on turnkey solutions.”

If you’re interested in offering installation services through your store, it is important not to overextend yourself. Nobody expects your independent retail store to be able to design and install a full arena AV system, but there’s no reason why you can’t cater to smaller venues and clients who are on a fixed budget. When it comes to pro-audio installations, schools and churches are the MI retailer’s bread and butter. Many retailers already have strong relationships with these types of clients because of rentals, lesson MAY 2017

programs and everyday interactions in their local communities.

“For us, church and school sound installs are happening weekly,” said McAfee. “We initiate outreach efforts to introduce ourselves and some of the services we offer, and the followups are generating exceptional immediate sales and strong potential ones.” Small performance spaces like bars and DIY venues can also present retailers with some small-scale installation, rental and maintenance opportunities.

As an added bonus, pro audio tends to be a product category that can produce additional followup sales in other categories.

Say a customer is interested in a new speaker or amplifier; he or she may also be interested in a new guitar, too. Ray described how offering installation services has expanded Eat My Beats’ instrument and accessory sales opportunities. “We began offering simple pro-audio installations about seven years ago, and it has been a huge boost to our bottom line,” said Ray. “We started out doing smaller churches, restaurants and bars. Over the years, we have installed a few six-figure jobs, and they just continue to grow each year. As you get these larger pro-audio jobs, you see that these customers also need drums, guitars, lights, video and lots of other items we now carry because of installations. I truly believe it is one of the best moves we have done. We learned a long time ago that we have to stay ahead of the competition, so we are always looking for the next stream of income we can find— and then do it better than anyone else out there.”

In addition to the across-theboard endorsement of installation services, all of our respondents were likewise optimistic about offering pro-audio rentals. “We continue to expand our rental fleet, as we see it as a gateway for new customers to enter the market,” said Sullivan. “The rental process provides the customer with a very assisted experience that can take some of the mystery out of pro sound. Once they begin to feel comfortable using the products, it is a natural progression for them to begin purchasing them. For our existing customer MUSIC & SOUND RETAILER

‘The rental process provides the customer with a very assisted experience that can take some of the mystery out of pro sound. Once they begin to feel comfortable using the products, it is a natural progression for them to begin purchasing them.’

—Pat Sullivan base, it provides them the flexibility to scale up their productions to meet their needs.”

Of course, the benefits of rental services may be more accessible to retailers that can shoulder the short-term costs of rentals while building toward future returns.

For example, retailers who offer rentals have to foot the bill for storage of the rental systems when they’re not in use. “Rental gear does take up a lot of real estate, but if you have any kind of warehouse, I highly recommend it,” said Ray. “We started with just a few items, such as a wireless mic, mixer and a few speakers, and now have over 70 speakers, subs and line arrays available for rent on any given day.” Another negative associated with pro-audio rentals is the cost of maintaining your store’s fleet of rental systems. However, the additional business that can be cultivated from rental clients can be enticing for a forward-thinking retailer. “Upkeep for the gear is an issue to be aware of, but the pros outweigh the cons as we look at continuing the growth we’re focused on,” said McAfee.

Rental services are not only a great way for music retailers to bring more music-makers into the market, but also a way to create a relationship between the retailer and the musician that can

pay dividends when that musician is ready to move on from renting and become a buyer. “We’ve decided we are going to start renting PA for two reasons,” explained McAfee. “We want more musicians and bands playing and, since PA can be a real obstacle, we want to clear a hurdle for them. The second reason is this gives us the opportunity to interact with someone using equipment at the end-user level.

What better way to show our commitment to their success and happiness than to become a part of it every step of the way?”

Ray echoed the sentiment that pro-audio rentals serve to grow a retail store’s pool of potential customers. “I believe one of the main reasons for our growth in the pro-audio market is our rental fleet. We have been renting pro audio for over 10 years, and it has been a very lucrative endeavor,” he affirmed. “By having

our rental fleet, especially with powered speakers, customers can come in and rent before they buy.

Most people that start out renting eventually end up buying speakers, amps, mixers and lighting. It also allows customers to try out something new that they might want to hear that’s a little higher end than they are used to.”

This “try before you buy” approach is a proven winner for retailers, and it can help them gain their customers’ trust, which is essential for creating recurring revenue streams. “Basically, if we sell it, it’s available for rent,” said Ray. “A lot of times a customer will want to buy something like a wireless mic, but they’ll really want to see if they like it first. So we will rent them one, and if they like it and want to buy it when they bring the rental back, we will apply their rental cost toward their purchase. It’s a no-lose situation for everyone.”

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39 YEARS

Bittree.com 51

FIVE MINUTES WITH: CHRIS DOSS, VICE PRESIDENT OF SALES AND MARKETING, AUDIX

(continued from page 30) To what extent is a firm commitment to the dealer channel a fundamental part of Audix’s core approach to business?

If the MI industry really wishes to serve the best interests and desires of its customers, we need manufacturers, distributors, online retailers and brick-and-mortar stores all to succeed. It’s no secret to the readers of The Music & Sound Retailer, or to Audix, that these are each distinct busi-

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is filled with musicians, and that includes me. It would be unthinkable to lose sight of the customers, retailers and distributors that contributed to our success from the very beginning. Our partners have our back, and we have theirs.

spirit of being a brick-and-mortar store. Going to the music store should be an experience, so create unique experiences at your location. Treat your patrons as guests, rather than as customers. Stock hard-to-find items, not just a couple of top sellers that are sold on price Do you have any suggestions alone. Cultivate a music commuyou’d offer to the brick-andnity, and make your store a gathermortar dealers who are reading ing place for musicians. People still this inter view? value that kind of experience.

Probably the most important adPersonally, I see opportunity in vice I would offer to brick-and-mor- having both a physical location tar dealers is to embrace change, and an online presence. Everyget onboard and get onboard early. thing once thought of as old If you join the movement, you usually comes back around in a have better prospects to shape the new, modernized version. I really change to your advantage. Add an don’t recall any instances when I online store or an app to your retail purchased something online and mix for the convenience of custom- it took my breath away or left me ers who know exactly what they’re in awe. But I definitely remember looking for. having spent my youth at the At the same time, don’t lose the music store.

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nesses. Commitment and focus are required to do outstanding work in any field. Audix is a manufacturer, and we don’t have any intent or plans to sell products direct to the consumer. Designing, engineering and producing innovative products that excite the industry and us is our passion and focus. We are building our business by expanding our capabilities to manufacture tomorrow’s products in our Wilsonville OR headquarters, as opposed to looking at how we can become more vertical as a company.

Our approach is centered on the question, “What do we need to design to offer innovative solutions for end-user customers, and how can we optimize the success of our distributors and retailers with these Audix products?”

We are deeply committed to our roots, which lie in MI. Our team

(continued from page 44) members, which is great for intrastaff communications. It’s a much better method of communicating than staff members texting each other, because the messages are always within the app and they’re searchable forever. Within the app, you can also share files and Web links, and you can even make voice and video calls. Slack has become an integral part of how I organize and manage communications, and it’s cut down on a lot of wasted

An in-depth preview of Summer NAMM, coming to Nashville in July Five Minutes With Korg USA’s President, Joe Castronovo MI Spy helps to “Keep Austin Weird” with another sleuthing adventure We go “Under The Hood” on Peavey Electronics’ RBN Series speakers and subs Dan Vedda discusses how you can make your store a true destination Allen McBroom talks new revenue streams, including band instrument rentals We “Shine A Light” on Wentworth Music, located in British Columbia, Canada and much, much more!

time and unnecessary e-mails and phone calls. I might not be a productivity genius or an expert on spreadsheets, but I do love to find ways to streamline day-to-day tasks that make my life easier.

What are some of the technologies you’ve adopted to streamline processes in your store? How has implementing them affected your productivity? Write to me at gabriel@larrysmusiccenter.com.

MI SPY: OPERATOR

(continued from page 33) pressure—sales approach. It was nice to see this once-worn-out outlet become a full-fledged Guitar Center location.

The Sale

I was impressed by the sales staff in each of the stores. Music Mart wins for the soulful, laid-back location. Guitar Center wins for most improved, and Sam Ash blew me away with its sheer size and inventory. However, Warehouse Sound and Lights wins the sale with the Audio-Technica ATH-M40x. My reasoning? I got to talk directly to the Owners, and I felt that they were the most knowledgeable advisors.

On a personal note, back in the late ’50s, the music store to go to in San Diego was Apex Music. It was nearly a block long in downtown San Diego. Reportedly, even Carlos Santana, who grew up across the border in Tijuana, Mexico, used to shop there. Sadly, that location burned down; however, a smaller version of Apex Music, located near San Diego State University, still exists today.

Maybe The Chief will send me there next time!

UNDER THE HOOD: MXL’S INSTRUMENT MICROPHONE

(continued page 54) applications are continuing to roll in,” he hinted, with evident excitement. That means now’s the time for brick-and-mortar dealers to sit up and take notice, and that’s why MXL is making direct outreach efforts to its partners. “‘Feet on the street’ are presenting and promoting the DX-2 to individual retailers,” he affirmed. “And look for some deals and giveaways in the coming months.”

The DX-2’s MSRP is $219.95, whereas MAP is $149.95. Although there is currently only a single DX-2 model, a “family” of this design is almost certain to follow. Krueckeberg concluded aptly, saying, “This microphone is a new classic: brilliant and revolutionary. Finally, something new has come along!”

MAY 2017

HONORED TO SERVE: CELEBRATING ‘THE GOOD STUFF’ THAT MI COMPANIES DO TO SERVE THEIR COMMUNITIES

(continued from page 27)

Auralex Acoustics, Inc. The United States is home to more than 2.7 million service members who have served in war zones in Iraq and Afghanistan since 2001, with more than half of them deployed more than once. Many have returned with wounds, whether apparent or hidden. Eric Lewis is one of them. A 20-year Navy Petty Officer First Class, now retired, he is bringing to fruition his vision of helping his fellow vets integrate back into civilian life through music. Lewis founded Vet-Traxx Project, which is a non-profit 501(c) organization that has a recording studio as its hub.

After meeting with Lewis at the NAMM Show in 2016, Auralex Acoustics, Inc., saw the potential in Lewis’ idea, as well as his level of dedication to it and to U.S. military veterans. So, the company contributed substantial amounts of Auralex’s acoustical and noise-control products and systems to the endeavor. When the studio, located in Galt CA, opened in January, it was fitted with systems that included Auralex Studiofoam Pro, Studiofoam Wedgies, ProPanels and HoverMats.

“The Auralex guys were totally receptive to what I was telling them about,” Lewis recalled. “They totally got it: how the ability to make music…to get what they hear in their minds into recorded form…has a tremendous healing potential for veterans. Auralex helped make that happen.”

George L’s Cables Many of us take for granted that our beds will be warm and inviting at night.

That’s not always how it is, however, for those who depend on woodburning stoves and who are unable to gather and split the firewood needed to keep them toasty and warm. That’s why Kahler and Karrington Williams, grandsons of George L’s, help keep the fires burning in Madison TN. In the cold of winter, you can find the Williamses cutting, splitting, delivering and stacking cords of wood for the less fortunate in their hometown.

The elderly often have fallen trees on their property due to storms, and they have no way to have them removed. So, the boys jump into action, cleaning and removing the trees. Then, they notify a recipient that their firewood has arrived and that the load will be delivered free of charge. It’s a win-win situation. An inoperable back patient, 68-year-old Dan Robinson, said, “l don’t know what I would do without these guys!”

Their mother, Kimberly Lewis of George L’s Cables, said, “This is a labor of love. It has to be—this is hard work!” Knowing a family is warm at night is what keeps Kahler and Karrington Williams going. It’s a nice feeling to have.

QSC QSC held a charity golf tournament on October 8 of last year at the Tustin Ranch Golf Club in Tustin CA. Through the efforts and contributions of the QSC team and their partners, the event raised more than $24,000 to benefit both The NAMM Foundation and Variety – The Children’s Charity.

Partner companies, customers, friends and family joined QSC to benefit the worthwhile causes, participating in a variety of ways—corporate sponsorships, banner displays, gift bags, foursomes, contest sponsorships, meal sponsorships, golfer registration and lunch tickets—to raise funds.

“QSC is grateful that our employees, suppliers, customers, friends and family members gathered together with such enthusiasm to support these two very worthy causes,” Joe Pham, QSC’s President and CEO, said. “We are thrilled to support The NAMM Foundation and Variety – The Children’s Charity. Thank you to the team for organizing this event, and thanks to all who participated. We are very fortunate to be in a position to give back to our community.”

The NAMM Foundation and Variety – The Children’s Charity both benefit causes that are very important to the people at QSC. The NAMM Foundation promotes the joy of music making, and it encourages active participation by supporting scientific research, philanthropic giving and public-service programs. The NAMM Foundation is funded by NAMM

MUSIC & SOUND RETAILER

members, both through the association’s various activities and through private donations. The purpose of Variety – The Children’s Charity is to serve children who are less fortunate. These children live and grow up with a serious illness, disability or other disadvantage. In contrast to many charitable organizations, which focus on a single problem or issue, Variety focuses on multiple unmet needs of the children it supports.

53

UNDER THE HOOD

MXL’S

DX-2 Dual-Capsule Variable Dynamic Instrument Microphone

By Dan Ferrisi This past January’s NAMM Show was, as ever, teeming with attention-getting new instruments and gear that served to reinforce the music products industry’s innovation and commitment to serving the needs of musicians.

Amid the guitars and drum sets, synthesizers and effect pedals, and speakers and amps, one product that stood out to me—and that generated substantial excitement among attendees— was MXL Microphones’ DX-2 Dual-Capsule Variable Dynamic Instrument Microphone. It is, perhaps, unsurprising that MXL—a division of Marshall Electronics (Torrance CA)—was a NAMM Show headline-grabber; the brand, since debuting in 1998, has produced a range of high-quality microphones that are used in

54

widely diverse applications. To get the inside story, we turned to Scott Krueckeberg, MXL Division Manager. Putting the DX-2 in context, he said, “For over 20 years, MXL has created products that have helped to develop the modern recording landscape.” So, let’s explore how the brand’s new product fits into that rich heritage.

Our first question for Krueckeberg centered on how an innovation-minded brand like MXL approaches the product-creation or -revision process. His answer started with geography.

“We have an amazing, U.S.-based design team, all of whom are located under one roof in California,” he stated. “From ideation, I can work directly with our Electrical Engineer, Mechanical Engineer and creative team to produce an innovative design like the DX-2.” Lest one think the global perspective isn’t included, however, Krueckeberg hastened to add that MXL’s testing process involves industry professionals from around the world. “The DX-2 prototypes were developed over two years, working with trusted engineers and musicians in Los Angeles CA, Germany and Nashville TN,” he continued. “Our wholly owned factory in China, as well as our lean structure, provides a platform for innovation, even as the price remains accessible to as many users as possible.”

MXL’s commitment to accessible pricing is of a piece with the brand’s overall commitment to its users, as reflected in the brand’s desire to simplify their setup. According to Krueckeberg, “The main idea with the DX-2 was, in effect, to do with one microphone what most setups would require two microphones, a mixer and EQ to do.” It features a flat-faced design and an innovative variable control knob for blending tone between two distinctly different capsules: Capsule 1 has a supercardioid large-capsule design, whereas Capsule 2 is a cardioid small capsule. Krueckeberg remarked, “Capsule 1’s larger design really captures the ‘punchy’ and widest frequency response from the sound’s origin. As you increasingly dial toward Capsule 1, you perceive the overall sound beginning to ‘open up’ to a more full and resonant timbre.” He added, “Capsule 2’s smaller design is more focused on the high and mid frequency to accentuate detail.”

The DX-2’s most remarkable feature is that the variable control knob enables full mixing between the two capsules, inclusive of all points in between. “The DX-2’s ability to fully mix between two uniquely voiced capsules accomplishes what most setups would require two separate mics to do,” Krueckeberg enthused. Capsule 1’s smoother sound can help deliver country and blues tonalities, whereas Capsule 2 can bring to life the edgier and grittier sounds typical of rock music. “And,” he added, “although the DX-2 is well suited to guitar and bass amp mic’ing, it’s not only compatible with instruments like electric, acoustic, pedal steel and bass guitars, but also compatible with pianos, Leslie cabinets, etc. So, your creativity—not the microphone—is the limit!”

The DX-2 is a side address microphone that boasts a flat-face design that enables microphone placement directly in front of guitar speaker cabinets. MXL designed the mic to house Capsule 1 and Capsule 2 for close placement to the sound, helping to ensure optimal pickup.

Designed with an all-metal body construction, the DX-2 is more robust and resistant to damage due to repeated handling than the average mic. According to Krueckeberg, “The versatility of the DX-2 is certain to take it from the studio, to live applications, and back again.” Included accessories are a hard-mount stand adapter and protective carrying pouch. The mic boasts internal MOGAMI wiring for exceptional clarity.

Since the NAMM Show, enthusiasm for the DX-2 hasn’t abated; in fact, it’s only grown as high-profile applications have tested the product’s mettle and proved its versatility. “Recently, 12 stages at South by Southwest, in Austin TX, had their back-line instruments exclusively reinforced with DX-2s,” Krueckeberg shared. He added that, although the microphone is still quite new, it’s quickly gaining approval from reviewers and musicians alike. “Real-world (continued on page 52) MAY 2017

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