DRUMS & PERCUSSION ISSUE
DRUMS & PERCUSSION ISSUE
THE NEWS MAGAZINE FOR MUSIC PRODUC TS RETAILERS
DRUMMING TO A DIFFERENT BEAT New Trends Drive the Percussion Industry By Brian Berk In many ways, the drum and percussion market is changing. As you will read in this story, YouTube drummers are now what the younger generation looks up to. Electronic drum sets continue to grow in popularity, but is there any sound quality sacrificed when compared to its acoustic brethren? We take a look at this, as well as get an overall view of the drums and percussion industry and much more. Joining us this month are Jim Uding, brand manager, Dixon Drums/St. Louis Music; Steven Fisher, marketing manager, Yamaha Drums; and Pat Kennedy, product and artist relations manager, drums and percussion, Roland Corporation U.S. For an additional take on the drum and percussion industry, check out our Five Minutes With interview with Kyle Thomas, artist marketing B&O manager, D’Addario, in this issue. Let’s immediately get into the guts of it by getting our panelists’ take on the state of the drum and percussion industry. (continued on page 26)
DRUMS & PERCUSSION ISSUE October 2018 Volume 35, No. 10
TARIFF TALK Key Talking Point Added to Our Annual “Made in the USA” Story
By Brian Berk We’ve had our “Made in the USA” feature for several years running now. But this year, it perhaps takes on a new meaning. Tariffs are no longer a “what if?” scenario. They are in fact here, with the U.S. Government imposing tariffs on several types of products, and with many countries returning the favor in kind by taxing U.S. goods. So, like past years, we asked a large swath of manufacturers what it means to have their products manufactured here in America. But this year, we also asked how tariffs imposed by other countries will affect their companies. The answers are definitely not something you want to miss. (continued on page 30)
Dealers: Nominate Your Favorite Companies and Products for Music & Sound Awards. See Insert After P. 28
NEWTotal Percussion Series
Sound. Quality. Design.
At Yamaha, we believe that the first instrument in one's musical journey must provide excellent quality and tuning consistency. With that in mind, the new YX-230 xylophone is designed for the beginning percussion student. Featuring professionally tuned Padauk wood bars, this instrument produces a beautiful Yamaha sound that has been familiar to music educators for over 30 years. Weighing only 22 lbs. and just over 45" in length, this xylophone offers a 3 octave range (C52-C88) with 1-1/2" wide bars. A pair of ME-103 mallets are included along with a cover to protect the instrument from dust and scratches. An optional stand (YGS-70) and soft case (PCS-YX230) are sold separately. YX-230 Xylophone
Visit 4wrd.it/TotalPerc for complete details
L AT E S T
z z u B
Juszkiewicz to Step Down as CEO; Gibson to Emerge From Bankruptcy Gibson Brands Inc. announced that all of the major stakeholders in the company’s Chapter 11 cases have reached a global settlement with respect to the company’s plan of reorganization, meaning the company can emerge from Chapter 11 bankruptcy protection as of press time. When the amended plan is confirmed and goes effective, Henry Juszkiewicz, chairman and CEO of Gibson Brands, will step down from his position as CEO and assume the role of consultant to the company. Effective Sept. 6, Brian Fox of Alvarez and Marsal, who has been working with Gibson since August 2017 and has served as chief restructuring officer, will oversee Gibson’s daily operations in his role as CRO until a CEO successor is appointed, while Juszkiewicz takes some time off before starting his consulting role. “With the Global Settlement in place, Gibson is on track to complete
EMD to Distribute Kanile’a Products
Kanile’a Ukuleles, the parent company of Islander Ukuleles, announced a strategic partnership with EMD Music effective immediately. EMD Music takes over distribution in USA and Canada, as well as market expansion in western Europe. “We are very excited to be working with EMD and the distribution network that they have created,” said Islander CEO Kristen Souza. “Together we can inspire the souls around the world.” Added EMD Music national sales manager Tony Graham: “Islander is the perfect partner for EMD. We have been looking for the right ukulele line for quite a while, and the timing with this move is perfect. EMD is well positioned with our infrastructure and rep team to really accelerate the growth of the brand in North America, and we couldn’t be happier to partner with such a great company.”
its restructuring and continue on its journey of crafting the highest quality of musical instruments known worldwide,” said Juszkiewicz, chairman and CEO of Gibson Brands. “It is because of the united efforts of all of our stakeholders and their commitment to seek resolution that we expect Gibson can emerge from Chapter 11 during the fourth quarter of this year as a stronger company, focused on its core musical instruments business with essentially no debt.” The plan specifically states: Agreements by the Gibson, Ad Hoc Committee of Secured Notes and the Supporting Principals Henry Juszkiewicz and David Berryman with respect to adjustments to the Restructuring Support Agreement to facilitate improved recoveries for unsecured creditors under the amended plan; Commitments by GSO Capital Partners LP (GSO), Koninklijke Philips N.V. (Philips), and the Committee to support confirmation of the amended plan; Suspension of discovery and litigation over the plan and certain asserted claims; Settlement of threatened litigation against GSO, the Supporting Principals, and others; Agreed allowance and plan treatment for GSO’s and Philips’ claims against Gibson. “As the future owners of Gibson Brands, we are pleased that the business has performed well throughout the restructuring,” said Jamie Baird of PJT Partners, speaking at the request of the Ad Hoc Committee of Secured Notes. “With an anticipated exit from bankruptcy less than one month away, Gibson is poised for growth on strong consumer demand, significant available liquidity and a debt-free balance sheet at emergence. We look forward to working with the company’s customers, employees, suppliers, vendors and other partners as Gibson gets back to its roots and its next chapter begins.” Commenting on his transition from CEO to a consultant, Juszkiewicz said, “I have been honored to lead such a dynamic company in an industry near and dear to my heart. I am excited about a great future for Gibson and its loyal employees, customers and partners.”
Hal Leonard Acquires Groove3
Hal Leonard acquired Groove3, a website specializing in music technology tutorial videos. The announcement was made by Jeff Schroedl, executive vice president of Hal Leonard; Asa Doyle, CEO/president of Groove3; and Antony Livoti, vice president of Groove3. The agreement is effective immediately. Since 2003, Groove3 has been a trusted website for musicians who need to learn about the latest music technology. It creates video tutorials for Logic Pro X, Pro Tools, Studio One, Ableton Live, Reason, PlugIns, mixing and mastering, and more. Groove3 sells subscriptions as well as à la carte purchases, and it also has its own e-book platform. Groove3 has already been working with Hal Leonard for content for their tutorials and printed materials, but now other Groove3 content could become new products for Hal Leonard as well. “We’re excited to work with Groove3’s talented development and programming group to expand our online e-learning presence. We’re also looking forward to creating new products with their authors and producers,” said Schroedl. “We’ve enjoyed working with their team on many projects already and look forward to pooling our brain trusts for some amazing new ventures!” added Doyle. “It’s great to partner with another group that shares our passion for music education and technology.”
MUSIC & SOUND RETAILER
3
THE NEWS MAGAZINE FOR MUSIC PRODUC TS RETAILERS
VOLUME 35 NO.10
23
20
24
12
Columns
Cover Stories Drumming to a Different Beat
32 Special to the Retailer
Tariff Talk
The Music & Sound Retailer adds this ever-important topic to its Made in the USA annual cover story. Find out what manufacturers think about tariffs, plus learn the value of producing products here at home.
Buzz 3 Latest 16 People 20 Products 4
8
35
Features Unlike in the past, new trends are driving the drum and percussion market that could shape the industry for years to come.
21
Abby Kaplan, vice president of global sales, retail at Shure, provides shopper engagement tips to help MI retailers compete in an online world.
34 Five Minutes With
Kyle Thomas, artist marketing and B&O manager at D’Addario, offers plenty of information regarding the state of drums and percussion today, as well as why the MI industry is doing well.
36 MI Spy
The Gateway Arch, the Cardinals, Michael McDonald, Nelly, Chuck Berry, Miles Davis and MI Spy? OK, MI Spy has a long way to go… In the meantime, he/she checked out some drums in the St. Louis area.
38 In the Trenches
Is debt good or bad for your business? Allen McBroom gives his thoughts and enlists the help of others to get their viewpoints.
40 Shine a Light
We head to Ohio to check out Antonio Violins, which has truly become an important component of the communities in which it operates.
24
42 ‘Hire’ Learning
Will Mason describes some important things to take into consideration when the time comes to make a decision on whether to hire a prospective employee.
43 Retailer Rebel
Some feel millennials make owning a retail establishment more difficult, due to alleged lack of loyalty and other factors. However, Gabriel O’Brien details why millennials aren’t the problem.
44 Veddatorial
Dan Vedda firmly believes that the pundits who claim that the internet has killed brick and mortar are wrong on a couple of points. Here’s why.
46 Under the Hood
Fender is celebrating the 60th anniversary of its Jazzmaster via its Limited Edition 60th Anniversary ’58 Jazzmaster, Limited Edition 60th Anniversary Classic Jazzmaster and Limited Edition 60th Anniversary Triple Jazzmaster.
54 Final Note
We offer plenty of “firepower” this month via Andy Powers, master builder at Taylor Guitars. Did you know he is a weather nerd?
OCTOBER 2018
AEROPHONE GO E X P L O R E T H E I N S P I R AT I O N A L W O R L D O F W I N D I N S T R U M E N T S
For more info visit Roland.com.
EDITORIAL
Across the Pond
Although we primarily focus on North American MI retailers in the pages of the Music & Sound Retailer, there is clearly an international retailer that deserves more press. I’m referring to Andertons Music in Guilford, UK. Earlier this year, at Summer NAMM, Andertons grabbed the 2018 Dealer of the Year award — the first retailer outside North America to win this honor — as well as the award for Best Online Engagement, which Andertons also won at the trade show in 2017. This month, I decided I wanted to check out the retailer much more in-depth. What makes these guys so good? I admit, at the beginning, I was skeptical any retailer could be this good to win all these awards. I started by looking at the retailer’s history. Andertons dates back to 1964 and has certainly run a successful business. But that doesn’t make it Dealer of the Year. Digging deeper, I found the retailer’s fortunes improved for the better thanks to the internet. But again, not Dealer of the Year material. The really big change occurred in late 2010/early 2011. “Undergoing a large-scale re-fit in 2011, Andertons Music Co. was given a fresh new look,” the company’s website stated. “Expanding our premises, improvements to the store allowed us to efficiently accommodate for each of our dedicated departments — guitar and bass, drums, keyboards and pro audio. With dedicated practice rooms, a spacious store layout and plenty of stock on hand available to try, we pride ourselves on delivering the best possible experience for our customers.” Andertons now sells gear from more than 400 brands worth about $14 million. With the internet, international orders are robust, leading to tremendous success. But that still doesn’t lead to Dealer of the Year honors. Yes, it’s simplistic, but I think Andertons’ success comes down to one main thing: the retailer’s Andertons TV
YouTube channel, which is nothing short of awesome. When I last checked, this channel had more than 470,000 subscribers, and that’s not to say how many people have viewed its videos. Before even getting involved with product videos, Andertons introduces itself to you via a nearly 20-minute video, where you meet the man behind it all: Lee Anderton. Viewers get to see the retail store indepth. The video is part self-deprecating, part funny and part informational. Of course, they do explain the value you can get out of buying “boys’ toys” from them. Simply put, I liked these guys immensely after watching the video. In fact, I wanted to watch more videos! OK, it’s not like binging your favorite Netflix or Amazon Prime show, but it is very cool. The videos have high production value and, above all, are entertaining. “Spot the Gibson with your host Lee Anderton!” is a great example. The video entails a blindfolded Andertons employee trying to determine if he is playing a Gibson or not. Entertaining stuff. The product information videos also hit it out of the park. And last year, Andertons stepped up its game by creating separate YouTube channels for its guitar, drum, tech and keyboard departments. “This shows that at Andertons Music Co. we care about delivering content for all musicians,” the retailer stated. It’s difficult to argue this point, considering the high level of organization Andertons has, especially when it comes to its online presence. These guys are really doing it right.
October 2018 Volume 35, No. 10
BRIAN BERK Editor bberk@testa.com ANTHONY VARGAS Associate Editor avargas@testa.com AMANDA MULLEN Assistant Editor amullen@testa.com
GEORGE HINES SKIP MAGGIORA Editorial Advisors
ROBERT L. IRAGGI Advertising Director riraggi@testa.com
JANICE PUPELIS Art Director STEVE THORAKOS Production Manager CIRCULATION circulation@testa.com FRED GUMM Digital Art Director
RICKY PIMENTEL Art/Production Assistant rpimentel@testa.com
DONOVAN BANKHEAD ROBERT CHRISTIE JEFF KYLE JR. ELLEN LEVITT
MICHELLE LOEB WILL MASON ALLEN MCBROOM RICK MOORE
ROBIN HAZAN Operations Manager rhazan@testa.com VINCENT P. TESTA President/Publisher TIM SPICER DAN VEDDA LAURA B. WHITMORE Contributors
Editorial and Sales Office: The Music & Sound Retailer, 25 Willowdale Avenue, Port Washington, New York 11050-3779. Phone: (516) 767-2500 • Fax: (516) 767-9335 • MSREDITOR@TESTA.COM. Editorial contributions should be addressed to The Editor, The Music & Sound Retailer, 25 Willowdale Avenue, Port Washington, New York 11050-3779. Unsolicited manuscripts will be treated with care and must be accompanied by return postage. Sound & Communications • DJ Times • Sound & Communications Blue Book The Music & Sound Retailer • The DJ Expo • IT/AV Report The Retailer Report • Convention TV @ NAMM • InfoCommTV News VTTV Studios The Music & Sound Retailer (ISSN 0894-1238) (USPS 0941-238) is published 12 times a year for $18 (US), by Retailer Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779. Periodicals postage paid at Port Washington, N.Y. and additional mailing offices. POSTMASTER: Send address changes to The Music & Sound Retailer, PO BOX 1767, LOWELL MA 01853-1767
OCTOBER 2018
now playing,
our best strings ever.
Introducing Authentic Acoustic strings by C.F. Martin & Co. We’ve taken our best strings and made them even better. So, whether you’re looking for long life, corrosion resistance, or silked ends, with Authentic Acoustic strings you can be sure you’ll find a better tone and the perfect fit for your guitar. Try them for yourself — visit martinguitar.com/aa
L AT E S T
z z u B
Bill’s Music, PRS Team for Storm Relief On Memorial Day weekend, Ellicott City, Md., a quaint town located just 30 minutes west of Baltimore, was hit with more than two months’ worth of rain in less than two hours. The flooding caused Main Street to turn into a raging river, taking out anything in its path, including residences and businesses, similar to the devastation it endured just two years ago. MI retailer Bill’s Music, the family-owned music store located less than four miles from the small town, wanted to help. “Our heart just went out to the victims, our neighbors, and we knew we needed to do something to lend a hand,” said Brian Higgins, manager of Bill’s Music. With support from Maryland guitar manufacturer Paul Reed Smith, Bill’s Music was able to raffle off a gold PRS S2 guitar, autographed #ECSTRONG by Smith himself. Along with T-shirt sales, the guitar raffle raised $3,600, which Bill’s Music happily presented to Maureen Sweeney-Smith of the Ellicott City Partnership. This money will go directly to aid the victims of the 2018 flood and help with rebuilding efforts. Frank Longley, a resident of Ellicott City, purchased 10 tickets at Bill’s Music for the raffle and was the lucky winner who took home the brand new PRS guitar. “On behalf of Ellicott City, thank you to Bill’s Music and the entire Higgins family for all of your efforts to help Ellicott City,” said Sweeney-Smith. “All of the support we’ve received means the world to the business owners and residents of our town.”
An Industry First for C.F. Martin
On Sept. 1, C.F. Martin & Co. became the first company in the musical instruments industry to receive B Corporation certification. This prestigious certification recognizes companies that use business as a force for good, “meeting the highest stan-
dards of positive impact on society and the environment, focusing just as much on people and the planet as they do on profit.” “I am personally very proud of our B Corporation certification,” said Chris Martin, chairman and CEO of C.F. Martin & Co. “Being
From left: Frank Longley (raffle winner), Maureen Sweeney-Smith (Ellicott City Partnership) and Brian Higgins (General Manager of Bill’s Music)
the sixth generation of Martin to have the privilege of running my family business, I have always thought that corporate culture, used appropriately, can be a significant competitive advantage. Our partnership with B Lab and the community of Certified B
Corporations will make us a better business in a holistic way.” Started in 2006, there are more than 2,500 B Corp certified companies worldwide. Martin completed a rigorous process conducted by B Lab, the governing body of B Corp certification, which looked at over 170 different factors, examining Martin’s customers and vendors, its record of inclusion, its involvement in the community, its corporate governance and its environmental impact, among other factors. Things like average employee tenure, amount of charitable giving, energy savings plans, recycling policies, employee volunteer service and upward mobility are all assessed. 8
OCTOBER 2018
L AT E S T
z z u B
Yamaha-Supported Drum Corps Grabs Gold Medal The Santa Clara Vanguard, playing all Yamaha instruments, took home the gold medal and were awarded the Jim Ott High Brass Award at the Drum Corps International (DCI) World Championship finals at Lucas Oil Stadium. Yamaha has supported DCI since 1985, and in that time, Yamaha corps have compiled 18 DCI Championships, 14 Fred Sanford High Percussion
Awards and 12 Jim Ott High Brass Awards. Corps that rely on Yamaha instruments have won 54 gold, silver or bronze medals bestowed in DCI competition since the company’s support commenced. In addition, 29 Yamaha Performing Artists worked with 12 corps this season to prepare for the weekend championship. “Seeing these groups reach their goals, knowing they are using Yamaha instruments, is
rewarding in and of itself,” said Troy C. Wollwage, percussion marketing manager, Band & Orchestral division, Yamaha Corp. of America. “It’s a testament to the quality, consistency, intonation and durability of our products, which allow these corps to focus on their performance and compete at the highest level.” Yamaha supplies instruments to 16 corps including The Blue Stars, The Bluecoats, Boston
Crusaders, Carolina Crown, The Colts, The Crossmen, The Madison Scouts, Santa Clara Vanguard, Seattle Cascades, The Cadets, The Cavaliers, Troopers, The Colt Cadets, Legends, Shadow and Vanguard Cadets. “Not only are we privileged to contribute to the success of corps using Yamaha instruments, we help set the standard for music education in programs across the country,” said Brian Petterson, winds marketing manager, Band & Orchestral Division, Yamaha Corp. of America. “Thanks to our partnership with drum corps activities, tens of thousands of incredible young musicians — the majority of whom are future music educators — gain access to high-quality instruments and learning experiences at the cutting edge of the marching arts. Drum corps gives them the tools and context to shape the future success of their own teaching careers.”
We are dedicated to Music Retailers We are St. Louis Music SLM Marketplace Everything In Accessories
260 Brands 13,000 Products
L AT E S T
The NAMM Show Adds New Wrinkle
At The 2019 NAMM Show, top audio manufacturers will present a showcase of line array and loudspeaker technologies in a new show feature called the Loudspeaker System Showcase. Taking place Jan. 24 to 26 and under the guidance of the team from Live Sound International magazine, the systems showcase will take place inside the Anaheim Convention Center arena, giving participants the opportunity to demonstrate both their flown and portable systems in a real-world setting to a mix of industr y professionals. In total, 13 participating companies will have the opportunity to showcase both their flown and portable systems as part of the showcase. Participating companies include Alcons Audio, BASSBOSS, Crest Audio, dbTechnologies, Martin Audio, RCF, TW Audio, Verity Audio and VOID Acoustics. “The Showcase presents a unique, controlled environment demonstration designed to provide side-by-side listening opportunities for evaluating leading loudspeaker systems from around the pro audio industr y, in addition to getting further technical details and pricing information from qualified representatives of each company,” said Kevin McPherson, executive publisher of Live Sound International. “We’re really pleased to be partnering with NAMM to offer this valuable opportunity to show attendees.” The Loudspeaker System Showcase will run twice daily, Thursday to Saturday, featuring a music track as selected by a popular vote of participating companies and hosted by a neutral industr y expert. NAMM Show attendees can also engage with the companies in their respected spaces in the showcase to trial portable systems. In between the scheduled line array demonstrations, systems integrator 4Wall will host a new, experiential display, highlighting the latest MUSIC & SOUND RETAILER
z z u B
in gear and technology from the company’s extensive list of distribution partners through a series of lighting demonstrations within the arena. 4Wall will also provide video walls, as well as the infrastructure to power the Loudspeaker System Showcase.
1
9/24/18
9:23 AM
L AT E S T
z z u B
From left: Carolyn Grant, MoMM executive director; Herb Alpert; Lani Hall; and Joe Lamond, NAMM president and CEO.
Tim Whitehouse
remo_flareout-musicsound0918-tp.pdf
MoMM Raises $60K for Music Education C
M
Y
CM
MY
CY
CMY
K
THE FLAREOUT™ DJEMBE OFFERS INCREASED BASS AND SLAP TONES WITH A UNIQUE FLARED OUT DRUM SHELL DESIGN FOR EXCEPTIONAL PROJECTION. - AVAILABLE IN EVERGLADE GREEN, DESERT BROWN AND SAVANNAH RED
12
NAMM’s Museum of Making Music (MoMM) announced that its benefit shows, “A Concert for a Cause, featuring Herb Alpert and Lani Hall” on Aug. 10 and “Bluegrass Benefit with The Grascals and Flatt Lonesome” on Aug. 25 raised an estimated $60,000 in support of music education and music access. More than 700 patrons attended the events in support of the museum’s efforts to foster youth in the San Diego-area and make a difference in the lives of thousands of children, adults and seniors. “Fundraising for both the young and the young at heart has never been more fun,” said Carolyn Grant, executive director of the MoMM. “What a testament to the power of artistry as we brought together different genres of music in a united front to benefit so many lives. We are grateful to the incredible artists, Herb Alpert and Lani Hall, as well as The Grascals and Flatt Lonesome for partnering with us in this special way, and for supporting the important proposition of music’s ability to change lives.” Programs supported include the MoMM’s Title I Tours, which provide access and often transportation costs for schools where more than 92 percent of students live below the poverty line; the Adult Band Program, which offers band and orchestral programs for adults, including many older adults, and the opportunity to gather and participate in music-making opportunities; and the San Pasqual Academy Partnership, a hands-on music program for foster teens that supports students who are enhancing their life skills and broadening their horizons through music and music-related opportunities. Annually, the museum invests more than $100,000 in support of equal access to music programs that impact thousands of children and adults from diverse economic and cultural backgrounds.
KMC to Distribute Suzuki Products
KMC Music has been appointed the exclusive United States distributor of the entire Suzuki Musical Instruments product line. According to KMC president Mark Terry, the new and expanded distribution agreement builds upon the success that KMC has had representing the Suzuki line of harmonicas. The new agreement adds a whole new series of profitable instrument categories to KMC’s portfolio. In addition to the selection of Suzuki Harmonicas and Melodions, KMC will now offer a broad range of Suzuki Digital Pianos, as well as educational instruments including recorders, precorders, ToneChimes, Orff instruments, rhythm instruments for K-12, QChord, ukuleles, band instruments and more. “We are honored to have the opportunity to work with Suzuki Musical Instruments Corp. of Japan, a pioneer in music education since 1953,” said Terry. “This new, exclusive distribution agreement enables us to offer our dealers a whole new world of music opportunities to help grow their business. Covering every level of play through a broad series of well-established product lines, our sales team is now empowered to create an ongoing series of high value-added sales and merchandising programs that will help dealers to meet the needs of all types and level of players.” As part of the agreement, Suzuki Musical Instruments USA founder Howard Feldman will now join the KMC team as product manager for the Suzuki business unit. OCTOBER 2018
L AT E S T
Fender Makes TITAN-ic Move
Nissan and Panasonic Automotive Systems Co. of America will introduce the new Fender Premium Audio System to the Nissan TITAN truck this fall. The 2019 TITAN will be the first Nissan vehicle and the only truck in its class to feature the Fender Premium Audio System. The Fender Premium Audio
System includes 12 speakers (10 on King Cab models) with an amplifier power of 485 watts through nine channels. For a more precise immersive performance, the new Fender Premium Audio system incorporates Panasonic’s proprietary Acoustic Motion Control technology, which helps reduce vibration in
the individual speakers to provide an immersive and detailed sound. “At Fender, we’ve spent more than 70 years perfecting tone for players and music enthusiasts around the world, and we’re proud to see that same quality extend to our partnership with Panasonic and the Nissan family,” said Dan
z z u B
Heitkemper, vice president, licensing and merchandising at Fender. “The Fender Premium Audio System delivers uncompromised quality and clarity in every row — producing the realistic ambience of a performance venue in the 2019 Nissan TITAN, a perfect blend for music and truck-lovers alike.”
RCF Acquires EAW
RCF Group announced the acquisition of Eastern Acoustics Works (EAW) from LOUD Audio LLC, a portfolio company of Transom Capital Group. According to RCF, adding EAW allows it to further become an international leader in designing, producing, and selling products and systems for professional audio and public address installations. “Since their early days, the two companies have been very close, with RCF supplying professional drivers to EAW. Both brands successfully expanded around the world, and their histories were often linked. Finally, we can look at a bright future together. Even though EAW will remain a totally independent company, being part of our group will provide EAW with the necessary investments and focus for a fast and solid growth. We are very proud to have EAW with us,” said Arturo Vicari, CEO of RCF Group. Added TJ Smith, president of EAW: “For those who love EAW, it is difficult to imagine a better scenario. From the first moment this possibility started to materialize, it has been clear that joining forces with RCF Group is a great opportunity for EAW. This transaction is a true recognition of what the brand represents, its potential, as well as the team we have built over recent years. With gratitude to the long list of those that built EAW over its 40-year history, we look forward to the exciting time in front of us.” CapM Advisors acted as financial advisor to RCF Group. Studio Legale Chiomenti and Good Procter LLP served as legal counsel to RCF Group. Latham & Watkins LLP served as legal counsel to LOUD and Transom Capital Group.
MUSIC & SOUND RETAILER
13
e Note From Jo
RG 8 • NAMM.O 1 0 2 R E B O IAL • OCT ADVERTOR Photos from left to right: Drum & Guitar City, Age 21
Roles Change
Skip’s Music, Age 30
Regardless of your current role in the industry, there is a good chance it will change. How are you preparing for these new exciting opportunities ahead? On a recent cross-country motorcycle ride visiting NAMM members, I saw a billboard that caught my eye. There were two photos. The first was a typical couple with young children, very 1970s looking, with the parents in their traditional role as caregivers. The second showed the same parents today as seniors with the children, now adults, in the role of caregivers. The only words on the sign were in big, bold letters: “ROLES CHANGE.” It triggered a lot of thoughts for me about our industry, and of the many transitions occurring everywhere. I don’t know anyone who isn’t in some form of transition or another, either voluntarily, looking for the next opportunity to learn and grow, or maybe reluctantly, as the ever-changing business environment creates new models and makes others obsolete. It made me think of our thousands of retail members, young and old, looking to learn new skills to enhance their business model—trying innovative strategies to take advantage of new technologies, markets and product segments. Some owners are evolving out of their roles and transitioning, with kids, grandkids or professional managers taking over. And as our members’ companies grow, roles change by definition, and leaders must take on new tasks to fit the expanded business. Our manufacturer members are constantly looking to find “what’s next.” As they grow, many company founders bring on new staff to help manage their success, giving them room to grow to fit their personal passions and leaving behind tasks better suited to others. For our members who are responsible for running these businesses and for those in sales and marketing, change has been the only constant. The roles of managing, communicating, recruiting and retaining staff, as well as creating a strong company culture, are all different now. And technology has created new roles faster than perhaps any other area. How many of you envisioned the kinds of
budgets devoted to technology, ten, even five years ago? Whole new jobs have been created, changing roles as fast as new tools become available. And for the NAMM member entrepreneurs, the lifeblood of our industry and the creators of our future, talking about changing roles is as basic as breathing. It’s just a part of life. And the faster their roles change the faster they can experiment, fail, iterate, try again and find success over and over again! I could elaborate, but you see where I’m going. No one’s role can ever really stay the same. Honestly, who would want that anyway? I believe this industry is made up of creative and innovative individuals who, in addition to other skills, possess a strong passion for music. That sets us apart from so many other industries and, in my opinion, gives us a built-in advantage over those on the outside looking in. The strength of any company or industry is predicated on the constant improvement of each and every one of us. Changing roles is a positive sign that we are adapting to the transformation being created all around us—perhaps the most important job of any leader. Yes, my role has changed since I worked behind the counter at Drum and Guitar City, and I imagine there will be more change to come. I can tell you that the one place that has been the catalyst for more industry change than anything else—for me included—has been The NAMM Show. There, surrounded by the very best and brightest minds from every corner of our musical ecosystem, is where I have found the knowledge, the motivation and the inspiration to change. Plan on attending this coming January to find your new role. I believe doing so will lead to greater success for you, your family, your company and, ultimately, our entire industry.
NAMM PRESIDENT AND CEO
The Music Begins Here Discover
Learn
Experience
new products across multiple categories
from advanced education delivered by industry leaders
the global crossroads of music, sound and event technology
ts New Produc
Community l a b lo G | n d Educatio
| Advance
Get Ready for Your Next Role “So often you jump into an industry because of your passion, but you need friends; you need other people who have experience that you can learn from, and who you can bounce ideas off of, and that’s what NAMM does—it brings the younger generation of professionals together, but also helps them learn the industry by connecting with mentors.”
Jamie Deering • Deering Banjo Company Inc
New badge allotments make it easy to bring more of your team! Learn more at namm.org/attend
PEOPLE
z z u B Sweetwater Picks Peter
KHS Makes Plethora of Moves
KHS America continues its growth and expansion in the MI market by announcing several new appointments and promotions. Andy Strayer has been promoted to vice president of sales and marketing. His new responsibilities will have him overseeing these core divisions with a focus of creating a synergy between the sales, marketing and product development teams. Christopher Hankes was promoted to the position of brand development manager. In this newly created position, Hankes has assumed responsibility for the leadership of the KHS America product and brand management team. A.K. Kist has been appointed as national sales manager of the Education Division. His new role will have him overseeing all strategic and tactical sales initiatives for the School Music Division. Kist will also be responsible for sales training and facilitating the success of dealers representing KHS America owned and distributed brands. Steve Grecco joined KHS America as its national accounts manager at KHS America and will be working with Guitar Center/Musician’s Friend, AMS and Sweetwater. Grecco’s role will be an important conduit to develop and support national accounts for sales and marketing initiatives. Bailey Holmes joined KHS America as marketing coordinator. Holmes interned at KHS America for three months prior to being hired full time. As marketing coordinator, she assists with content planning, marketing campaigns, social media marketing and global marketing communication projects. Chris Hoerauf joined KHS America as the digital marketing coordinator. In this position, Hoerauf is responsible for the development, implementation, tracking and optimization of marketing initiatives across all digital channels for the KHS America family of brands. Randy Wilhelm was promoted to the newly created position of sales and customer service lead. His new responsibilities involve coaching the inside sales team with a focus on growing current and new retail partner relationships, identifying and fulfilling partner needs, and improving the customer experience. Brent Rosborough has been appointed as the show and events manager for KHS America. He will be responsible for the planning, logistics, and execution of trade shows, special events and conferences. Ryan Rehnborg joined KHS America as a videographer. Rehnborg will be responsible for video marketing content across the KHS America family of brands. Ken Fuente joined KHS America as national sales manager of the Combo Division. In this role, Fuente will be responsible for developing strategic and tactical sales initiatives for combo drums, harmonicas, and ukuleles, among other products. “We are excited about the growth and energy surrounding KHS America,” said Jerry Goldenson, president of KHS America. “We are honored to have such incredibly talented and passionate professionals as part of our family. We all share a common purpose. We are dedicated to the enrichment of lives through music.” 16
Andy Strayer
Christopher Hankes
A.K. Kist
Steve Grecco
Bailey Holmes
Chris Hoerauf
Randy Wilhelm
Brent Rosborough
Ryan Rehnborg
Ken Fuente
Sweetwater named Peter McMahon its senior vice president of customer experience. McMahon brings a wealth of knowledge to the position, having spent the last 23 years in several leadership positions at Nordstrom, including merchandising, store management and most recently as one of the national directors on the customer experience team. He is a graduate of the Creighton University College of Business. “I’m excited to be joining the Sweetwater team,” said McMahon. “I’m impressed with the high level of customer engagement, and I look forward to partnering with our teams to build upon the current success.” McMahon will work closely with Sweetwater’s sales, service, merchandising, logistics and marketing teams to ensure a seamless customer journey. “We are thrilled to have someone with Peter’s expertise, knowledge and customercentric leadership skills join our team. We are known as a company that puts our relationships with our customers first, and Peter will continue to enhance that to give them the best experience possible,” said Sweetwater founder and owner Chuck Surack. OCTOBER 2018
With 4th quarter just ahead, now’s the time to stock up on print music!
• Build traffic with hot new releases • Bring in extra profit • Perfect add - on or closing tool • Attract teachers – and their students!
Hal Leonard makes it easier than ever to be a print retailer:
• Easy ordering via website, phone or email • Get sales from the Hal Leonard website right • •
to your online shopping cart Multiple stocking and display programs that fit your needs Buy now–pay in February! Ask a sales rep for details.
Call the Hal Leonard E-Z Order Line 1-800-554-0626 to feel the power of print today!
PEOPLE
z z u B
Shure Promotes Four
Shure Inc. announced promotions for four key sales executives. Peter James has been named vice president of global sales, pro audio. He has been in the audio industry for 30 years, with more than 20 of them at Shure. Kaplan has been managing director of Shure Distribution UK since 2009, and, since 2015, has chaired the Global Integrated Systems Board. Under his leadership, Shure UK has had significant sales growth in key vertical markets. Peter is based in Waltham Abbey, United Kingdom. Abby Kaplan has been named vice president of global sales, retail. She has been with Shure since 1998 in various sales positions. Before Shure, Kaplan worked for two pro audio companies and had a long history of success with big-box and independent brick-and-mortar resellers, as well as e-commerce customers. Kaplan is based in Shure’s Chicago City Center office. José Rivas has been named vice president of global sales, emerging markets. He will lead the sales organization focused on several developing markets worldwide. After serving as sales and marketing director for the International Americas Business Unit and sales director of the Americas Business Unit, Rivas has led the Latin America
-
ONE
FREE WITH ELEVEN!*
GREAT STOCKING STUFFER!
Portable Tabletop Music Stand u Holds ANY Type of Music… Printed or Digital Device u Flip-up Supporting Extensions on Front u Made of Lightweight Durable Plastic
u Collapses Flat to 8" x 11" (Fits in a Gig Bag) ITEM #2140 Net Cost–$9.49
NEW!
Portable Music Teacher’s Tool Collapsible Teaching Easel (18" x 18") Magnetic-Dry Erase Staff Board (with 28 Magnetic Notes) Holder for Pads of Music Staff Paper (Up to 20" x 24") Music Stand (Holds Music in ANY form, Printed or Digital) Expandable Music Storage Rack (On Back) ITEM #2560 Net Cost–$22.49
Available EXCLUSIVELY from 800-727-4512 Sales@StLouisMusic.com
* One Free PROP-IT #2140 with Purchase of Eleven Mixed #2140/#2560. For more information contact S.A. Richards, lnc., Fort Lee, NJ 07024 USA. 201-947-3850 sarichards1@nj.rr.com
18
Peter James
Abby Kaplan
José Rivas
Jim Schanz
go-to-market organization. During this time, he supported a crossfunctional team that expanded the company’s footprint with new regional offices in Miami and São Paulo. José is based in São Paulo, Brazil. Jim Schanz has been named vice president of global sales, integrated systems. He joined Shure in 1998 and has effectively served in a number of sales roles. In 2011, Schanz took over leadership of Shure’s Market Development function. His efforts and initiatives have led to a considerable increase in sales since 2013. Jim is based in Shure’s Chicago City Center office. “I want to express my congratulations to Peter, Abby, José and Jim on these well-deserved promotions,” said Mark Humrichouser, Shure’s vice president of global sales. “Their combined sales expertise and accomplishments have been instrumental in Shure’s success in growing our global business. We are fortunate to have these impressive leaders on the Shure sales team.”
In Memoriam: Dann Skutt Dann Skutt, executive vice president at Grover/Trophy Musical Products, passed away on Aug. 22 after a battle with colon cancer. Skutt served Grover for 44 years. He was married for 42 years to Mary Ellen (nee Harvanec); father of James, Kevin, Melissa and Jason; grandfather of Kaden and Kaylee; loving brother to many siblings; uncle to many nieces and nephews. In lieu of flowers, the family suggested contributions be made to: American Cancer Society, 10501 Euclid Ave., Cleveland, OH 44106 or St. Jude Children’s Hospital, P.O. Box 1000, Memphis, TN 38101.
OCTOBER 2018
PEOPLE
A Slew of Yamaha Promotions
Yamaha Corp. of America announced several promotions in the company’s Keyboard division. Travis Mitchell has been named national sales director. Mitchell is assuming the role previously held by Bob Heller, who will become a district manager based in Rapid City, S.D. Additionally, Chris Gilbert has been promoted to key account manager and French Forbes has been promoted to team lead of the division’s Institutional Solutions Group. “I am very grateful to Bob Heller for his vast contributions to Yamaha as national sales director over the past 10 years and pleased that he will remain a vital member of our team,” said Dan Rodowicz, general manager, Keyboard division of Yamaha Corp. of America. “At the same time, Travis, Chris and French have each demonstrated strong and consistent performance and are very deserving of their respective promotions.” Mitchell joined the Keyboard division in September 2010 as a district manager. He had been awarded District Manager of the Year several times and was inducted into the Yamaha President’s Club in 2016. As national sales director, Mitchell will oversee a team of district managers, managing the division’s independent dealer channel and national accounts. Gilbert will manage the Keyboard division’s top dealers as well as outside promotions in his new role as key account manager. He joined the Yamaha Keyboard division in 2004 as a product specialist, shortly thereafter taking over the midAtlantic district manager slot. He has been awarded District Manager of the Year on several occasions and was inducted into the Yamaha President’s Club this year. Forbes will serve as the point person at conferences and shows in his new role as team lead of the Institutional Solutions Group
MUSIC & SOUND RETAILER
Travis Mitchell
Chris Gilbert
French Forbes
Available in small to large, 16 Mics, and Instrument sizes
z z u B
(ISG). In addition, he will manage various marketing development efforts, and continue to cover the Southeastern U.S. for ISG. Heller was named national sales director of what was then the Piano Division in 2008. Previously, he headed national sales for the Pro Audio & Combo Division for eight years.
PRODUCT
z z u B Status Cymbal
The Avedis Zildjian Co. released the Dry Cymbal Set. The Set features a select assortment of five Special Dry cymbals that are part of the K Custom series known for its modern musicality and tone. Each K Custom Special Dry cymbal is raw and earthy, and has a dry, funky sound with a quick, fast attack and lots of “dirt,” stated the company. The Set includes 14-inch HiHats, 16-inch Crash, 18-inch Crash and 21-inch Ride. The 14-inch HiHats have a thin top with heavy bottom for a dark stick sound. The 16-inch and 18-inch Crashes are thin in weight with fast attack and lots of dirt, and they shut down quickly. The 21-inch Ride delivers a nice solid stick sound, but is “crashable,” and it features good wash under the stick with dark funky overtones. MSRP: Contact company Ship Date: Now Contact: Zildjian, zildjian.com
Look Ma, No Wires
BOSS debuted the Katana-Air, which the company states is the world’s first totally wireless guitar amplifier. Compact and battery-powered, the Katana-Air features low-latency wireless guitar technology developed by BOSS and a custom wireless transmitter that plugs into any electric guitar. This gives players the freedom to jam and practice anywhere without fussing with guitar cables or AC connections. It’s also possible to play along with audio streamed via Bluetooth from an iOS or Android smartphone, and remotely edit tones and effects from the dedicated BOSS Tone Studio app. The Katana-Air has two custom-tuned speakers and up to 30 watts of total power, as well as a docking port in the amp charges the battery in the included wireless transmitter, providing up to 12 hours of continuous playing time per charge. MSRP: $399.99 Ship Date: Now Contact: Boss, boss.info
I’ve Got Rhythm
Alfred Music introduced “Rhythm Speller, Books 1–4” and “Rhythm Ensembles and Teaching Activities, Levels 1–4” as the newest additions to its best-selling Music for Little Mozart series. “Music for Little Mozarts: Rhythm Speller Books 1–4,” reinforce rhythm skills based on the concepts introduced in the Music Lesson Books 1–4. Each page of the Rhythm Speller Books has two activities — a rhythm writing activity and a rhythm reading activity. The written activities reinforce note values and counting through coloring, circling, drawing or matching. The rhythm reading activities help students practice clapping or tapping rhythm patterns while counting aloud, playing rhythms on rhythm instruments or keys on the keyboard, and chanting words based on rhythm patterns. MSRP: $7.99 Ship Date: Now Contact: Alfred, Alfred.com
20
Lifespan of the Party
C.F. Martin & Co. introduced what it states are its most advanced strings to date, which look better, feel better and sound better than ever before. Released were Authentic Acoustic Strings, engineered with the performer in mind and that will always stand up to rigorous practice and performance schedules. It is available in 80/20 Bronze and 92/8 Phosphor Bronze. Authentic Acoustic Silked add a soft silk wrap to the ball ends of Martin’s Authentic Acoustic Strings to prevent wear and tear on the bridge and bridge plate as a user plays. Available in 80/20 Bronze and 92/8 Phosphor Bronze. And the Authentic Acoustic Lifespan 2.0 is Martin’s next generation Lifespan 2.0 strings engineered using a new, patented technology only available from Martin, the company stated. This technology was developed to protect the core wire and the wrap wire to prevent corrosion without compromising tone. It is also available in 80/20 Bronze and 92/8 Phosphor Bronze. MSRP: Contact company Ship Date: Now Contact: C.F. Martin, martinguitar.com/aa OCTOBER 2018
PRODUCT
z z u B
Let’s Get it Started
Korg released the EK-50, its first starter keyboard, equipped with 280 styles and more than 700 authentic sounds. The entry-level keyboard includes a variety of features that songwriters, amateur keyboardists and even touring musicians will enjoy, the company stated. It offers a bright, clear display in the middle of the operating panel that illustrates the selected sound and style name. The principal switches are illuminated by their own LEDs, helping to easily visualize the setting of each function. The “Grand Piano Button” included will retract back to the classical piano sound, regardless of what is currently being played for a quick and seamless reset. MSRP: Starting at $399 Ship Date: Now Contact: Korg USA, korg.com
The inspiration behind S.L.P drum kits is to explore different build methods and shell materials beyond the scope of what is typically offered on most kits. Embodying this philosophy, the S.L.P Fat Spruce kit is made using all Spruce shells, a tone wood not commonly associated with drums. The sound is fat, rich, mid-range forward, providing a fresh voice that gives the drummer a new and distinctive tonal option. Alter Perceptions, Defy the Ordinary.
In George We Trust
Hal Leonard added “George Benson — The Art of Jazz Guitar” to its Hot Licks series. The book includes guitar tab and new, accurate transcriptions, along with 10 chapters and over 30 examples for students to follow while watching the corresponding video lessons. Throughout the book, Benson covers chromatics, scat singing, the Wes Montgomery style, the “piano rattling” technique, “on Broadway” changes, rock and roll influences, turnarounds, influences and more. MSRP: $19.99 Ship Date: Now Contact: Hal Leonard, halleonard.com
Hear TAMA Artist Ulysses Owens Jr’s thoughts on the S.L.P Fat Spruce kit @ https://bit.ly/2nQU1QM
PRODUCT
z z u B Build a Foundation
In Good Stand-ing
S.A. Richards Inc. introduced the PROP-IT Portable Tabletop Music Stand, which has been designed to hold music in any form, be it printed or digital device (tablet or smartphone). According to the company, the product sets up instantly to 11-inches wide by 6-inches high by 8-inches front-to-back. When not in use, it collapses flat to a compact eight inches by 11 inches, so it fits conveniently in most gig bags. Features “extensions” on the front that flip-up and support opened sheet music. Made of durable, black lightweight plastic. MSRP: Contact company Ship Date: Now Contact: S.A. Richards, 201-947-3850, Sales@StLouisMusic.com
K&M introduced the Carlos A-frame guitar stand, which boasts robust security with lightweight construction and a sleek and modern look. A user-friendly neck lock provides a secure hold, and the three-leg footing ensures a formidable foundation that won’t go down easily, stated the company. It’s an ideal stand for the studio, with soft felt padding along the arms that makes it safe for even the most delicate of guitar finishes, including nitro lacquer, and protects against scratches and other damage, the manufacturer added. The stand folds flat for easy transport and fits both acoustic and electric guitars.
MSRP: $92.99 Ship Date: Now Contact: Connolly Music, connollymusic.com
Summer of ‘69
Electro-Harmonix reissued the original Version 1 Big Muff, dubbed the Triangle Big Muff, because of the layout of its volume, sustain and tone controls, stated the company. The pedal is a faithful re-creation of the original circa 1969 circuit now housed in a pedalboard friendly, die-cast chassis. The Triangle Big Muff was also reissued this year to commemorate EHX’s 50th Anniversary. The Triangle Big Muff features the following nods to convenience: an LED to indicate effect status, true bypass switching and the option of being powered by a nine-volt AC adapter. It comes equipped with a nine-volt battery. Street Price: $99 Ship Date: Now Contact: Electro-Harmonix, ehx.com
WE PUT THE “LEI” IN UKULELE. Say aloha to our new Hawaiian-themed ukulele Quick-Change® capos. www.kysermusical.com
PRODUCT
z z u B
Les is More
The Gibson 2019 Les Paul Standard features the popular asymmetrical Slim Taper neck profile with Ultra-Modern weight relief for increased comfort and playability. An attractive look is highlighted by the powerful tonewood combination of mahogany back and carved maple AAA figured top, stated the manufacturer. Calibrated BurstBucker Pro humbuckers provide modern and classic tones, while immense tonal variety comes from four push-pull knobs and an internal five-position DIP switch for a multitude of tonal variations. MSRP: $3,399 Ship Date: Now Contact: Gibson, gibson.com
Coming Through in the Clutch
The MOD Kits Erratic Clutch Deluxe is an effect pedal kit that gives you fuzzy square-wave distortion, as well as a monophonic sub-octave square wave using a total of four transistors. The two signals can be used individually or mixed together for a raw and sonically rich synthy output. Full of character and quirk, this pedal will give you a truly original sound, stated the company. MOD Kits are designed to give novice and experienced musicians the opportunity to build their own amps and effects pedals. All kits come with easy-tofollow instructions and use point-topoint wiring. MSRP: Contact company Ship Date: Now Contact: modkitsdiy.com
Practice perfect posture.
In-Depth View
The Amptweaker DepthFinder EQ pedal is designed to allow end users easily add the tone of power amp-style resonance and presence controls in an amp’s effects loop, or on a pedalboard. Amptweaker has created a standalone two-knob pedal that makes it easy to get the tone of a tube amp’s low damping factor, even in a solid-state amp, and quickly get to the bottom of your tone, stated the company. The frequency range, resonant frequency, and boost of each control was matched to the controls on a block-letter 5150 head, into a Vintage 30 cabinet, to provide the “gut-punching thump” and sizzly cut that those amps are known for. There’s also a trimpot inside to tweak the level. MSRP: $90 Ship Date: Now Contact: Amptweaker, amptweaker.com
MUSIC & SOUND RETAILER
RedLabelStrings.com A portion of sales will benefit Greyhound Rescue
PRODUCT
z z u B XT Marks the Spot
The XT-1 guitar profiler by SIM1 is now available in North America, distributed by Lyon & Healy Corp. With proprietary technology called Smart Tone Shaping, XT-1 is capable of learning (profiling) the sound characteristics of a guitar and modeling it to perfectly reproduce the sound of any other electric or acoustic guitars, with no latency or digital artifacts, stated the company. A guitarist can choose his/her favorite guitar profile among the 30 presets included in the device, such as a Telecaster 1964, Gibson SG 1974, Music Man Axis, Martin D35 or Gibson J200. Additional guitar profiles can be chosen by connecting the XT-1 via Wi-Fi to their smartphone or tablet (adapter included) and downloading the free SIM1 App. MSRP: $799 Ship Date: Now Contact: Lyon & Healy, lyonhealycorporation.com/brands
Jog Your Memory
Lectrosonics introduced a stereo version of its PDR micro digital recorder, the SPDR (Stereo Portable Digital Recorder). The SPDR is a professional quality, dual-channel unit designed for use as a backup recorder, in electronic news gathering, in film and video production, or for personal use. The SPDR records to a Micro SDHC memory card in Broadcast Wave Format (.WAV with iXML metadata) and 24-bit depth, in sample rates of either 48 kHz or 96 kHz. The unit can accept inputs from analog line level and AES digital sources, or from lav microphones wired for standard Lectrosonics five-pin “servo bias” inputs. The SPDR can be “jammed” with time code via an industry-standard five-pin Lemo connector, and features a highly accurate, temperature compensated time-base crystal, the company stated. MSRP: $1,495 Ship Date: Now Contact: Lectrosonics, lectrosonics.com
Knights in Blue Satin
Gretsch Drums added several Nitron laminates to its drumset series, including Catalina Club, Renown and Gretsch Energy. The Gretsch Catalina Club 4-piece Jazz configuration is now available in Blue Satin Flame; Renown Series drum sets are now available in “big flake” Turquoise Sparkle and Copper Sparkle finishes; and the “ready to play” Gretsch Energy series sets now include a Ruby Sparkle finish option. Now available in Blue Satin Flame finish, the Gretsch Catalina Club is built around a 14-inch deep bass drum that delivers a warm, punchy vintage tone. Additional Gretsch Catalina Club finishes include Gloss Crimson Burst, Piano Black, Satin Antique Fade, and Satin Walnut Glaze. MSRP: Contact company Ship Date: Now Contact: Gretsch, gretschdrums.com
24
OCTOBER 2018
PRODUCT
z z u B
Pack It Up, Pack It In
Shure announced the P9RA+ and P10R+ bodypack receivers that operate with its PSM 900 and PSM 1000 Wireless Personal Monitor Systems, respectively. Designed for live performers, broadcast production managers, sound technicians and rental agency managers, the updated PSM receivers leverage an analog/digital hybrid system that increases headroom, stereo separation and audio fidelity, stated the company. The P9RA+ is a compact, stereo bodypack that works with the PSM 900 wireless system to deliver unparalleled audio quality and increased RF signal strength to meet the needs of professional audio applications of all kinds. Similarly, the P10R+ is a low-profile, twin-antenna diversity bodypack receiver that operates with the PSM 1000 wireless system. MSRP: Contact company Ship Date: Late 2018 Contact: Shure, shure.com
Make better musicians with Sound Percussion A comprehensive resource for individual or group instruction Available for Snare Drum & Bass Drum • Mallet Percussion • Timpani • Accessory Percussion • Teacher’s Score
COMING in the November Issue of the Music & Sound Retailer: • Accessories, Bags and Cases Update • A Salute to Lesser Publicized Products • MI Spy Visits Chicago • Shine a Light: Mike Risko Music • Under the Hood: Yamaha’s MODX • Final Note: Meredith Hamlin, CEO, Kyser Musical Products And Much More! MUSIC & SOUND RETAILER
Order Today! (800) 292-6122 | sales @ alfred.com | alfred.com/dealer
DRUMMING TO A DIFFERENT BEAT
(continued from cover)
“I believe the acoustic drum business continues to struggle with an imbalance brought on by the transition from what I call mature prospective to new prospective drummers, who vary greatly on the amount of time, passion, study and dollars they invest in their interest,” said Uding. “I predict that drum sales in general will remain soft until someone or something inspires a broader prospective on the true depth of
the instrument.” “Sales are slightly better than last year,” responded Fisher. “We see areas of growth in all of our product categories, and launching innovative products like the EAD10 and HW3 Advanced Lightweight Hardware is contributing to the additional sales.” “From our perspective here at Roland, the state of the drum industry is doing very well,” added Kennedy. “As with any
market, sales of products fluctuate depending on the type of percussion products you are looking at, but the macro view shows growth overall.” As for consumers’ take on the industry and if there is a need for celebrity drummers to bring more players into the fold, Fisher noted there are still influencers for younger players these days, but they are often the YouTube stars and not the onstage and record-
ing stars past generations grew up with. “I believe this is a good thing in that these young musicians build their interest in drumming by watching their peers, and that ability to relate gives their enthusiasm a lot of staying power,” he said. “Plus, although these YouTube stars may not be reaching large audiences, they exert greater influence over the audiences they do have. I think the initiatives that organizations like PMC (Percussion Marketing Council) have taken on are spot-on. Getting kids exposed to drumming and music is what the music products industry needs more of.” “The drumming community is as tight today as it has always been,” stated Kennedy. “That’s the beauty about being a drummer — the willingness to share ideas and the eagerness to grow and learn. With the ever-present social media outlets, it seems that consumer interest is growing more and more each day. Drummers are always on the lookout for new and exciting products to add into their setups. In addition to the legendary players in the drumming world, nowadays many drummers are looking to key influencers via social and streaming platforms to help guide them in their search for the next addition to their sonic palette. Reaching individuals through these channels has become a driving force within the drumming community.” “I believe the majority of today’s consumers view the value, purpose and commitment to drumming as much less,” added Uding. “Competition from other interests, along with the absence of celebrity drummers and live drummer-included performances, pales in comparison to drumming’s heyday.”
Electronic Avenue
Considering several of the new product launches in the past few months, electronic drum sets are experiencing growth. These sets offer one distinct advantage in that players can hone their craft with the comfort of headphones, while not disturbing others nearby, such as in a home environment. However, the knock on electronic drum sets in the past was that the sound simply did not match that produced by acoustic
26
OCTOBER 2018
beneficial for today’s drummers to have some knowledge and understanding of electronics, which will help them to be more musical and marketable to the gigs that are available. A basic and simple form of hybrid drumming would be to include a sampling pad with an acoustic drum setup to add tracks or loops into a live performance. Roland makes industrystandard products to accomplish this such as the SPD::ONE WAV
Pat Kennedy
drum sets. But recent product launches have purportedly closed this sound gap, although electronic drum sets still perhaps don’t match the sound produced by an acoustic version. This was Kennedy’s take on this subject: “Roland has conducted a great deal of market research, directly associating with customers and stakeholders as to what drives them to gravitate to certain products. The Roland V-Drums line offers several industryleading features that are synonymous with our products, namely exceptional pads and triggering for an unrivalled playing feel; uncompromised sound, dynamics and customization; and durability that stands up to all performance demands. These attributes are unwavering in all of our Roland products, from our flagship TD-50 series all the way through our entry-level drum kits. Other qualities that V-Drums offer include noise-reduction for home practice and volume control for a number of live performances or studio circumstances. Likewise, the technology within our modules to connect to music software for education or recording purposes opens up a wide array of applications, making Roland V-Drums the best tool to accomplish any musical situation. And with the advanced sound engine design and sound modeling technology developed by Roland, the acoustic-like sound quality is captured and produced at the highest possible level.” Uding agreed electronic sets MUSIC & SOUND RETAILER
are gaining in popularity. “What’s driving the popularity of these sets? Is the sound produced comparable with acoustic drum sets?” he asked. “Price, control and relevancy have arguably led electronic kits to an approximate 50-percent share of the market. Sounds, features and options are great, but in time, drummers gravitate back to acoustic.” “Electronic sets are becoming more affordable to consumers,” stated Fisher. “However, the downside is that consumers are paying less attention to quality differences between products. They all look roughly the same, but the value isn’t always immediately apparent, since a lot of that value is in the module and other features, like the free apps. Too many customers just look at the price and never discover the unique features. That’s where a good salesperson comes in. They have the opportunity to create a great customer relationship by educating the customer on the options and differences, helping them see beyond the price tag to help them make the right choice. “Regarding sound, although Yamaha strives to equip our electronic drum sound sets with good acoustic sounds that are expressive and mix in well with other music, we also realize electronic drums are vastly different from acoustic drums, just as is the case with electric and acoustic guitars. Although some applications cross over, they should be considered differently since they have their
own unique applications and use cases,” continued Fisher. Another recent percussion buzzword has been hybrid drum sets. We asked our panelists to describe them and if they can grow in popularity down the road. “Hybrid sets are meant to open up more creative possibilities for drummers. Unfortunately, they end up in specific applications (like live performances) and I believe it’s due in large part to being challenged by producing the audio needs to balance the acoustic and electronic drum sounds,” said Fisher. “The Yamaha EAD10 is a unique product, and one of its many benefits is that it’s expandable and allows you not only to create a hybrid set (triggering your acoustic drums and adding pads), but also to hear both your acoustic drums and electronic sounds through headphones or speakers. Products like the EAD10 are ‘gateway’ products; they make it easy for drummers to incorporate electronics into their setups, and to achieve the unique configurations and sounds they’re searching for in many applications, such as practice and making videos as well as in live performance.” “Hybrid drum set is a term used to describe any combination of electronics and acoustic drums together. This is becoming very common in the music industry, and it can be seen and heard during countless live performances and studio recordings,” answered Kennedy. “In fact, it is extremely
DRUMMING TO A DIFFERENT BEAT
(continued from cover) Pad and the SPD-SX Sampling Pad. Other similar pads that can be used to incorporate electronics are SPD::ONE Percussion, SPD::ONE Electro, SPD::ONE Kick, SPD-30 Octapad, BT-1 Bar Trigger, and a variety of drum and cymbal pads. Players wanting to take hybrid drumming one step further can place acoustic drum triggers onto their drums and access sounds through a trigger module. This creates a layering effect, or a ‘high-definition’ quality to any drummer’s sound and provides pristine drum sounds in any situation. Again, Roland makes the most well-suited products for this application with the TM-6 Pro Trigger Module, RT-30 Series Acoustic Drum Triggers (RT-30HR, RT-30K, RT-30H), RT-MicS and TM-2 Trigger Module. The beauty of hybrid drumming is that it allows players to totally customize their sound and delivers that sound at the highest quality. The sky is the limit!” Answered Uding: “My definition of a hybrid drum set is one whose shells are built with mixed plies of wood. This is good for the consumer interested in something a little different, while allowing the manufacture in many cases to keep the purchase price down.”
Selling Like Hotcakes
We shift the conversation to the what drum and percussion products are selling well for each manufacturer. Are these new electronic drum sets ringing registers? “As a full-line drum and hardware brand, Dixon has best sellers in every category, but our
Point of Sale + Website + Rentals
current brand-wide standout is our low volume/small footprint drum kit category called Little Roomer, configured for small spaces and acoustic gigs,” responded Uding. “Sold a-la-carte, Little Roomer offers drum, hardware and carrying bag options to easily adapt to all drummers and their applications.”
ALL IN ONE
cloud-based system • POS & Website (Integrated Inventory) • Rent to Own • Reverb Integration • Product Data Integration (Alfred & D’Addario) • Class Management • Service/Repairs Tracking • Automated Marketing • And more!
"Our year-over-year sales increased by 35% after switching to Rain Retail" ~Jeremy Chapman, Owner, The Acoustic Shoppe
See how it works! rainpos.com/music As seen at
www.rainpos.com/music sales@rainpos.com • (801) 893-3680
28
Steven Fisher
“Stage Custom Birch is a staple for us and always a good seller,” noted Fisher. “The Tour Custom is a great value and doing well, and the Recording Custom is doing well on the high end. The EAD10 is taking off as more people become aware of what it can do.” “The Roland V-Drums line created a whole new category in the marketplace and continues to drive design and innovation when it comes to electronic drums,” said Kennedy. “Our flagship TD-50 series is the most advanced electronic drum set on the market, and it maintains its status as the new standard for the premium drumming experience, ideal for any performance or recording setting. The TD-25 series offers the ‘Super Natural’ sounds popularized by the TD-30 and continues to be a gig-ready choice for any working drummer. Similarly, our TD-17 series, which was launched during our #TotallyDrums event in May 2018, has altered the e-drum landscape by offering features, feel and functionality never before seen at the intermediate-level price point. In addition, Roland’s continuous development and inOCTOBER 2018
genuity have led to the creation of so many game-changing products. Particularly, the SPD-SX or SPD-SX-SE are the industry-standard sampling pads, used by countless professional acts and musical enthusiasts throughout the world. Turn on the TV, or watch an online video, and you would be hard-pressed to not see one of these pads being used in a live performance.” Not to be left out, we also asked each manufacturer which drum accessory products are moving the needle. Fisher again pointed to the EAD10. “We see a lot of demand for the HW3 ‘Crosstown’ series Advanced Lightweight Hardware,” he said. “Dixon’s Build-Your-Own Practice Station has done well, consisting of three practice pad components (bass, snare and cymbal) that adapt to any cymbal stand,” stated Uding. “Drummers can easily match their practice needs to their available space and budget.” What recently-released or about-to-be-released products can also be hot sellers at MI retail locations? “Roland’s mission is to inspire enjoyment and creativity in the world of music. With this in mind, Roland is relentlessly pushing the envelope when it comes to design and innovation,” Kennedy noted. “For example, the TD-17 series, as mentioned earlier, combines flagship-level sound with our newly developed pads, and delivers an experience that’s authentically close to playing acoustic drums. Players are able to develop proper playing techniques, exactly as they would on an acoustic kit, and ultimately become better drummers more quickly. Skills and enjoyment are also heightened with the TD-17 through access to several motivational coaching functions, plus built-in Bluetooth for playing along with songs and video lesson content streamed wirelessly from a smartphone or tablet. Audio and MIDI information can also be captured with the TD-17, making it an ideal tool for fileMUSIC & SOUND RETAILER
Jim Uding
sharing and collaborating when creating music with your friends. One thing is for certain. Roland will continue to design the future with game-changing products that inspire musicians and music making around the world.” “In 2018, Dixon introduced a new logo with its Cornerstone Series shell packs and snare drums. Look for this exciting image shift to be applied brand wide throughout 2019. Dixon’s new products and branding give consumers plenty to explore and discover in your store,” responded Uding. “We had extremely positive feedback at Summer NAMM on the HW3 ‘Crosstown’ series Advanced Lightweight Hardware. It’s not the traditional old-school, small-diameter tubing look that contributes to the lighter weight. It’s a new generation of hardware for Yamaha,” concluded Fisher. “We also have the DTX402 Series electronic drums. This isn’t just another electronic drum kit, but a whole learning system with built-in exercises and free apps that make it fun to learn. It will teach you to play in time and read drum notation, guide you as you experiment with dynamics, help you develop skills in different styles and record for self-assessment. You can also use the free Rec’n’Share app to capture video of your performances and share it on YouTube and other social platforms. It’s a tremendous value.”
SOLID SPRUCE TOP HAWAIIAN KOA GLOSS Now available in traditional Concert and Tenor sizes, as well as Concert, Tenor and Baritone sizes featuring electronics and cutaway.
KA-SKCGE-C
Concert w/Cutaway & EQ
KALABRAND.COM
29
TARIFF TALK: KEY TALKING POINT ADDED TO OUR ANNUAL "MADE IN THE USA" STORY
(continued from cover)
Courtland Gray
Editor’s Note: Views of our respondents do not necessarily reflect the views of the the Music & Sound Retailer. We take no stance on any issue discussed in this story. The exact questions we asked this year are the following: How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks these products as much as in the past? In what way, if any, would tariffs enacted by other countries affect your business? Here are the answers we received: How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks these products as much as in the past? The notion that a product must be made in the USA is really not an issue. Consumers seem much more accustomed to products originating from many different places around the world. However, it does come in to play depending on price point, type of product, etc. So, there are instances it is just as important say made in USA (or certain other countries) now, as it was years ago. We do believe that in higher price points and for products that are more “crafted” than “produced,” that users do expect and take comfort knowing a product is made in USA. Some consumers seek that out, some don’t. But most do expect it with certain brands and types of ‘higher-end’ products and that’s understandable. We are always proud to say made in the USA, and we will highlight that fact when a product is in fact made here at home. In what way, if any, would tariffs enacted by other countries 30
Andy Rossi
affect your business? The current first wave of tariffs has barely affected most music products, but the next wave of proposed tariffs does seem to impact products made by many MI brands, and it will be a concern for many. I would expect that no company wants to raise prices due to this. So, there is a concern there. Working with NAMM, the industry should provide info to local governments during the comments period to alert officials that increases of this type affecting musical products would be harmful to the industry and do nothing positive for the country, MI companies, retailers, consumers or our industry. While we all want to support our country’s efforts to do what right for us all, this does seem to be more of a detriment than benefit to our music products efforts. —Andy Rossi, Senior Vice President, Sales and Marketing, Korg USA How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks these products as much as in the past? Here at Maxonix, my products are 100-percent “Made in USA.” I’m proud to say it. However, the positive and/or negative impact needs to be discussed in light of two separate audiences/markets. 1. International trade: I’ve grown my business mainly on international sales due in part to the positive image of U.S. products around the world. However, that’s really changed over the past 12 months. Opinions of U.S.-anything has taken a huge hit and swung from desirable to seriously undesirable. That’s coming from discussions with my international
Dan Roberts
distributors and the decline in direct sales too. 2. U.S. customers: Both retailers and end-user customers talk about wanting to buy U.S.-made products, but it’s really just talk. Unlike internationally, inside the U.S., “Made in USA” seems meaningless and pointless — no one really cares. When it comes down to it, they all just want whatever’s cheaper or a more well-known brand. My main gripe on this topic is with retailers who push for the cheapest option both as buyers and to their own customers. If there’s any retailer out there who encourages their customers to actually buy U.S.-made products, I haven’t heard of it. Furthermore, I’ve talked to retailers at length about offering Made in USA alternatives (either the same or better quality) to several basic drum accessory products and offering them at a lower price than big-name brands, which all have their products made in Taiwan. The answer has always been “no.” So, I guess that goes beyond what I said above about people/ retailers wanting low prices. They don’t even want “Made in USA,” even if the quality is better and the price is lower. Instead, they want the big-name brands. It’s super frustrating to hear the “USA” talk and see bumper stickers, then get zero action from the OCTOBER 2018
Jim D'Addario
same people. I’m not alone in this and have talked to other small, struggling U.S. manufacturers. In what way, if any, would tariffs enacted by other countries affect your business? The topic of tariffs already has my international buyers on edge. If they’re enacted, I expect to go out of business. —Graham Bradfield, Owner/President, Maxonix How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks these products as much as in the past? Our customers, both trade and consumer, feel that phrase is important and is a definite selling edge for us to have it on our packaging; and we do. Not necessarily for the distorted and hateful “political reasons” we witness daily, but as an assurance of quality and the belief that economic success for citizens and country, like charity, must begin at home. In what way, if any, would tariffs enacted by other countries affect your business? The administration has decided to ignore basic economic principles regarding international trade and instead has arbitrarily picked domestic winners and losers. Its illconceived tariff program, when announced months ago for steel, for example, caused my fabricator of steel parts to immediately increase his price MUSIC & SOUND RETAILER
Fred Gretsch
to us by 30 percent, even before the tariff went into effect. For now, we must eat that loss of margin, but at some point, we will increase our prices. In the meantime, we hope our fabricator stays in business. —Richard Aquino, President, SA Richards How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks these products as much as in the past? As the world’s market has become more global, it’s an undeniable fact that some products made overseas are of excellent quality, and today’s consumers are aware of this fact. That being said, truly knowledgeable consumers also realize that a large percentage of foreign-made products that carry attractively low-price tags also come with correspondingly low levels of performance and construction quality. Bottom line: The quality level of products made overseas can vary widely. Meanwhile, products “Made in the USA” can be relied upon for a consistent level of quality — as proven over many generations. Hence, the phrase “Made in the USA” still offers consumers an important advantage. Gretsch has been making drums and other instruments in the USA for 135 years. We were proud to say it in 1883, and we’re even more proud to say it today. The Gretsch legacy is unrivaled in today’s drum manufacturing market. [As for if I believe the end user seeks these products as much as in the past], frankly, that’s hard to say in a general sense. Again, the musical instrument industry is far more global today than a generation ago. However, speaking specifically
Jamie Latty
of Gretsch, our brand is enjoying significant demand, which indicates that end users are seeking our products as much as in the past. In what way, if any, would tariffs enacted by other countries affect your business? Tariffs enacted by other countries on finished goods — including drums, guitars and other instru-
ments — would affect our business, as it would that of all other American instrument manufacturers. They would make our instruments more expensive in foreign markets — which, in turn, would likely reduce sales in those markets. Possibly more worrisome are tariffs enacted by our own country — especially on steel and other materials from foreign sources. These could increase our cost for those materials, thus increasing our manufacturing costs and ultimately the sale price of our products. —Fred W. Gretsch, Gretsch How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks these products as much as in the past? (continued on page 50)
S PEC I AL T O THE R ETAIL ER
FINDING YOUR NICHE
Authentic Shopper Engagement Helps Retailers Compete By Abby Kaplan, Vice President of Global Sales, Retail, Shure Inc. The retail industry is changing at a breakneck pace. Online channels and digital services are shaking up shopping and purchasing trends, prompting a newfound emphasis on in-store experiences. With the closure of countless large and small stores in recent years, retailers must rethink business models to remain relevant. MI retailers that fail to innovate will likely lose out to competitors that are more nimble and aggressive. Perhaps more importantly, businesses must place a focused emphasis on understanding their customers — past, current and future. Even mega-retail chains such as Blockbuster and Toys ‘R’ Us weren’t safe from changing demographics and economics. However, this isn’t a reason to give up on testing new opportunities to strengthen your business and think beyond the way things have “always been done.” Brick-and-mortar retailers have a huge opportunity to fundamentally rethink the in-store shopping experience, especially with the up-andcoming Gen Z population. It turns out that Gen Z values real-world retail for experience and discovery — with some recent reports showing that 60 percent of the Gen Z population crave a different experience every day. While 75 percent prefer to do as much shopping as possible online, 80 percent look forward to shopping in-store when they have time, which happens to be a common misperception. The rise of pop-up concepts is a prime example of this offline and online convergence. Once online-only retailers like Rent the Runway and Bonobos have also invested with IRL (in real life) connections via physical storefronts. Next-gen fitting rooms and smart racks are being tested in the fashion realm by brands like Alibaba and Guess to marry high-tech with the tactile experience of being in-store. If businesses can adapt to this and add a little personalization to their business models, it’s not difficult to uncover a variety of opportunities to attract and retain new and old customers.
Boring Retail is Dead
Do brands live a predictable, natural life cycle from birth to growth to maturity to deterioration to death? No. Brands can thrive consistently, if properly managed.
32
When Toys ‘R’ Us announced it was closing its doors for good, it marked the end of an era. While competition from mega-retailers Walmart, Amazon and Target contributed to the company’s ultimate stumble, Toys ‘R’ Us failed to keep up with changing trends in consumer behavior and childhood play. The stores were simply too large and jammed with inventory. Nostalgia, it turns out, isn’t enough to get customers in the door. Blockbuster is another example of a company that used an outdated business model. Blockbuster had the right idea: clean carpeting, friendly employees, and rows upon rows of VHS tapes and DVDs. But, when the winds of change swept through the video industry, Blockbuster believed that its same business plan would continue to work. When the giant that is now Netflix arrived on the scene, Blockbuster scoffed at the idea of movie streaming. But its once-loyal customer base was fascinated at the idea of staying home and browsing a huge collection of movies for only $8 a month. Netflix prompted the shift that Blockbuster refused to accept. Part of the problem that Toys ‘R’ Us and Blockbuster faced is one that other retailers are confronting now — but by the time these mega-retailers realized they needed to change, they were burdened with debt. In a demanding environment that requires consistent sales, innovation is a must. To stand out, companies must offer a differentiator.
Customer as King
In this rapidly changing marketplace, nothing is more critical than embracing the power of in-store experiential marketing strategies as a direct means to boost sales. There are several examples of retailers that have consciously worked to adapt to consumer demand, ranging from large outfitters such as Guitar Center in the United States and Long & McQuade in Canada, to independent regional U.S. retailers like Alto Music and Ted Brown Music. Guitar Center uses the opportunity to build on e-commerce offerings with respected in-store musical education programming. In addition, customer experience is a top priority for the brand. This year, Guitar Center stores across America are installing 255 interactive microphone displays in partnership with Shure, further encouraging consumers to come in to touch and feel a variety of microphones before they decide to purchase. Long & McQuade continues to build on its legacy of prioritizing a strong rental experience alongside traditional sales. This has created a unique culture in Canada, where musicians are able to start out by testing and playing high-quality instruments from day one and establish preferences for wellcrafted instruments and gear. This laser focus on high-value inventory, along with a friendly staff that gets to know shoppers by first name, has helped the company create lifelong relationships with its customers. Such examples are by no means found only among mega-music retailers. New York’s Alto Music boasts an in-store professional recording studio that enables shoppers to test gear and gain a clear understanding of how items will perform in a pro-audio environment. Continuing its theme of prioritizing in-store relationship building, the retailer hired talent from outside MI to lead store design and merchandising. The result is a massive showroom with unique visuals; in addition to carrying nearly every instrument and gear combination that a musician may want to try, customers can also experiment with non-musical displays like GoPro, OCTOBER 2018
young musicians. Further, the retailer clearly understands the long-term value of investing in store aesthetics and sales staff training. When you walk into Ted Brown Music, the store is clean, easy to navigate, and staffed with associates who are well-versed to share personalized expertise and perspective that cannot be delivered through an online purchase experience.
which speaks to how well the company understands that its shoppers are content creators of all kinds. Alto Music has also kept pace with the rise of e-commerce. Its online team sits in the same offices to ensure continuity between online and offline programs, and the company recently built a large warehouse off the main store to better support its growing online sales business. Family-owned Ted Brown Music has strengthened its niche by tapping into its customers’ passion for music anywhere and everywhere — including online. An events locator on the retailer’s website invites customers to search for workshops and interactive sessions at their preferred store, ranging from drum circles to New Horizons, a program geared toward adults with no music experience to help them stay sharp mentally and physically as they age. Ted Brown Music also emphasizes instrument rentals to school bands and orchestras throughout Washington state — a nod to music retailers’ role in shaping the future of the industry. Music lessons are offered for a wide variety of instruments, from piano to saxophone to guitar, with educators hoping to inspire
Standing Apart from the Crowd
What worked for stores in the late 1990s and early 2000s clearly isn’t what is working now. Today’s customers want information on how to get more out of their purchases and how to maximize their relationships with a brand. Fail to meet your customers’ expectations, and they will respond by going to competitors, a predictable result for companies that overlook customer engagement. By taking a look at Toys ‘R’ Us, it shows how valuable customer engagement can be and how important it is to keep an eye on the consumer lifecycle. So, what should a business that’s facing a similar fate to Toys ‘R’ Us do? Take note of companies that have adapted to consumer demand and reworked their business models. Often, determining how and where to start is the highest hurdle. Begin with an evaluation of your processes, training programs, store layout and marketing materials to make sustainable and impactful changes. Prosperous retailers constantly re-examine their stores’ atmosphere and the elements that influence their customers’ decision-making process. They make their stores inviting and interactive so that no two visits are ever the same. This, in combination with a friendly, knowledgeable staff, can take your customer experiences from dull to exciting and genuine. Every element of the store goes into the customer experience. Going the extra mile will help your business stand apart from large retailers like Amazon, as well as small competitors, particularly in this age of always-on consumers who switch between shopping in-store to swiping and tapping on mobile devices. Retail is far from dead, but boring retail will not survive in this new era of commerce.
QRS-Connect
n g Soo n i m w Co er No d r O Pre
Hardware, Software & Sensors to Track and Capture Rechargeable Battery - portable
5 Pin MIDI In & out - 2 ins or 2 outs or 1 in & 1 out
Buttons & LEDs - toggle use with indication
USB to MIDI - MIDI to USB Delays, Sync and programing
Bluetooth MIDI and Audio - to and from Bright LED acts as a Flash Metronome, and flashlight
Digital to Audio & Audio to Digital
Built in Mic for scratch tracking General MIDI Sound Module
Audio & mic Ins & Outs
Accelerometer Micro & Type C USB -
Capture, Communicate & Charge
Wi-Fi & Wi-Fi Direct - Direct device log in and auto upload to the QRS-Connect.com cloud
QRS-Connect.com - Cloud Ecosystem for Analytics, Sharing, Archiving & More
QRS-Connect.com
Tuner & Beat Finder
Micro SD Slot - Expandable portable storage
Built In speaker - for voice prompts, notifications, & previews
QRS Widgets - Application Specific Functions That Utilize the I/O - Programmable & Assignable
What is QRS-Connect? It ‘s three components: QRS-Connect compatible hardware, QRS-Connect.com cloud based ecosystem, and a library of applications, content and widgets. The QRS-Connect’s patent pending technology opens doors, never thought possible. All accessible from any Wi-Fi enabled device. From auto-recording/naming/tagging/ saving/archiving to analytics, account/device/content management to feeds/collaboration/groups/sharing and 3rd party app integration- it does all that plus so much more.
QRS Music Technologies, Inc. 2018 - Music & Sound Retailer - advertisement - QRS Connect.indd 2
to pre-order go to: qrsmusic.com/qrs-connect.asp
adqrsc/61818 6/18/2018 10:57:43 AM
FI V E M INUTE S W ITH
KYLE THOMAS
Artist Marketing B&O Manager, D’Addario
By Brian Berk
Ohio native Kyle Thomas had been playing drums for several years professionally, but in 2016 he decided he couldn’t pass up the opportunity to join D’Addario, where he works out of both the company’s Brooklyn, N.Y., and Farmingdale, N.Y., offices. He offers plenty of information about the percussion industry, maintaining and strengthening school music education programs and much more. Enjoy.
The Music & Sound Retailer: Take us through your background and career. Kyle Thomas: I started at D’Addario in January 2016. Prior to D’Addario, I was a performer. It’s been a unique experience being a performer in the orchestral space. I’ve played with various orchestras throughout the Midwest. I’ve been a drummer since the sixth grade. I’ve played drum sets, orchestral, keyboard instruments like marimbas and vibraphones, as well as Latin and world percussion instruments. I earned an undergraduate music performance degree from Wright State University in Dayton, Ohio. And I pursued further education in the master’s program at Cleveland State with Tom Freer and the Cleveland Orchestra. I discontinued my master’s to pursue this opportunity with D’Addario. The Retailer: What enticed you to work for D’Addario? Thomas: It was the right timing. I was coming up on the time of my life as a performer where you need to decide if you will go for freelance work by taking gigs or 34
attempt to do something with salary and benefits. When the position opened up at D’Addario, it was lucky timing. I had always admired D’Addario from afar for the work it did with Evans and Promark, two brands I was definitely aware of as a performer. I used Evans drumheads basically from day one. Before I even knew what I was using, I was using Evans. So, I grew up with the Evans sound in my ear, and that was the brand I had aligned best with as a performer. As for Promark, I spent a lot of time playing the products prior to the D’Addario acquisition. The teacher I had in my master’s program was a signature Promark artist who designed an entire line of sticks, timpani mallets and keyboard mallets. So, I was pretty aware of Promark during those days. Promark did go through a reimagining when it was purchased by D’Addario. Around the late 1990s and early 2000s, Promark wasn’t investing in machinery. There were some quality issues that pushed me away from Promark at the time. But when D’Addario took it over, I was inspired by the work it was doing to bring Promark back. After D’Addario took over, the quality had a noticeable improvement after D’Addario reinvested in what Promark could be in the music space. So, to get back to the question, it was a personal decision to move away from the performance arena, and a professional decision whereby I was really impressed with the types of things D’Addario was doing at the time as the umbrella organization for Evans and Promark. It ended up becoming a perfect fit for me.
The Retailer: You’re certainly not alone in making the decision to leave performance and join the MI industr y. Thomas: [Laughs] As a performer, you get to a point where you say to yourself, Well, I can do this. I can definitely put together a living doing freelance. But it won’t be easy. It will be a hustle, and will be a hustle endlessly. A lot of the reasons I found success at D’Addario are due to skills I learned as a performer. It was nice to take those skills and apply them to a different project. The Retailer: What’s happening in the percussion industr y today? Electronic sets and hybrid sets are some of the things we’ve heard talked about lately. Thomas: The industry is ever-changing. We’re constantly trying to be aware of the shifting landscape. Electronic drums are becoming a much larger component of any drummer’s arsenal. You even see legendary drummers who are up on stage with sampling pads to the left of their snare drum. They can call up sound at any moment that they might not be able to produce with an acoustic drum set. I think electronic will continue to be a bigger component of what drummers do. That being said, I’m of the belief that electronic pads and electronic drums are enhancing a musician’s palette. Having sampling pads and different ways of producing music are giving musicians new tools to do what they do with music. We always worry about the downfall of acoustic instruments because we are a manufacturer of acoustic instrument accessories, such as drumheads, drum sticks, reeds, mouthpieces and strings. I know more and more people are purchasing and performing with electronic instruments, but I don’t think it means they are not performing with acoustic instruments. I find people just utilize new instruments as they come. That, for me, is really exciting. As technology In related news, D’Addario announced the purchase of two adjacent industrial buildings next to its headquarters at 595 Smith Street in Farmingdale, N.Y. The company’s plan is to merge the two recently purchased buildings, yielding 37,000 square feet of manufacturing and warehouse space. Scheduled to be completed by September 2019, the new facility will be the future home of Evans Drumheads. Sustainability is a huge initiative that D’Addario has strived to accomplish for years. The new buildings will be energy efficient and will pursue LEED (Leadership in Energy & Environmental Design) Certification. New energy-efficient lighting, as well as heating and cooling systems, will be installed, in addition to plans to divert building waste away from landfill sites to recycling and recovery centers. “Following our commitment of Corporate Social Responsibility, pursuing LEED gets us a step closer to hitting our goals,” said Tom Stack, RA, LEED AP, director of global design, planning and construction.
OCTOBER 2018
The D’Addario Foundation is its philanthropic education arm.
continues to develop, musicians will find new and unique ways to utilize that technology. But I don’t think it means they will stop using the old technology. Drummers will still drum, especially in marching bands. School music, marching bands, DCI (Drum Corps International) and WGI (Winter Guard International) are activities that are continuing to grow annually. Kids want to be involved in music, and they want to be involved in music at an early age. Our challenge as educators and adults of the world is to keep them in music and to continue to provide a passion for playing, as opposed to being a spectator. There’s nothing wrong with being an audience member, but we want them to continue playing instruments beyond high school and college. To come back to electronics, because kids grow up with a smartphone in their hand, I think electronics can be an avenue to get kids to play music longer. I’m hopeful — and we are already seeing it with kids involved in marching activities and taking to YouTube to express themselves in music — that kids express themselves in new ways. But they still have a drum or guitar to do so. That, to me, is really exciting. To wrap it up, I don’t prescribe to the doom-and-gloom theory about music. I’m fortunate to work every day with musicians and educators who are in school music programs. I’m inspired by the work they do every day. The growth I’m seeing is only good for us as a society and as a manufacturer.
The Retailer: To your point, despite an article in 2017 to the contrar y, it certainly doesn’t seem like music is declining. Thomas: I’m close with programs that are teaching kids in sixth, seventh and eighth grades and beyond about the power of music. I have firsthand experience watching these programs grow from a 10-person band to a 100-person band in just a matter of three years. I can’t prescribe to the doomMUSIC & SOUND RETAILER
and-gloom thing. I haven’t seen enough evidence music is declining. Granted, I will say that it is changing. Retailers that are resistant to change will feel it more than those who are embracing technology, digital channels, social media and ecommerce. I believe the state of MI is optimistic.
The Retailer: To get back to the electronic drum point, you brought up keeping people in music as they reach adulthood. How about the beginners and novice players? Can electronic drum sets help regarding parents who don’t want to hear a loud acoustic drum set in their house? Yes, it’s anecdotal, but can this be a source for growth? Thomas: I do think there is validity to your statement. I am of the millennial generation. My dad did exactly what you described. My first drum set was a set of Roland V Drums. My dad didn’t want to hear me drumming all day long. He decided that instead of buying me a cheap drum set I could put in the corner, he would rather invest the money in his mental health [laughs]. So, he got me an electronic drum set, on which I learned to play. My mom was a musician, so she didn’t care [about the noise]. But my dad was not. He was really into me playing drums. He just didn’t want to hear it. I ended up becoming a professional musician by way of an electronic drum set. Now, I’d rather play on an acoustic drum set, because I like its natural feel. I was an educator with a percussion specialty for five or six years and I had incredibly supportive parents at any program I taught at. I was surprised how supportive parents were regarding getting their kids involved in music. The Retailer: Clearly, school music is vital. What efforts do you take to make sure school music programs aren’t cut back or cut out all together? Thomas: There are two things school districts and administrators have to understand. There is an incredible importance to continue music programs, even during hard economic times. Study after study and statistic after statistic prove the benefits of music, and specifically, school music programs on the long-term success of a student. What it does for test scores. What it does for socialization. What is does for growth in communication skills. But I would argue none of that is as important as the track record of culture. Music [has been] a part of society since there has been a society. It has been used in every civilization. The ways people learn music changes, of course. But music as a means for enjoyment, communication and comradery has been around forever. To take that away from the next generation is not just a disservice. It’s the worst possible thing you can do for kids. To me, that’s more important than higher test scores. Learning a musical instrument, to sing or musical theater is really important to grow into a wellrounded human being. Culturally, music is so important to us as human beings. It’s something I’m really passionate about as a former educator. When you are teaching a kid and they are not getting it, but then have an “a-ha” moment, is a game changer. That is the absolute best feeling you can have as a teacher. It doesn’t even feel like work when that happens. Kids experiencing this feeling will experience it for the rest of their lives. That’s why they continue to play music. The Retailer: Administrators may also deemphasize music because they don’t feel kids will become rock stars. But you are a great example of someone who proves you can earn a career in MI even if you are not the next music superstar. Thomas: Absolutely. I know people I went to college with who have music performance degrees and are now accountants or working in the nonprofit sector. Some are music teachers of course. The types of skills we learned in music allow us to take our next step. For me, I took those skills to D’Addario. (continued on page 51) 35
M I SPY
MEET ME IN ST. LOUIS
Given its extensive geographical size and population, the greater St. Louis area (which includes a piece of western Illinois) isn’t as much of a musical hotbed as one might expect it to be. Sure, there are major concerts, local clubs and some open mics, but not much of a music “business” scene, and local musicians bemoan the closures of some of the city’s music stores in the internet era. Relatively few nationally successful acts have come out of the area; there’s Michael McDonald, Nelly, Devon Allman, Chuck Berry, of course, and Miles Davis more than 70 years ago, but really
Fazio’s Music
15440 Manchester Road
Fazio’s is located on a busy east-west suburban St. Louis street that is nothing but retail stores for as far as the eye can see. Finding Fazio’s is easy, as it’s a clearly marked building in a strip mall of sorts that’s easy to access, with pretty good parking. Upon entering the building, I was greeted by two friendly 20-something men at the counter who asked what they could do for me, and when I told them I wanted to check out some drum kits, one of the men came out from behind the counter to assist. I followed him to an open area of possibly 36
not a lot of others. St. Louis does have a fine Grammy-winning symphony orchestra, and not all that many cities have classic songs written about them, like W. C. Handy’s “St. Louis Blues.” But the city is far better known for its sports teams, its architecturally awesome stainless-steel arch, and for the fact that Andrew Carnegie and company walked an elephant across the area’s first Mississippi River bridge. Your intrepid MI Spy, though, was on the hunt for a new acoustic drum set. I figured that there still have to be a lot of musicians who need gear in a market that
Ellisville MO 63011
large, and that not everyone is shopping online. So I set about exploring the retail scene in the greater St. Louis metropolitan area, which serves a combined 2.8 million people or so on the two sides of the Mississippi. Visiting music stores from west to east, I began testing drum kits in honor of this magazine’s drum issue, mostly playing John Bonham’s famous intro to “When the Levee Breaks” and Joe Morello’s 5/4 groove from Dave Brubeck’s “Take Five” to check out the kits for flexibility and versatility (and maybe to show off my own versatility a little).
636.227.3573
the cleanest music store I’ve ever been in, where I found several Pearl Export kits, apparently a favorite here. I opted to try out a gorgeous, blindingly white kit, and the salesman handed me a pair of wood sticks and left me to my own devices. I played for a few minutes before motioning the salesman to discuss details. The kit, which came with Pearl hardware and three Zildjian Planet Z cymbals — basically everything but the throne — was normally $1,325, but the store was selling it for $799.99. He said that, with that deep a discount, the $799.99 price was pretty
firm, but there was a possibility that he might be able to do a match if I found a better price elsewhere — which would probably be online at Sweetwater or Musician’s Friend and not at another store in the St. Louis area. He was a nice guy, no hard sell, knowledgeable about drums, and gave me his card with an invitation to call with any questions, or to stop by and try the drums again, or try some other kits if I wanted. He was very attentive and more interested in me getting what I wanted than in his commission, and I liked that. OCTOBER 2018
Fred Pierce Studio Drum Shop 9537 Midland Blvd. St. Louis MO 63114 314.423.7137
Omega Music 2035 State St. Granite City IL 62040 618.709.7787
Guitar Center 79 Ludwig Drive Fairview Heights IL 62208 618.398.8150
Fred Pierce’s name is legendary in the drum world, and his longtime shop (closing in on half a century in business) is in a nondescript house with bars on the windows in an older residential neighborhood of western St. Louis. The cachet upon my entering the shop, with drums everywhere and autographed photos of the greatest names in percussion hanging on the walls, was immediately captivating. A friendly, somewhat bleary-eyed salesman who said he’d had a late-night gig came out to see how he could help and told me to feel free to look around. The shop is pretty small and crammed, and it was tough to get an entire drum kit away from the walls to play, but I did check out what I could of a couple of interesting kits, including a cool orange and blue set of PDPs (Pacific Drums and Percussion) by DW that sounded good, as well as a two-tom Ludwig kit for $199. I decided that I couldn’t beat $199 for the Ludwigs, even if I might require an extra drum or two. I needed to look for hardware and cymbals, and the sales guy took me into the next room to get some ideas from the store’s great selection. He talked enthusiastically, drummer to drummer, as we tested various rides and crashes and looked at hardware. His suggestions and recommendations didn’t center around what was going to make him the most money, but around how a regular guy like my MI Spy character could equip himself for a local club or Moose Lodge gig without mortgaging his house (which is possible at Pierce’s, with some really awesome high-end gear). He said he didn’t have a lot of dickering room and that much of that was up to the owner, who wasn’t there at the moment. But he was a super knowledgeable musician who had my best interests at heart.
A few minutes across the river into Illinois and north, the town of Granite City is basically just another aging industrial river town, but with a rather surprisingly artsy downtown area with cool stores that include Omega Music. I walked into the store not expecting much, but was impressed to be greeted by a well-stocked and thoughtfully arranged selection of nice guitars, like EVH and Takamine. A friendly guy in his late 20s welcomed me, and when I asked if the store carried complete drum kits, he ushered me into a room where several sets of drums were set up, as well as a kit made by Dixon Drums. I decided to try out the Dixon kit, which was normally $833.95, but was on sale for $679.95. I was taken by its good sound and responsiveness, and I was pleasantly surprised when I started asking about the additional cost of cymbals and hardware. The salesman told me that the $679.95 price included not only the drums, but the Dixon hardware and the Sabian hi-hat, crash and ride cymbals. A sweet deal. Since they were on sale, I didn’t expect to have much luck dickering — it already seemed like a great buy — but he said that he might be able to go down a little more if necessary. He wasn’t making a desperation plea, but was just doing good business. It turned out that the store is actually a mom-and-pop shop — indeed, Mom and Pop literally walked in and said “Hey” while their son was giving me the pitch. Overall, the store had a nice sales guy, an above-average selection of good gear for a smaller store, and the overall vibe of a business that’s there to serve the music and the customer first, and grab the money second. It was a very enjoyable shopping experience.
Only a complete bonehead on a drum shopping trip would pass up visiting a music store located on a street called Ludwig Drive. This Guitar Center, one of three in the greater St. Louis area, was supposed to open at 10 a.m., and at 9:59, one female and one male employee opened the two entrances. The man greeting me at the main counter asked how he could help, and I when I told him I wanted to check out some drums, he happily pointed me back to the drum room, where a 20something salesman was doing some straightening up. I spied a sharp black Yamaha kit with a price tag of $649.99 that looked like it might be worth checking out and told the sales guy I’d like to play them. He said, “Sure,” and grabbed me a pair of demo sticks. Then he said to let him know if I had any questions about anything, and wisely and politely left me alone while I diddled my paradiddles and generally thrashed about. The kit sounded good, and I asked him if the $649.99 price was the best he could do if I offered cash. He said he’d look into it and went to the front counter. He returned a minute later to say that he couldn’t do anything with the price under normal circumstances, but he did have the option to use some kind of 20-percent-off coupon if I applied for, and was approved for, a Guitar Center credit card. Cymbals and hardware would be extra of course, but he said he might be able to work some kind of discount on those as well if I got the credit card. The salesman was a nice guy, seemed knowledgeable about the product, and wasn’t pushy or desperate for my money or to get me to go for the credit card deal — which I said I’d think about.
The Winner The guy at Fazio’s who waited on me was pleasant with a welcoming demeanor, knew his stuff about the gear and left me alone to play until I had questions. The salesman at the Fred Pierce store was a great guy and a working musician who was sincerely interested in my needs. He genuinely was into drums and would have talked about them all day, even if he wasn’t selling them, which I loved. A store like this one can skate on its name recognition, but the salesman wasn’t trying to do that at all, which just made the store’s reputation seem all the more MUSIC & SOUND RETAILER
well-deserved. The crew at Guitar Center was attentive, helpful and friendly, and the salesman was knowledgeable about the product I was interested in and willing to do whatever possible to help make the sale. He wasn’t as aggressive as some retail people can be when they’re trying to get a customer to sign up for a store credit card, and I appreciated it. The winner, though, is Omega Music. This may be the best smalltown music store I’ve ever been in, and musicians in the greater St. Louis
area would do well to visit the place if they haven’t already. The store has a good selection of instruments (and vinyl records!) in a small space, but the ser vice makes this place a must-shop. The salesman was a friendly guy who went the extra mile to answer questions, and my satisfaction seemed more important than taking my money. Or maybe he was just on his best behavior because Mom and Pop were there. Whatever the case may be, Omega Music comes highly recommended, and is this month’s winner. 37
I N T H E T RENCHE S
THE TRUTH ABOUT By Allen McBroom Debt. That one word may cause more gastric upheaval than any other word in the English language. It can be simultaneously viewed as a positive building tool and as an evil, cash-sucking vacuum. Managed properly, debt can allow a business to grow and develop in ways otherwise not possible, and the inverse is just as true. Poorly managed debt or poorly planned debt can be the downfall of an otherwise viable business. Debt is a business tool, but it is a tool one does not buy once and use over and over. Unlike a hammer, debt is a tool that must be purchased every time it is used, and the price of that tool can vary widely and even change during the course of its use. Savior or destroyer, debt is part of most businesses, and our grasp of how it works determines its label as a tool that helps or harms. The basics of debt are simple. You borrow money from somewhere else, invest that money in your business and/or inventory and then pay back a larger amount at a later date. It can be hundreds of thousands of dollars borrowed from a bank for enlarging your building and buying new inventory, or it can be a few hundred dollars taken out of your retirement account to cover a utility bill. The bank will have a long list of fees and interest involved with loaning you the money, and borrowing from your retirement account costs you the potential for growth. Either way, you pay. Anthony Mantova of Mantova’s Two Street Music offers this: “Use smart debt for big moves 38
‘Debt is something that can be utilized to your advantage, but all too often ends up being the thing that keeps you from sleeping at night.’
that make a lot of sense. Debt is your friend, as long as it will flip! If you don’t know what sells, don’t get too crazy with debt.” Daniel Elliott of The Strum Shop has just the opposite approach, which is: “Stay out of debt. Don’t spend money until it’s actually in the bank. Pay in advance for your inventory purchases. Make sure you have reserve cash for the lean times. And did I mention stay out of debt?” He added, “I disagree with Anthony. Debt is never your friend. The only time I would consider debt at this stage is maybe to buy a building.” Two successful store owners, but with opposing views on the use of debt. Confused yet? Kevin Walters at Central Penn Music has a more situational approach, where he considers debt to be useful, as long as it serves his purpose. “Debt is something that can be utilized to your advantage, but all too often ends up being the thing that keeps you from sleeping at night. A credit line that you can draw from in the slow times can help your
sanity and allow you to purchase what you need to have for your customers when you need it. You have to have the discipline to pay off the credit line every year. (Having the) least amount of debt you can function with is generally better.” Kevin used a phrase that I think is worth repeating. “You have to have the discipline to pay off the credit line.” For new store owners, the amount of discipline it takes to run a store may be daunting, but for all store owners, the discipline to allocate money responsibly can sometimes be a challenge. This is where having an accountant or a reliable third party to handle your spending in a logical, unemotional way can help you avoid sleepless nights down the road. Scott Gilreath of Musical Depot offers a pearl of debt wisdom with one sentence: “… My advice would be to avoid going in debt unless there is no other possible way to get through it, and if you do, before you sign the dotted line, make sure you have a plan with a timeline to pay that debt off as quickly as possible.” Taking on debt can be beneficial to your business, as long as you know how it will be paid back and how long it will take. Remember that money used to retire debt is money not being used for other needs. Borrowing $50,000 on a 90-day note to buy school products when you’ve got a profitable school purchase order sitting on your desk is a low-risk, reasonable use of debt. You know how much you need, you know how much the payoff is and you OCTOBER 2018
MUSIC & SOUND RETAILER
fer a lower rate to help get some of their cash working for them. It also never hurts to be on good terms with more than one bank. If you belong to Rotary, Civitan or the local chamber of commerce, you already know more than one banker. Even if you don’t need a loan, drop by
and have a cup of coffee with two or three of them. They’ll ask how business is doing, and that creates the opportunity for a more involved relationship at a later time. Remember, even the friendliest banker is constantly sizing you up as a potential buyer for his products. You may never
need that loan, but if and when you do, that’s the wrong time to start developing your lender relationship. Let some lenders get to know you when you don’t need their products, and it may make the money-rental process, should you need it, a lot more pleasant. Happy trails…
DON’T DON’T SWEAT SWEAT IT. IT.
Introducing two new stick finishes that give drummers a better grip Introducing twochemistry new stick finishes that givestyle, drummers better Every drummer’s body is as unique as their personal which meansasome sweatgrip more
Everyothers. drummer’s body is as as their personal style,and which means some sweat than That’s whychemistry Vic created theunique American Classic® PureGrit DoubleGlaze. These twomore new than others. why Vicgive created the American andalleviating DoubleGlaze. two new formulas for That’s stick finishes drummers a betterClassic® hold on PureGrit their sticks, the These need for tapes, formulas for stick finishes give drummers a better hold on their sticks, alleviating the need for tapes, waxes, gloves or special grips. waxes, gloves or special grips.
FOR SWEATY HANDS FOR SWEATY HANDS
FOR DRY HANDS FOR DRY HANDS
Introducing Zildjian Introducing Zildjian
cymbals are raw and cymbals raw and earthy, delivering a dry, funky sound withare a quick, fast earthy,and delivering a dry, funky sound with a quick, fast attack lots of dirt. attack and lots of dirt.
Zildjian Dry Cymbal Set includes five K Custom Special Dry cymbals: 14” HiHats / 16” Crash / 18” Crash / 21” Ride Zildjian Dry Cymbal Set includes five K Custom Special Dry cymbals: 14” HiHats / 16” Crash / 18” Crash / 21” Ride
©2018 ©2018 Avedis Avedis Zildjian Zildjian Company Company
know when and how the note will be retired. That debt purchase is a no-brainer. Get the loan, get paid, keep the difference. Borrowing a similar amount to buy a truckload of pointy-headstock Where-istani guitars that your rep convinced you to buy because they will be the next big thing may be a less-than-stellar debt move. So, debt can be a useful tool, as long as it is managed and planned responsibly. Two more things I’d like to pitch out there about debt: First, debt is a commercial product. Buying debt is not much different from buying tires or a refrigerator. Before you sign the dotted line, visit multiple lenders, and get a feel for who you can work with easily. The lender’s approachability is important, because your lender will be intimately involved with your business life, and that involvement is a lot easier when you are on an easy, first-name basis with your lender. Second, not all debt is created equal. Just like buying tires, all debt looks the same at 10 feet, but up close, debt offerings can be very different. Interest rates will vary, grace periods will vary and other fees will vary. Make sure you fully understand what you are committing to before you sign on the dotted line. Also, if you don’t like the interest rates or the terms, negotiate. In a loan, the lender is renting you money, and how much you pay for the rent is always open to discussion. If the lender isn’t open to discussing interest rates or terms, thank them for their time and go see a different lender. The interest rate the bank charges is a reflection of how much risk they think they are taking in making the loan, and how much un-loaned cash they are sitting on at the moment. If you have a good plan for using the money and paying it back, and the lender understands your plan, that understanding may reflect itself in a more favorable rate. If the bank hasn’t met their lending goals for the month, they may of-
SHINE A LIGHT
A HOME RUN IN CINCINNATI By Michelle Loeb
Michael Schear didn’t set out to be a music store owner back in 1991, when Antonio Violins opened its doors. By trade, he worked in sales, distributing paper and chemicals to large and small businesses that developed film. But outside of work, Schear’s true love was violins. He was a musician and an avid collector of rare vintage violins, in addition to studying finer repair and violin making under the tutelage of an award-winning luthier. So, when film began to be eclipsed by digital, Schear saw the writing on the wall and decided to follow his passion. “In the beginning, we were busy focusing our time on designing our personal line of instruments in a warehouse business district to try to develop the most responsive sounding student-level orchestral instruments in the U.S. market,” Schear explained. “While still in the midst of perfecting our line, a private violin teacher found us and asked if some of her students could rent our instruments. We came up with a rental agreement and slowly grew word of mouth, which says a lot because we were not doing business out of an area that was easy to find by consumers. You really had to want to find us.” Not only was the store tucked away in an area that lacked regular foot traffic, but Antonio Violins was also competing with three other stores in the greater Cincinnati area that focused solely on orchestral stringed instruments. “So, it said a lot that customers and teachers were going out of their way to find our store,” said Schear. Having made such a strong impression on local teachers and customers alike, Antonio Violins began to grow, pushing Schear to knock down walls in the warehouse to increase space and eventually move into a true retail location. Today, Antonio Violins operates three stores in Ohio — two in the greater Cincinnati area and one in Columbus, Ohio — with 20 employees between them. The store offers rentals and sales for orchestral string instruments and accessories, as well as a recent expansion into folk instruments and ukuleles, which, “has added so much,” said Shawna Wingerberg, who came on board nine years ago as retail manager. “We now never truly get out of busy season!” From the beginning, Antonio Violins has focused on fostering a love of music within their customers and providing the greatest opportunities for growth. In order to make the rental process as simple as possible, the store provides renters with a fully outfitted instrument, including 40
Michael Schear Antonio Violins 7721 Montgomery Road Cincinnati, OH 45236 (513) 793-1300 www.antonioviolin.com Mon. Noon — 7 p.m. Tues. 10a.m. — 5:30 p.m. Wed. Noon — 7 p.m. Thurs. 10 a.m. — 5:30 p.m. Fri. 10 a.m. — 5:30 p.m. Sat. 10 a.m. — 4 p.m. Michael Schear, President Shawna Wingerberg, Retail Manager
OCTOBER 2018
the case, bow, rosin, cleaning cloth, shoulder rest or rock stop, and a spare set of strings. “For new renters we also provide a method book and music stand, all included in their rental fee,” said Schear. “We also provide a care and maintenance overview, which allows the staff to sit down with the player one on one and get to know them, giving the player a jumpstart to learning their instrument and focus on having fun.” There is a team of experienced luthiers on staff who repair all of the rental instruments and also take the time to work with the customers, explaining what needs to be repaired, how it’ll be repaired and how long the repair will take. While the rental is being repaired, the store provides a loaner instrument so that the players can keep practicing. In addition, the store is merchandised in a way that is designed to inspire customers to stick with and excel at their instruments. “We pride ourselves on having a large selection of orchestra solo and small ensemble music in the store,” Wingerberg continued. “It’s important to encourage players, especially beginners. Having all their books they want to play — like “The Greatest Showman,” “Disney Songbooks” and “Black Violin” — increases rental retention and overall knowledge of the full musical possibilities.” Since joining the company, Wingerberg has helped Antonio Violins make the NAMM Top 100 Dealers List for four years in a row. She has also made it her mission to reach out to the local community, making Antonio Violins an integral part of the Ohio music scene. “It is a major passion of mine to get outside the store and promote the love of music making and appreciation,” said Wingerberg, who estimates that the store’s participation in local and tri-state events this year has reached 180,000 people. “I might be the only one who gets excited about 2,000 young kids swarming me at one MUSIC & SOUND RETAILER
time handling fragile and very expensive instruments,” she said. “Breaking the mindset that they can’t do it can take some practice, but I have so many fond stories of parents saying their kid has no talent and then watching their jaws drop as they play and love it.
All defenses come down, laughter starts and learning happens.” Wingerberg has spearheaded the store’s involvement with Major League Baseball, resulting in a presence at many events involving the Cincinnati Reds, as well as with MYCincinnati, a local
non-profit orchestra that provides daily after-school programs for children in the Cincinnati area. For seven years, Antonio Violins has provided the repairs for their orchestras free of charge, and its staff also serves as volunteers (continued on page 53)
‘ H IRE’ LEAR NING At this point (see my prior columns), you have gathered all sorts of information about an applicant. You have a résumé, you have an application (built based on your job description), you have notes from your interview, you have reference checks and background checks. Before you succumb to paralysis by analysis, take a step back. You have done what most people are not patient, dedicated and focused enough to do. You have climbed the mountain. Take a moment to survey the landscape around you. Look down below at all those bad hires you could have made but didn’t. Here you are, at the top! But don’t get too comfortable up here. You need to make a decision and walk back down the mountain to act on it. While you’re up here, though, you can see clearly for miles. Take a look at everything you know about the candidates you have put through this process. Hopefully, you have several people to choose from. A few key things to keep in mind if this is the case: 1. You don’t have to hire any of them. Just because someone makes it to the end of the selection process does not mean they are a good fit. Don’t just pick the least-bad candidate. After all this work, I know it would be hard to dismiss all of them and start over, but remember how important this is. The people you hire create your cultural stew, and you don’t want the wrong ingredients in there. 2. You don’t have to hire only one of them. Maybe you have two great applicants to choose from out of your field
we talked about in my last article? Your “gut?” Yeah, it’s time to put it to use. At this point, your gut is well fed. It has been informed with several interactions and many conversations with and about this person, and has had a steady diet of data, too. Here are some questions to ask your gut: • How confident am I that this person will adopt our mission and values and be passionate about working here? • How confident am I that this person will be able to perform the duties as outlined in the job description? • How confident am I that this person will be a good cultural fit and will contribute positively to the team? • How confident am I that this person will help us grow this company (not just sustain our current position)? Notice we are talking about confidence here. Confidence means “having strong belief or full assurance.” Sure. We can never be 100-percent certain about something that hasn’t happened yet. That is literally trying to predict the future. At some point, we have to make a choice and create the future, then check to make sure it looks like what we wanted it to. So, what’s next? Well, it’s time to walk down the mountain and take some action. Present the job offer and negotiate pay, time off, benefits, etc. Hopefully, you have already had some preliminary discussions about the pay range that is available for this position. We have learned that lesson the hard way, by having someone get to the end of the hiring process and demand more money than we could afford to pay. What a waste of time for everyone. In the next article, we’ll look at onboarding and helping a new hire find their place on the team. Until then, happy hunting.
How To Avoid Making A Bad Hire Part 3 Decision Time By Will Mason
of four or five. Depending on the position you are filling, you may be able to hire both of them. For example, if you are looking to hire a piano teacher position and you have two rooms open, hire both of them and see how they do. If one of them outperforms the other, then you have even more information about who is the right choice to stick around long term. If they both perform well, that's a bonus. Obviously, if you are hiring for a single, full-time position, you may not be able to hire two people. This is just a reminder to think outside the box. When you have great talent in your selection process, look for opportunities to get them on your team while you have them. If you can’t, make sure they know that you will reach out in the future if anything becomes available. 3. There is an option other than hiring and dismissing. You can offer a probationary employment. This basically means that the person is hired for some period of time (commonly 90 days) to prove that they will be a good fit. It is expected at the end of that 90 days that there will be another conversation, at which point you will either offer them a contract for employment or dismiss them. This option provides a good framework for accountability and communicates to an applicant that you take this all seriously and they’d better prove that they can earn their keep if they come on board. So, with those ideas in mind, how do you decide? Remember that thing 42
OCTOBER 2018
RE TAI LER R E B E L
Millennials Aren’t The Problem By Gabriel O’Brien Every single day, I hear someone complain about millennials. Every single day, I read a tweet, news article or Facebook post blaming millennials for destroying another industry. I’m starting to wonder if millennials are the cause of every major upset in the world. In an industry whose ownership and leaders are mostly aging baby boomers, complaining about millennials is the equivalent of saying, “The music’s too loud, and get off my lawn.” First off, one of the biggest misconceptions about millennials is that it’s a general term meaning “young people.” Millennials are generally defined as people having been born between 1982 and 2002. That’s a pretty wide swath, but it’s an important distinction. There are multiple subsets to this group already being discussed, as with folks my age who are on the cusp of being Gen Xers and millennials. So much in our industr y and in others has been written attributing both successes and failures of trends across nearly ever y industr y. It’s clear that members of this generation are change makers, and that both their perspectives and circumstances are having far and reaching effects on society and commerce. One of the most-analyzed trends is that millennials appear to value experiences above other factors, and how that affects purchase intent. I’ve talked in previous columns about in-store experiences in a variety of ways, and I recently responded to Henry Juszkiewicz of Gibson’s criticism of store experiences — much of which was valid criticism of many modern stores. Modern retail is undergoing a renaissance period. It is coming off the bigbox store era, which was directly preceded by the mall era, and has been focused on competing with internet stores, which don’t MUSIC & SOUND RETAILER
have to provide a good physical experience but only an online one (which in and of itself isn’t easy). What we are now beginning to realize is that in-store experience is still terribly relevant to today’s MI retail customer. At Summer NAMM, I served on a panel hosted by my friend Tim Spicer of Spicer’s Music regarding store design. It was a compelling panel with widely varying viewpoints on design and functionality, from retailers across the United States and Canada. (If you weren’t able to be there, the PowerPoint is available to download on the NAMM website.) I noticed that none of the stores that were featured on the panel were boring, and each of them had a definite point of view, a defined vibe they were going for. I’ve been watching Spicer’s Music since it opened and saw how that store developed a vibe in its do-it-yourself design language that creates a unique atmosphere for customers. I also spent some time recently in Downer’s Grove, Ill., with my friend Paul Tobias of Tobias Music, to film an upcoming video for a guitar manufacturer. Tobias Music has been in business for some 40 years, so it isn’t a new shop by any means. I talked to Paul at length while I was there about his store’s history; its mission, and about the changes he’s made over time to further his goals. The store existed as a single small room for decades, and since expanding its space, it hasn’t changed its mission at all. Paul likes to say he’s selling the vibe first. His goal is always to invite people in and get to know them, to create an inviting atmosphere and engage people on a personal level, to invite them in to “hang out, have a Scotch or a beer, watch a Cubs game, and then help them find their way into a guitar.” As a lifelong Indians fan, I can’t sign off on
the Cubs part, but this is the other half of creating a store experience: having a well-defined approach to customers and cultivating a store atmosphere. This leads to long-term relationships with high-value consumers. Regarding big-box stores and internet sales, Paul admits he can’t win every customer on the first try, but tries to give them all the same amount of effort and attention anyway. This approach requires a lot of effort, and there’s no guarantee you’ll get the sale, but creating a helpful community atmosphere may help you get the next sale and the one after that. Creating a well-thought-out space is key to the success of any retail store. Funky, interesting, composed spaces draw customers in, get them to explore and dig deep into the products they’re being presented with. Unique displays and custom fixtures, along with a carefully cultivated selection of products that fit your overall store concept, are critical to your success in translating your vibe to customers. Equally critical is a thought-out and consistently executed customer experience. The basic retail clerk days are over. This is the era of boutique shopping, the return to barber shops and craft breweries, where adventurous shoppers sign up for personalized food and clothing boxes tailored to their interests to be delivered to their doors. When people say millennials are seeking experiences, they don’t just mean vacations and brunch with avocado toast. They mean millennials are looking for a reason to invest their time and money into being your customer beyond simply having the products. How do you create a space and a customer experience that engages shoppers? Write to me at gabriel@upperhandstudios.com 43
V E D D AT O R I A L
SHOPPER INSIGHTS By Dan Vedda
We’ve talked about customer service recently, and how the concept of “good customer service” varies with the expectations and tastes of individual customers. Related, and equally important, is the varied idea of an exceptional real-world shopping experience. Think of the former as the philosophy, while the latter is more about the physical process. I firmly believe that the pundits who claim that the internet has killed brick and mortar are wrong on a couple of points. First, a large number of people (and by all reports, even millennials) still like to shop in a physical space. According to the U.S. Department of Commerce, e-commerce accounted for only about 9 percent of total retail sales for the year 2017, and the growth rate is slowing — total e-commerce share is projected to be about 11.1 percent for 2019. There’s still plenty of business out there for all of us. Second, the internet did not do the damage, but it’s basically feeding of the rotting flesh of the retail zombies. (Enjoy the Halloween-appropriate imagery.) I’ve been saying for years that online shopping grew so rapidly because retail has been delivering a substandard shopping experience for 25 years. An entire generation has grown up with a shopping history evoked by the bad cliché, “You want fries with that?” Think back — or ask your parents or grandparents — about the excitement of retail stores at the holiday season, or shopping for school supplies when it wasn’t an endurance contest, or buying toys, clothes, your first bike, or the trappings of your first dorm room or apartment. Ogling the choices, trying things on, sit-testing the couch ... there was always an adventure in progress. But decades ago, and led by then vigorous companies like Sears (pre-Walmart, and of course, pre-Amazon), retailers started boosting the bottom line by cutting payroll (the easiest way to increase net profit), scaling back “fluff” promotions (because intangibles like loyalty are not directly measurable in dollars) and cutting store maintenance to the bone. I watched this start when I worked at Sears just out of college. My first couple of years there were at the company’s peak. Employee morale was high, individual stores and departments had some measure of local autonomy, and the customer base was fiercely loyal. But under the guise of “streamlining,” more decisions moved up the food chain and away from the people who talked to the customers, and those decisions increasingly focused on nothing but margins and profit. Hours kept getting cut, both on the sales floor and in support areas. Less time was spent on store trim and displays, and the creative flair of a display department was eventually replaced with canned trim packages executed by a harried sales staff. Maintenance and upkeep? I watched a store operations manager direct workers to only repaint a wall 12 feet on either side of the main aisle, since that was all the Chicago big shots would see on their walk through the store. Talk about a Potemkin house. Is it any wonder, then, that the prospect of shopping in your jammies with a glass of wine had real appeal for many people? After standing in lines at shabby stores, where an ever-narrowing selection was overseen by untrained or even surly employ44
OCTOBER 2018
ees, it was delightful. Absent the magic, retail is a chore. But with the magic and excitement in place and on point, customers will come. For those saying, “Ain’t no magic in no dang valve oil,” think bigger. We live in an industry lucky enough to be a veritable pipeline of magic. We may not make valve oil sexy, but music and the process of making it is and always will be. Now, think about the varied needs of customers. For some people, a great shopping experience is getting exactly what you need in a minimum amount of time. For this consumer, setting up clear, well-stocked displays with good signage, and having staff that can direct people to what they need — piano books, guitar strings and, yes, valve oil — is refreshingly positive. I’ve had plenty of customers this fall thank me for making things easy. Other folks, particularly newbies to our industry, need information clearly and cordially presented. Sure, they may be in a hurry, but they don’t want you to be in a hurry to get them out the door. They want their questions answered, the tuner demoed or the clarinet assembled. They want to be comfortable and confident about their purchase. Many parents also want you to include their kids, and remember, they are the shoppers of the future. I had a third grader — gleefully, mind you — pick out her pink general music recorder. Seeing her fully decked out in pink, I said, “Well, I thought pink just might be your color.” “Yes,” she answered, “it’s just perfect!” The shopping genes are alive and well. So how can we make our stores more shoppable, particularly as we approach the holidays? Clean and reduce clutter, first of all. (I fight this battle daily, so it’s as much a reminder for me as anyone.) Display merchandise in logical groupings, and make sure things stay in order. Use signage whenever possible to act as a “silent salesperson,” to explain, suggest and organize merchandise. MUSIC & SOUND RETAILER
Decorate — not just seasonal trim, but with interesting artwork, vintage items, concert memorabilia: whatever reflects the character and vibe of your store. Put up Christmas trim if you’re a Christmas person. A lot of people dig “festive,” even if they don’t celebrate in their culture. But,
above all, make your store a place people want to visit; they’ll shop while they’re visiting. Come up with activities that aren’t tied directly to sales. Host a jam session, invite some bluegrass pickers, form a uke group or schedule a preschool class field trip. No, you may not make
a profit on that activity, but you’re planting seeds. The little kids, the parents, the 13-year-old first-time guitarist, the resuming violinist, the lifelong pianist — they love what we love. Our job is to make it easy, fun, engaging and memorable when they join us.
45
U N DER T H E HOOD
FENDER’S JAZZMASTER 60TH ANNIVERSARY EDITIONS By Brian Berk
Not many things stand the test of time. But count guitars as one of them. Evidence can be found from Fender, which introduced 60th anniversary editions of its Jazzmaster via its Limited Edition 60th Anniversary ’58 Jazzmaster, Limited Edition 60th Anniversary Classic Jazzmaster and Limited Edition 60th Anniversary Triple Jazzmaster. All are available now. According to Joey Brasler, vice president of product development, Fender electric guitars and basses, the recreation of these classic Fender guitars, as well as all other models, is a testament to the genius of Leo Fender. “Whether it’s Keith Richards or Eric Clapton speaking, or any of the other players who has ever embraced a Fender as the guitar they spoke through, they will say and have said that Leo got it right the first time,” he stated. “Leo once said, ‘Musicians are angels, our job is to give them wings.’ That’s how he truly felt.” To recreate the Limited Edition 60th Anniversary models, Fender studied every spec of the original guitar, noted Brasler. Its research and development team then created new drawings that provide the blueprint to build a true vintage guitar. “We create anew knowing exactly what went into the vintage guitar,” he stated. “They are essentially hand-built. We still use nitrocellulose lacquer in all of our factories. We still have many of Leo’s original machines that we use to make bridge parts and pickguards. In making a reissue guitar, we are still using true vintage parts as the factory would have made them in the ‘50s and ‘60s.” Getting back to the original Jazzmaster, Brasler revealed that in the mid-1950s, there were a lot of musicians already playing Telecasters and Stratocasters. “We all know why,” he said. “They had futuristic body designs, they looked great on stage and offered great sound. But one style of music was still ruled by the mellow sound [you get from] hollow and semi-hollow body guitars. That was jazz. Most jazz musicians of the day were playing expensive hollow-body guitars. Fender decided to build a guitar just for jazz players. Starting with a clean sheet of paper, Leo designed a sweet new offset body shape that was really comfortable to play while seated. He created a new pickup that covered a much wider area of the string, which produced a more mellow, jazz-like tone. … Also, for the first time, he added a rosewood fingerboard to a Fender guitar. In 1958, Jazzmaster launched as Fender’s top-of-the-line electric guitar.” Surprisingly, however, Jazzmaster did not find its core audience with jazz players. Instead, burgeoning country and rock-and-roll musicians were fascinated by the guitar. That’s because the Jazzmaster was a great-sounding rock-and-roll guitar, completely different than the Telecaster or Stratocaster, Brasler told the Music & Sound Retailer. “Kids loved it. And over time, surf music became big, and that was the sound of the Jazzmaster. So, while it wasn’t embraced by the exact audience Leo intended, it certainly found a new, younger audience who loved it.” Whether musicians, collectors or both are the ultimate purchasers of these new Jazzmasters, Fender certainly hopes its 60th anniversary models will also find an audience who loves them. “There are collectors who would buy it,” said Brasler. “But it will be a blend of [musicians and collectors] buying these models because they are so much fun to play. Customers know that when something is limited edition, (continued on page 52) 46
OCTOBER 2018
SUMMER AIN’T OVER ‘TIL WE SAY IT’S OVER Two sizzling hot deals through October
FREE ADX51 CONDENSER MICROPHONE
FREE OM SERIES VOCAL MICROPHONE
Get a versatile ADX51 microphone FREE with the purchase of either a DP5A or DP7 drum pack. Top artists like Todd Sucherman and Gregg Bissonette rely on expertly engineered and crafted Audix drum mics to deliver their sound.* A $250.00 value.
Buy two OM series vocal microphones of the same model and get the third OM mic FREE.** Acclaimed artists — from Alanis Morissette to Willie Nelson — choose the clear accurate sound of Audix OM microphones with our patented VLM™ technology. Up to a $285 value.
Ask any authorized Audix dealer for the DP5 PLUS , DP7 PLUS or the OM TRIO! Offers valid 9/01/18 - 10/31/18, while supplies last. *The DP5A PLUS drum pack includes (1) i5 snare mic, (2) D2 rack tom mics, (1) D4 floor tom mic, (1) D6 kick drum mic, and a free ADX51 mic; the DP7 PLUS drum pack includes (1) i5 snare mic, (2) D2 rack tom mics, (1) D4 floor tom mic, (1) D6 kick drum mic, (2) ADX51 mics and an additional free ADX51 mic. **OM offer valid on OM2, OM5, and OM7 models.
audixusa.com
The
Retailer's Mall
For advertising rates and deadlines...
Call Rob Iraggi 516-767-2500 x519 or email at riraggi@testa.com
GUITAR BAR HANGER 10 shipped $120 List $19.99
Your trusted source for fretted instruments Buy • Sell • Trade • Consign appraisals@elderly.com
(888) 473-5810
cwandsonsllc.com Chuck 310-613-2808
See those Churches and Schools you drive past everyday?
www.elderly.com
The Easy Sell. Inlightened Jewelry Design
Chances are they DON’T have a secureable, easy-to-use, and beautiful HSA Rolltop Desk A/V Workstation. So it’s YOUR chance for an easy sale by helping them organize and secure their Audio, Video & Lighting Control systems. Make your next sale the easy way - call or email HSA today for dealer info and design ideas!
www.hsarolltops.com 574-255-6100
Guitar Pick Jewelery The Rolltop People
tm
YOUR AD HERE For advertising rates and deadlines... Call Rob Iraggi 516-767-2500 x519 or email at riraggi@testa.com
Celluloid, Wooden and Metallic Designs Handmade with attention to detail and quality Custom orders welcomed great for gifts inlightenedjewelrydesign.com
516-972-5051 48
OCTOBER 2018 Inlightened Jewelry Aug2015 classified.indd 2
1/3/2017 2:16:35 PM
The
Retailer's Mall
MUSIC & SOUND RETAILER
For advertising rates and deadlines...
Call Rob Iraggi 516-767-2500 x519 or email at riraggi@testa.com
49
TARIFF TALK: KEY TALKING POINT ADDED TO OUR ANNUAL "MADE IN THE USA" STORY
Ad Index Company
Pg
ALFRED PUBLISHING..............25 AMAHI UKULELES...................45 AUDIX CORPORATION.............47 BOURNS PRO AUDIO................53 CASIO...........................................9 C.F. MARTIN & CO.....................7 CHAUVET LIGHTING............ C-III CHEM-PAK..................................51 EARTHWORKS AUDIO..............27 FARIDA GUITAR & UKULELE.................................52 GALAXY AUDIO........................3 HAL LEONARD..........................17 HOSHINO.....................................21 IK MULTIMEDIA........................41 KALA BRAND MUSIC CO........29 KYSER MUSICAL PRODUCTS...............................22 MANHASSET SPECIALTY COMPANY................................6 NAMM..................................... 14-15 PRO X...........................................19 QRS MUSIC TECHNOLOGIES.....................33 RAIN RETAIL SOFTWARE........28 RC WILLIAMS............................51 REMO...........................................12 ROLAND......................................5 SA RICHARDS............................18 STRING SWING..........................26 TECH 21.......................................11 THE CAVANAUGH COMPANY................................23 TRUSST........................................31 U.S. BAND & ORCHESTRA SUPPLIES.................................10 VIC FIRTH...................................39 VOCOPRO....................................13 WD MUSIC PRODUCTS............8 YAMAHA.................................. C-II YORKVILLE............................. C-IV While every care is taken to ensure that these listings are accurate and complete, The Music & Sound Retailer does not accept responsibility for omissions or errors.
50
(continued from page 31) Made in the USA is one of the most important selling points that sets Deering apart from our competition, particularly at the entry level. There are most definitely lower-priced banjos available, and they are all made overseas. However, when you consider the quality and the knowledge, the small price difference makes sense to most people. They can see (and hear) where that money goes. We are extremely proud to be able to say that we make our products in the U.S., and this is something that a lot of our customers enjoy, too. An American instrument, made in America. Nothing else will do! I think as far as the rest of the world, the same rings true, but on a different plane. Less of a patriotic sense, but more so from the standpoint of quality. I spent half of my MI career in the UK and Europe, and American-made musical instruments really meant something. An American Strat was always more desirable than a MIM equivalent. It was something to aspire to in your musical journey. And I think that it still does. The difference with Deering is that everything we make, including the entry-level Goodtime line, is made in our factory in San Diego. In what way, if any, would tariffs enacted by other countries affect your business? In many ways, it is too early to tell. Obviously, any tariffs that result in an increased cost for the dealer or consumer in that country is not always a good thing. At the same time, it is the ever-changing landscape of international trade that forces companies to be constantly looking at how they operate outside of their borders. We are no exception, and we will be examining how we operate in these regions very closely to see how we can maintain value for our customer. —Jamie Latty, Vice President of Sales & Marketing, Deering Banjo Co. How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks these products as much as in
the past? “Made in the USA” is something that Peavey has been proud to put on many of its products for 53 years. We’ve made more products in the U.S., and for a longer period of time, than anyone in the industry. We made continual efforts to improve our operations, implementing LEAN manufacturing processes and investing in better machinery, but it was not easy to sustain U.S. manufacturing after 2008. We make less than we once did in the U.S. but still strive to maintain a U.S. manufacturing footprint. Highly crafted products, like our Composite Acoustic guitars or Elements speaker line, are best made in the USA given the attention and craftmanship required. I think there are still many people who want to buy a product that is made in the USA, and we have certainly heard more rhetoric about bringing manufacturing back from overseas. However, music and sound products in general don’t typically command Made in the USA. There will always be people that claim they have been disappointed with Chinese this or that and want to stick with U.S. made, but that’s a minority. The market is so competitive, and customers who are ready and willing to pay more for a product made in the U.S. are few and far between. There are a few, but less than people want to admit. There has been erosion to U.S. manufacturing for decades, and finding skilled workers who want to work in a manufacturing environment is not easy. In what way, if any, would tariffs enacted by other countries affect your business? Our business has been impacted by other countries’ tariffs for decades. There are many countries applying very high tariffs to U.S. goods in order to protect or develop their own markets. This just makes our goods more expensive than their domestic manufacturers. Fortunately, they are still desired. —Courtland Gray, Chief Operating Officer, Peavey How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA, and do you believe the end user seeks
these products as much as in the past? In what way, if any, would tariffs enacted by other countries affect your business? Politics aside, the desire of Americans to have a strong economy with a strong manufacturing base is still strong. The resurgence of manufacturing jobs in the U.S. in the last year is due in part to tax revisions, which have helped trigger investments in new and upgraded manufacturing facilities in almost every state, as the newspaper headlines and press releases have announced. These investments will significantly increase manufacturing output in the U.S. in the months and years to come. And the pride of buying American-made products is still strong, stemming from the knowledge that American workers are benefitting from these domestic purchases. But buying American-made products becomes less important when the cost of U.S. products is significantly higher than imported goods. As a company that proudly makes its music stand products in the U.S., we are delighted when we hear from our customers and consumers how pleased they are to be able to buy these products from a U.S. manufacturer. And the fact that Manhasset Stands are Made in the USA is important in our export business. There is a perception of high quality coming from products that are made in the USA in most of the countries around the world and Manhasset is proud that the quality of its music stand products help to expand this perception, based on the quality of the products we ship. Manhasset also understands the need to keep its products competitively priced to retain market leadership. The company has been investing heavily over the last few years to keep increasing its productivity and continuously working to improve the product quality and to stay highly competitive in the marketplace. Tariffs and import restrictions have created numerous problems for manufacturers like Manhasset, who source raw materials from U.S. suppliers. When domestic mills had the opportunity to dramatically increase their prices as a result of import restrictions and new tariffs from their competitors in other countries, they seized OCTOBER 2018
it. While trade agreements and tariff conversations are underway with many U.S. trading partners, a fix is needed quickly so U.S. manufacturers can continue to produce their goods profitably without having to pass on large price increases. —Dan Roberts, President and General Manager, Manhasset Specialty Co. How important is the phrase “Made in the USA” compared to a few years ago? How proud are you to say your products are made in the USA and do you believe the end user seeks these products as much as in the past? We are extremely proud of the fact that 95 percent of our products are “Made in the USA.” We are truly committed to making as much of our product line in America, with American materials, as possible. I believe there is a core of Americans that “Made in USA” means something to, but unfortunately they may be not be the majority. Younger generations may be more inclined to align with a brand because of its products’ design, price, and the company’s authenticity and creativity. Much like music fans are not as loyal bands or artists today as in the past, keeping your customers loyal requires more than just one element of differentiation like “Made in USA.” We are constantly looking for ways to make more and more of our products right here in the USA. The unfortunate reality is that sometimes we just cannot source a material or assembly at the required quality or cost in America, and we are forced to consider off-shore sources. One example is the high-carbon-steel rod we draw down to plain steel and hex core sizes for music strings. Be-
cause there is no viable source in America that makes this alloy at the highest quality level our supplier is compelled to import this specialty steel from places like Kobe, Japan, where they make a superior quality raw material. If there was a comparable American vendor, you can be sure we would use them. Look at these facts: 1. The 25-percent steel tariff just raised the cost of all the steel we use for our steel music strings (more than 40,000 pounds per month) by 25 percent. That means we have to include that increase in our product costing. Half of our strings are sold in export markets. 2. Foreign string makers have access to the same raw materials, without a 25-percent tariff. Suddenly our string products will cost more than our foreign competitors. 3. Yet we still let foreign string makers ship their products into America with no tariff. This is not a level playing field. Even the EU. They charge 2.7-percent tariff on our strings going into Europe, but they can ship them into the USA tariff free? It is pretty easy to see how this will play out over time. In what way, if any, would tariffs enacted by other countries affect your business? I just explained above the new USA tariffs are making our “Made in USA” products more expensive. Now the few things we do import like tuners and power suppliers, for instance are subject to a 25-percent tariff coming into America. Again, we will not be competitive against foreign companies making the same products say in China because they will not have the tariff we have to deal with. End result,
our tuners will cost more in foreign markets than some of competitors. Sales will decline. We need more open access to the foreign markets. There is a decidedly unfair balance between the tariffs being charged by the USA on imported finished products, but placing arbitrary tariffs on some items is not the solution. Recently China reduced the tariffs on musical instruments to 10 percent. However, they did not reduce them on musical instrument accessories. So, our products going into china are still being taxed at a very high rate, yet they can ship many of the same products into the USA duty-free. I only wish our government would consider a unilateral, reciprocal tariff policy. Why don’t we just charge any foreign country the same tariffs they are charging us on the comparable products? If they lower them, we lower them. If they raise them, we raise them. I can assure you if that was enacted our business would grow rapidly. We would be able make more products here in the USA competitively, and we would see some markets with heavy tariffs on our USA-made products already grow significantly. We are capable of winning more market share in more markets if the rules to the game were the same for us and our trading partners. Random, emotional or vindictive actions like we are seeing, is not a solution that will have a long-term positive effect. There are too many unexpected consequences to the type of actions we are seeing our country and trading partners taking that are not being considered, that in the end may have disastrous results`.
We are very nervous about this trade war. It is consuming management resources just to identify the issues and then to determine what actions we may be able to take to overcome them. It is a distraction from creating great new products to solve musicians’ problems and the philanthropy we prefer to be working on. —Jim D’Addario, CEO, D’Addario
Grab & GO
Exceptional in the world of musical accessories. • Unique “X” hinged design • Protects stringed instruments • Convenient to use • Easy to transport
Conserving players and their instruments for years to come.
RCWilliamsCompany.com | 913.912.1083 ©2017 RC Williams Company, LLC. Designed and manufactured by RC Williams. All products made in the U.S.A.
FIVE MINUTES WITH: KYLE THOMAS
(continued from page 35) The Retailer: Let’s shift back to D’Addario. What’s coming down the pike? What are some products we might see soon? Thomas: The focus we’ve had at D’Addario is in the growing band and orchestra space. That encompasses marching bands, orchestral, chamber music and school music. We’ve done a lot of work on the product development side and marketing side. We’ve invested a significant MUSIC & SOUND RETAILER
amount of resources to this specific segment of the market because it is growing [and] we know [it] will help better position D’Addario long-term. But we also know supporting music education is an altruistic value that, as a corporate entity, we have the resources to assist. A perfect example is with the D’Addario Foundation, which is specifically dedicated to growing music education and serving underprivileged communities and
schools that have school music programs that can’t afford basic items, such as instruments and accessories, or bringing music to schools that don’t have a music program, in terms of performances and clinics. The D’Addario Foundation is our philanthropic education arm. It is something unique and beautiful in our portfolio. On the manufacturer side, we’ve worked on developing new snare sticks, the Concert 1 and Concert 51
2, designed to help progress student learning. We also put a significant investment in the redevelopment of keyboard mallets, which incorporates our wrapping technology, which we took from 400 years of string-winding technology. This shows our attention and interest in continuing to grow the B&O space and give players more choices and better products. Also, last year, we introduced Ascenté, which is a “student” orchestral string. It’s been performing extremely well because of school music programs. It’s affordable and high quality.
In our fretted division, I know they are working on something student oriented as well. In the next months and years, expect to see attention paid to the school market space.
The Retailer: Being a performer and customer of products, and now and executive at a manufacturer, you offer a different perspective. Can you provide advice for MI retailers when selling your products? Thomas: The biggest thing for MI retailers to do is utilize the tools we are giving them. We’re pretty adamant that when we
have a marketing campaign, it’s ultimately for retailers. In any campaign, it’s a key strategy for us to build digital assets, like banners, and send them to retailers. We tell them, “Whatever you want to do with them is your prerogative.” If there is anything retailers need, definitely let us know, and we will try to curate it. We want our retailers to be successful. Also, there is no substitute for product knowledge. Retailers have hundreds, if not thousands of brands in their stores. We have seven brands, which is a lot, but not much compared to the hundreds of brands retailers carry.
It’s important to become knowledgeable about new products. If there is something retailers don’t understand, our sales team is knowledgeable. Retailers can ask questions and get clarity about new products. That’s really important, especially in an industry that’s really crowded. For example, there are a lot of drumsticks in the world. Being able to differentiate what we do from what a competitor does is hard. It has to be impossible if you have 1,000 SKUs of drumsticks in your store. We are doing everything possible to differentiate ourselves for retailers.
UNDER THE HOOD: FENDER’S JAZZMASTER 60TH ANNIVERSARY EDITIONS
(continued from page 46) they need to get it when it’s available. Whether you buy it because you want to play it, go on stage with it because you love what it looks like, go to rehearsal and show it off to the other guys in the band, or keep it in its case for 20 years, you feel pride in owning a piece of history, and an anniversary guitar really accentuates
Vintage style meets modern construction
See us at NAMM: Booth 1306 Hall E
Available now in the USA and Canada Learn more at faridausa.com or call (517) 372-7888
52
that pride.” The 60th Anniversary ’58 Jazzmaster, carrying a price of $2,299.99, is offered in 2-Color Sunburst, features an ash body with lacquer finish that “breathes” with enhanced resonance and sustain; two vintage-style Jazzmaster pickups with black plastic covers delivering a unique look and dynamic tones; rhythm and lead circuits offering flexible tonal variations; vintage C-shaped neck profile with 7.25-inch radius rosewood fingerboard; vintage-correct hardware that includes floating tremolo tailpiece with lock button and Telecaster knobs; a limitededition vintage-style hardshell case with embroidered 60th Anniversary Jazzmaster logo; and limited-edition neck plate with etched 60th Anniversary Jazzmaster logo. The Limited Edition 60th Anniversary Classic Jazzmaster is
offered in Daphne Blue, Black, Vintage Blonde and Fiesta Red at a price of $1,199.99. It has an Alder body with lacquer finish that offers enhanced resonance and sustain; maple neck with elegant binding and block inlays; two classic Series ‘60s Jazzmaster single-coil pickups that provide warm, wide and dynamic Fender tone; C-shaped neck profile; 9.5-inch radius pau ferro fingerboard; 21 narrow-tall frets; matching painted headstock; vintagestyle, 6-saddle adjustable bridge with “floating” tremolo tailpiece; vintage-style tuning machines and strap buttons, synthetic bone nut, dual-wing string tree; includes the famous Jazzmaster lead/rhythm circuit; limited-edition 60th Anniversary Jazzmaster logo etched into the neck plate; and includes a hardshell case. The Limited Edition 60th Anniversary Triple Jazzmaster, finished in Daphne Blue at a price
of $2,299.99, has an alder body with lacquer finish that provides enhanced resonance and sustain; three Tim Shaw-designed pickups combining classic Jazzmaster tone with slick, rockabilly-inspired style; Filter’Tron covers; a throaty, powerful-sounding bridge pickup matched to chiming neck and middle pickups for a variety of sounds; five-way pickup switch with traditional Strat layout; two-position mini-toggle allowing for additional pickup configuration; neck and middle pickups in parallel; pure vintage single-line “Fender Deluxe” tuning machines; dualwing string tree; four-bolt vintage style neck plate engraved with a 60th Anniversary logo;‘60s Oval C-shaped neck profile; 9.5-inch radius rosewood fingerboard and 21 narrow-tall frets; American Professional Jazzmaster tremolo bridge with lock button, brass Mustang saddles and screw-in arm; and includes a hardshell case.
outside and play.
The Retailer: What is the best concert you’ve ever been to? Powers: The best concert would be impossible to answer, because music and its musicians come in so many different and wonderful styles. That said, I got to hear McCoy Tyner play a few years ago, and it was one of the most incredible music experiences of my life so far.
one night, who would it be and why? Powers: Again, there are so many musicians of such variety, it would be hard to select one. If I were forced to choose, pianist Art Tatum would be high on the list. I don’t think utter virtuosity has ever sounded so musical and captivating as with his style. Jimi Hendrix and Django Reinhardt would both be high on this list for the same reasons.
The Retailer: If you could see any musician, alive or deceased, play a concert for
The Retailer: What musician are you hoping to see play in the near future?
THE FINAL NOTE: ANDY POWERS
(continued from page 54) interest in ocean swell forecasting, as well as the fact that my shop at the time didn’t have any automated climate control, so I would need to plan my work around the weather and the limited control I had. Since then, I’ve kept an eye on the skies, so to speak.
The Retailer: What’s your favorite activity to do when you’re not at work? Powers: I love being in the ocean. Surfing, paddling, diving, swimming; it’s a constant source of inspiration and wonder. I guess I never grew out of the desire to go
OCTOBER 2018
Powers: I’d love to hear Amos Lee play. I enjoy his writing and the way he orchestrates his songs. The Retailer: What song was most memorable for you throughout your childhood, and what do you remember about it the most? Powers: “These Days” by Jackson Browne. “For Everyman” is a favorite record of my dad’s. The conversation between David Lindley’s lap steel part and Jackson’s vocal seems to convey such a powerful musical representation of the story the lyrics deliver. It’s pure magic.
The Retailer: What songs are on your smartphone/iPod, etc. right now? Powers: At the moment, there is music by Julian Lage, Bill Withers, Clarence White, Kathleen Battle, Oscar Peterson, Ryan Adams, Led Zeppelin, Lauryn Hill, Gene Vincent, the Chieftains, Vladimir Horowitz and I’m with Her. The Retailer: What’s the most fun thing you saw/did at a NAMM Show? Powers: When I was 15 or 16, I was trying a guitar out in the Gretsch booth. This older gent came over, sat down and started playing with me. We played for a good hour or so. All these old country and rockabilly tunes. Just having a great time. Unbeknownst to me, directly behind me but out of my sight was a huge poster of this same older gentleman, Duane Eddy. I didn’t realize who he was until I stood up to leave, saw the poster and nearly fainted. He was super gracious and told me to keep up the guitar picking. The Retailer: If you had to select three people, past or present, to have dinner with, who would they be and what would you ask them? Powers: If we could all speak the same language, Hermann von Helmholtz, Ernest Shackleton and Henri Matisse. I’d like to speak with them about the similar joys and challenges in discovery across different fields of exploration. The Retailer: Tell us about your most memorable experience with an MI retailer (without naming them). Powers: There is a guitar shop MUSIC & SOUND RETAILER
not far from where I grew up that became a home away from home for me. The first time I went in as a kid, the owner told me not to scratch anything. He finally let me play a guitar, and after a few chords told me, “Oh kid, you need a better guitar. Hang on a second.” He let me play through his entire collection. From then on, every time I walked through his door, he would pull out some great instrument I had never seen before.
The Retailer: What is the best thing about the MI industry? Powers: I love being among a group of creatively minded folks. While other industries are focused on necessary but mundane topics, we get to focus on making and delivering the things people use to express their creativity and stories. We’re like toy makers for creative artists. What could be better than that?! The Retailer: Who do you admire most outside of the music industr y and why? Powers: While he isn’t with us any more, I admire furniture maker Sam Maloof very much. Of course, his work is beautiful, but his approach to life, generosity and creativity was inspirational. The Retailer: What technology could change MI down the road? Powers: The personal computer and its sibling, the smartphone, have been changing our industry a great deal in the last 10 years, and I can’t imagine that is going to stop any time soon. What will be interesting is to watch how those forms of technology begin to integrate into the instruments themselves. Many instruments don’t change rapidly; as a result, they enjoy a measure of perpetual modernity. Computer-based technology changes very rapidly, outdating previous generations at an ever-accelerating pace. As a result, the two haven’t completely integrated in the ways many have predicted. I’m curious if that will change. The Retailer: If you weren’t in the music industr y, what would you be doing and why? Powers: I can’t imagine a life which isn’t immersed in music. I suppose if I wasn’t able to build or play instruments, I’d probably have pursued my interest in oceanography further and spent
time making other things from wood, since I enjoy building furniture and working on houses.
The Retailer: Tell us about your hometown and why you enjoy living there. Powers: I live in Carlsbad, Calif. It’s a smaller beach town in Southern California, which is blessed with wonderfully mild weather, a beautiful stretch of coastline and a casual pace of life. It’s home to a wonderfully diverse population and lots of industries ranging from cuttingedge computer and biotech firms to creative artists. While it has always been something of a beachfront resort town with lots of visitors in the summer, I love how it feels friendly and welcoming, with familiar faces everywhere I go. The mild weather enables us to be outside in the fresh air every day, year round. My wife and kids love it here, as do I. The Retailer: What are your most prized possession(s)
and why? Powers: I adore my tools, especially those handed down from my great, great grandfather, an inventor named Arthur Taylor. A beautifully made tool which does its job effortlessly is a real joy to use. They make the process of making, the actual ‘work’ of art, a pleasure in itself.
The Retailer: What’s your favorite book and why? Powers: I’m an avid reader, so I’m not able to select a singular favorite. There was an author who came to reside in Pasadena throughout the late 1800s and early 1900s named Charles Holder who wrote a few books about his adventures in southern California. I love his writing style, and hearing about what the landscape of my home town was like a century ago. “How to Read Water: Clues and Patterns from Puddles to the Sea” by Tristan Gooley is another current favorite. I’m also a Bible reader, but I’m not sure that qualifies as a mere book.
SHINE A LIGHT: A HOME RUN IN CINCINNATI
(continued from page 41) for the program. The store was nominated by MYCincinnati for a Cincinnati Museum Difference Makers Award 2018 and won in the business category. “We are grateful for this prestigious award and what it represents, something that we’ve known all along, music truly makes a difference,” she added. Over the past 27 years, Schear, Wingerberg and everyone at Antonio Violins have worked hard to foster a love of music in the community, both inside and outside
the walls of their stores, and they hope to continue that mission far into the future. “Our goal at Antonio Violins is to be the best in customer service by establishing an emotional and personal connection to music for our customers through education, engagement and experience,” said Schear. “Exemplified in our slogan, ‘Life, Liberty and the Pursuit of Music,’ we believe that this connection has the power to transform both the community and the individual.”
www.bourns.com/proaudio 53
THE FINAL NOTE The Music & Sound Retailer: Who was your greatest influence or mentor and why? Andy Powers: I’m fortunate to have been around so many great influences — it feels like I lived among the league of extraordinary gentlemen who were willing to give their time, wisdom and knowledge. Of those influences, my parents have undoubtedly had the biggest impact in my life. They have continuously set an example of taking joy from doing hard work well, being grateful for each day and encouraging others. The Retailer: What was the best advice you ever received? Powers: From nearly all of these extraordinary influences, the message was very clear from a young age: “Figure out want you want to do and go do it — that thing that makes you come alive. Don’t be afraid or resent the hard work required to achieve it.”
ANDY POWERS Master Builder, Taylor Guitars
The Retailer: What was your first experience with a musical instrument? Powers: While I was surrounded by music before I can remember, my earliest memories were of my parents and their friends singing and strumming songs around our house. There would be all sorts of people there cooking food in the backyard and sharing songs. Sometimes there weren’t enough instruments to pass around, so they would take turns, and I remember thinking music was this great thing that made life better.
By Brian Berk
The Retailer: What instrument do you most enjoying playing? Powers: Most often, the instrument I enjoy most is the one in front of me. I’ve spent the most time playing guitars, so usually I end up with one of those, but I don’t often sit down with an instrument and wish I were playing something else. The Retailer: Tell us something about yourself that others do not know or would be surprised to learn. Powers: I’m a weather nerd. I love learning about the way winds and storms work. I was introduced to weather watching because of my (continued on page 52) 54
OCTOBER 2018