mi pro july 2009 - issue 110
DESCRIPTION
Musical Instrument Professional. For everyone in the MI bussiness.TRANSCRIPT
MUSICAL INSTRUMENT PROFESSIONAL FOR EVERYONE IN THE MI BUSINESS
LIMS CASIO FENDER STRINGS & THINGS MI DIRECT AUDIO TECHNICA
No. 110 • JULY 2009 • WWW.MI-PRO.CO.UK PRINT • ONLINE • MOBILE
A GOOD
VintageHow JHS copes with anever-changing market– and stays on top
1 MIP 110 Cover_FINAL 25/6/09 10:03 Page 1
Portable, pure valve, studio quality tone is what the brand newHazeSeries is all about. Loadedwith natural valve tone, integrated effects and intuitive footswitchingtechnology, theUKdeveloped and engineeredHazeSeries takes your studio sound out on the road. Comprising the two channel Haze40 andHaze15, the series offersa rugged, gig-ready 40Watt combo and a peerless 15Watt head respectively. CombinedwithMHZ112AandMHZ112B speaker cabs, theHaze15 becomes theepitome of guitar amplification – a valve-drivenMarshall stack, but one that fits easily into either the lounge or boot of the car.
To find outmore about theHaze Series contact:Marshall Amplification plc DenbighRoad, Bletchley,Milton KeynesMK1 1DQor visit the official Marshall website: www.marshallamps.com
ClassicTone,Contemporary Control
- Doug Aldrich Whitesnake
“The Haze has a killer lowend bark.That’s some tone! ”
MI Pro ad:Layout 1 15/5/09 11:19 Page 1
John Hornby Skewes & Company is forging something of a path these
days: growing internationally with its own brands, while maintaining a
general MI distribution operation. Dennis Drumm explains how
MI Pro’s unique collection of news and interviews concerning the
business and work being done on MI’s front line
NEWS 6LIMS achieves goalsCarvill joins CasioV-Expo commended
DISTRIBUTION 10JHS takes on ItaliaActive wins Steph
DRUM NEWS 12Music Shipping and Big DogLudwig at 100
LIMS 09 14Industry reaction to the second London show
CPC 34Sound & FX open day in Preston
FENDER 36If I had a Hamer
GODLYKE 38He’s got the power
STRINGS & THINGS 41How to keep it real after over 30 years
AUDIO TECHNICA 42The art of customer service
LANEY 44The truth about preamp overdrive
MAKING THE MOST 18
RETAIL
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47 50
14
41
COVER STORY
ISSUE 110 JULY 2009
51
36
PRODUCTSBACKLINE 54
ACCESSORIES 55
BASS & GUITAR 57
TRADITIONAL 59
PRINT 60
SECTOR SPOTLIGHT • ACOUSTICS 27If you’re selling acoustic guitars over £500 (or if you want to) you’re
going to want to have a look at this
NEWS 47JHS Event, credit card regulations
INDIE PROFILE 50Mark 1 Music in Kent tells us how they do it
FRONT LINE 49If you can’t stand the heat
LOCATION REPORT 51What’s new in the sunny metropolis ofof... Swindon
SECTOR SPOTLIGHT • GIGBAGS 22Since Ritter burst on to the scene, the humble gigbag has gone
through a revolution, making it one of the most competitive markets
3 mip110_FINAL 25/6/09 10:15 Page 1
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United rules
An interesting mix this month, with more focus onindividual companies than we’ve had for someyears. This is because (one could easily assume) MI
is refusing to hang its head in front of the economicsqueeze and manufacturers and suppliers continue tooffer new products, services and angles aimed atnavigating the most painless path through the troubles.
Fender (page 36) is reminding us that Hamer is aquality brand of guitars offering something a littledifferent, Strings & Things (page 41) is bigging up MusicMan’s efforts to bring its fine guitars and basses to awider audience (through the new brand, Sterling) andLaney (page 44) has an interesting take on where ampdesign has gone wrong over the past 15 or so years – andhow, of course, it has got it right.
Further to that, Audio Technica took the brave step ofasking people (anonymously) what they thought of thevarious microphone brands available and howmanufacturers and retailers backed up sales (page 42).Many of the statistics that resulted pointed towards ATdoing things pretty well, but the company not onlypinpointed weaknesses and addressed them, it alsodiscovered its strengths – and improved them, too.
One really has to doff one’s cap to such strength ofcharacter. The truth can often hurt as much as a maliciousuntruth, but an understanding of what one’s company ismeans that these two can be separated and the realissues dealt with.
On page 34, a new name to the MI market (althoughnot a new company at all), CPC, has announced it will betaking the in-house trade show route to introducing itselfto the market later this year and, at the other end of thescale, JHS is completing its 13th Event as MI Pro goes topress (page 47).
The UK’s industry, then, is still looking pretty healthy –or is at least putting a very brave face on it and this wasperhaps well illustrated by the second LIMS show (page14). Having only six months to prepare a national industryshowcase is by no means enough, but the organiserdefinitely pulled through against the odds. Next time,with a full year to get the show on the road, perhaps allof the individual companies in the country will be able tosee the benefits of a united front and contribute to a trulyrepresentative show. It will, however, mean that a numberof home truths will have to be heard and dealt with.
Andy Barrett
MI is refusing to hangits head in front of
the economicsqueeze.
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EDITORIAL
MANAGING EDITOR
ANDY BARRETT
EDITOR AT LARGE
GARY COOPER
ASSOCIATE EDITOR
ROB POWER
DEPUTY EDITOR
ROB HUGHES
ADVERTISING MANAGER
DARRELL CARTER
PRODUCTION MANAGER
HELEN FRENCH
PRODUCTION EXECUTIVE
ROSIE MCKEOWN
DESIGNER
CLAIRE BROCKLESBY
CIRCULATION
PAUL LITTLE
CONSULTANT
GRAHAM BUTTERWORTH
PUBLISHER
DAVE ROBERTS
MANAGING DIRECTOR
STUART DINSEY
MI PRO CONTACTS
LATEST NEWS STRAIGHT TO YOUR MOBILEBookmark us in your phone:
MOBILE.MI-PRO.CO.UK
5 mip110_FINAL 25/6/09 10:13 Page 1
Carvill to head up Casio MIIN WHAT was the biggest news
story to break at the recent
London International Music
Show, Casio announced that its
MI division is now headed by
Andy Carvill, the long-term
Yamaha EKB manager.
The news was announced on
the opening day of LIMS and
makes up the major element in a
whole raft of personnel changes
at the electronics giant here in
the UK.
The former head of MI, Reece
Cummings, has moved to the
newly created position of
strategic sales manager across all
four of Casio’s consumer
divisions in the country
(including MI), while Lakshna
Rathod takes the position of
marketing communications
assistant and Lucy Phillips
becomes Casio MI’s national
accounts manager.
“After 22 years with Yamaha it
was time for something new,
time for a real challenge,” Carvill
told MI Pro in a brief
conversation at the show.
With Casio and Yamaha in
direct competition in the
electronic keyboards and entry
level digital pianos, the move is
something of a coup for Casio as
the division plans to move more
strongly into a broader
distribution of its instruments
across Britain.
The move is also significant as
Casio is looking to introduce
what it describes as ‘stunning’
new instruments later this year.
On top of that, the LIMS
event saw Casio introduce two
new keyboards, the CTK 2100
and the LK 230.
CASIO: 020 8208 7829
NEWS
Former EKB number two leaves Yamaha after 22 years, prompting personnel changes in Casio’s instrument division
RATED IN a recent anonymous
survey (conducted by Music
Tech magazine) as having the
best website of any microphone
manufacturer, Audio Technica is
moving to consolidate its
position with the launch of an
improved website.
Before the site went live, the
company invited MI dealers
throughout the UK to preview
the English version of the new
site (French, German and
Spanish will come online later
in the year) and report their
comments and user experience.
Highlights of Audio Technica’s
improved on-line presence
include features aimed at
making the website a vital
resource for both dealers and
end users. A searchable,
location-linked dealer and
distributor database, exhaustive
technical information, MP3
audio clips of microphones in
use and personalisation of the
site courtesy of the ‘My Audio
Technica’ section
are all benefits of the site.
In addition, new design and
navigation combine to make
the interactive experience more
rewarding, faster and more
efficient for visitors.
Audio Technica’s senior
marketing manager Harvey
Roberts said: “Rather than rest
on our laurels, we are
determined to continually
better our internet presence. It
is of vital importance that the
new site acts as more than just
window-dressing and functions
as a powerful tool for both
dealers and end users alike,
aiding sales and giving them an
in-depth knowledge base for all
Audio Technica products.”
AUDIO TECHNICA:
0113 277 1441
Audio Technica upgrades
website after surveyOnline beta testing carried out with help from MI retailers as
microphone giant refuses to rest on laurels
Schreiber & Keilwerth
appoints Markus SailerCurrent freelancer to replace Andreas Gafke
as sales and marketing director
WOODWIND AND Saxophone
manufacturer Schreiber &
Keilwerth has announced that
Markus Sailer has taken up the
position of sales and marketing
director at the company,
replacing Andreas Gafke.
Sailer is already closely
connected with Schreiber &
Keilwerth, having been
involved in a number of
different projects with the
company during his studies in
business administration.
Following his graduation in
2005, he began working for the
company as a freelance
consultant. He has also given
advice to several institutions
within the music industry,
adding to his experience and
appeal to the manufacturer.
A company spokesperson
commented: “We are pleased
that Mr Sailer will take over
the sales and marketing
activities of Schreiber &
Keilwerth and wish him all the
very best in his new position.
Andreas Gafke will leave our
company at the end of August.
We would like to thank
Andreas Gafke for his
contribution and wish him all
the very best for the future,
both personally and
professionally.”
Schreiber & Keilwerth
woodwind and saxophones
are distributed in the UK
through Rosetti.
ROSETTI: 01376 550033
“After 22 years with Yamaha, it was time
for something new, time for a real
challenge.”
Andy Carvill, Casio
Markus Sailer
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6,7 mip110_FINAL 25/6/09 10:19 Page 1
NEWS
SKYTRONIC, the owner of
brands such as Citronic, Adastra
and QTX Audio, has undergone a
corporate name change and is
now trading under the name of
the AVSL Group.
The change is a UK only
strategy and will not affect
either Skytronic BV in the
Netherlands, nor the contact
details, save the website address.
Skytronic began trading in
January 1999 and since that
date has grown to become a
significant player in the UK
consumer electronics and DJ
markets, through both organic
means and acquisition.
In an official statement, the
company stated: “This re-brand
of our company name is simply
a continuation of our ongoing
strategy to further develop and
grow our business.
“Apart from the name change,
all other functions and processes
will be the same. There will be
changes to the way we answer
the telephone and also our email
and web addresses will be
changed to reflect the new
company name.”
The changes will all be printed
on any new invoices, delivery
notes and promotional literature
that customers receive. The old
web addresses and email
addresses will continue to work
for the foreseeable future.
AVSL GROUP: 0845 270 2411
London show does the jobVaried reaction to second LIMS, but mitigating circumstances tip the balance to ensure a thumbs up for 2010
BROADLY SPEAKING, the London
International Music Show
received a thumbs up from the
industry, as numbers of trade,
education and public visitors
held from last year’s show,
despite the obstacles of a tube
strike on the trade day (June
11th) and the more general
problems the show had following
the inaugural event, which
meant that the MIA had just six
months to prepare.
Over 21,000 people attended
the show, which comprised 1,550
trade, 5,550 on the education
day and 14,100 paying public.
The education and public days
were seen by most as being
pretty successful, with numbers
good and educational events
well attended.
Divisions in opinion appeared,
however, when considering the
trade element, with comments
ranging from ‘disappointed’ to
‘overwhelmingly positive’.
It would appear that the
suppliers that had made the
extra effort to ensure their
dealers attended the show had
the better of the experience. “We
took over 100 people from 44
dealers ourselves and we were
still surprised at how many other
dealers turned up – particularly
on the Thursday,” said Clive
Roberts, MD of Peavey Europe –
one of the companies that has
got right behind the show since
its inception last year. Roberts
went on to point out where he
saw room for improvement.
“There were only two weak
areas, in my opinion. We could
do with a bigger retail
attendance and more support
from our friends in the drum
business. But that's about it. It’s
by far the best show we’ve had
in the UK and I’m sure we will
see an ever bigger and better
LIMS in 2010.”
Korg’s Rob Castle reflected
Roberts’ view. “LIMS was a
fantastic achievement. We at
Korg were pleased with the show
and had a good level of trade
and consumer visitors. The
retailing section was an
experiment that worked and
can be improved in future. It
allowed consumers to buy at the
event without it looking like a
car boot sale.”
Praise was high from everyone
regarding the efforts made by
the Music for Youth charity on
the Friday, including the ‘Big Gig’
event that saw hundreds of
school children playing a
specially prepared piece in the
Live Hall.
The initial LIMS show report
appears on pages 14 to 16 of
this issue.
Digital Britain: Ofcom
publishes final report
THE GOVERNMENT has
published its final Digital
Britain report, in which the
future of the 800MHz
spectrum is laid out. Part of
this frequency band is channel
69, used by Programme Making
and Special Events (PMSE) and
on which current wireless radio
technology operates.
The previous Digital Britain
Report proposed a Spectrum
Modernisation Programme,
which included the release and
auctioning of the 800Mhz
band. The Government
appointed an independent
spectrum broker to facilitate a
solution. His report was
published in May. The
Government now accepts his
report, namely the clearance of
the 800MHz spectrum band.
The final report noted:
“There is a role for
Government intervention in
releasing new radio spectrum
for a rapid roll out of mobile
'Long Term Evolution' networks,
ensuring the balance of radio
spectrum holdings optimises
competition and extracts the
best infrastructure for the
country in terms of coverage.”
The Government insists that
the 800MHz auction should
take place at the earliest
possible date – believed to be
mid 2010 – and that this is
crucial
for the continued development
of mobile technology.
The report also reveals that
the Government intends to
support Ofcom in taking all
practical measures to expedite
the clearance of 800MHz. It
believes that the extra costs
incurred in accelerating the
clearance of channels 61 and
62 of television usage and
channel 69 of PMSE usage
would serve to increase the
value of the spectrum at
auction.
Electronics, DJ, audio and lighting company
consolidates image with new name
Skytronic re-brands
The change is a UK-only strategy and will
not affect Skytronic BV in Holland.
Plan to clear channel 69 backed with pledge to cover all costs
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6,7 mip110_FINAL 25/6/09 10:19 Page 2
YAMAHA MUSIC UK’s EKB
division has appointed two new
sales managers, responsible for
the south of England and for
Scotland and Ireland.
Terry Murphy, a former Piano
Warehouse retail manager,
assumes responsibility for EKB
business in the south of England,
a position vacated by Malcolm
Hardie, who was recently
promoted to sales manager
replacing Richard Ashby, who is
now heading up sales
management of the hi-fi and AV
product portfolio.
The former Danfay sales
representative, John Dawson, is
now the regional sales manager
for Scotland and Ireland. The
announcement was made at the
EKB conferences held recently in
Dublin and Limerick, during
which Yamaha’s largest division
laid out its plans for future
market development and
dealership partnerships.
“We have recently completed
our 2009 conferences in Ireland,
which proved very popular and
have learnt that there is great
potential for developing and
expanding the market for music
makers,” commented EKB’s sales
manager, Malcolm Hardie.
“John will ensure that dealers
receive a high level of personal
business service and will be key
in devising long term joint
promotional opportunities, while
ensuring our levels of service are
increased following the transition
from Danfay.”
YAMAHA: 01908 366700
NEWS
YAMAHA'S VIRTUAL exhibition
event, V-Expo, received official
recognition from the Marketing
Society as it was awarded a
high commendation after being
nominated for the best online
marketing campaign, on June
8th at Mayfair's Park Lane
Hilton in London.
This was the 50th
anniversary of the prestigious
awards evening and attracted a
capacity audience where
Yamaha found itself rubbing
shoulders with some of the
UK's biggest spending brands
including Sony, The 02,
Procter & Gamble, Sainsburys,
UPS and Reuters.
Nominations were judged
across a wide range of factors
and, as the chair of the judges,
Dianne Thompson (chief
executive of Camelot) stated:
"The winners of the awards will
know that their work has been
evaluated by the sharpest
minds in the business."
Yamaha Music UK had
previously been selected as a
finalist and on the night, eight
companies were competing for
the top award. In the end, UPS
won first prize with Yamaha
named a runner-up with a high
commendation from the panel
of judges who were extremely
impressed with both the
concept and execution of the
V-Expo event.
The judges also specifically
acknowledged the significant
success of the online event
despite running it on a
marketing budget of a fraction
of other nominees.
V-Expo debuted in
September 2008 and was
widely seen as an instant
success. The interactive three-
day 'virtual' dealer exhibition
featured online product sales
and artist demos, all supported
and showcased through a
dedicated website
“I'm delighted that the panel
of judges recognised the
success of the event,”
commented Ricci Hodgson,
director of Yamaha UK’s pro
music division and creator of
the V-Expo concept.
“12 months ago we made
the difficult decision to
abandon the traditional Expo,
risking millions of pounds
worth of business. Thanks to
Julian Ward's web skills and the
collective marketing and sales
prowess of Yamaha UK, we
achieved increased sales while
reducing costs to a tenth of
previous years.”
This year's V-Expo event will
run from September 9th
through to the 11th at
vexpo.co.uk There will be a
preview on the September 8th.
YAMAHA: 01908 366700
Yamaha's virtual show wins acclaim from Marketing Society’s golden
jubilee event as 2009’s event plans get under way ABRSM’S RESPECTED teaching
certificate has two forthcoming
‘taster’ courses, one each for
Manchester and London, which
will take place in July and
September respectively.
ABRSM motivates musical
achievement through the
globally authoritative assessment
of students and the professional
development of instrumental and
vocal teachers. Its range of
courses and online learning
opportunities for teachers
enhances its reputation as the
world’s leading authority on
musical assessment.
The Certificate of Teaching (CT
ABRSM) course is the most
prestigious of ABRSM’s courses,
and taster sessions for teachers
interested in enrolling on the
2009–10 course will take place
on Saturday July 11th at the
Royal Northern College of Music
in Manchester and Saturday
September 12th at the ABRSM
head office in London.
The CT ABRSM taster sessions
provide an opportunity to gain
insight into the structure,
contents and benefits to be
gained from the course.
Participants have the chance to
meet and discuss their
professional development with
an ABRSM course leader and to
take part in an actual CT ABRSM
session. There is a nominal
charge of £10 to attend a taster
session.
ABRSM: 020 7636 5400
ABRSM teaching
course tasters
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John Dawson (left) and Terry Murphy
Most prestigious music teaching courses
announced for London and Manchester
“There is great potential for developing
and expanding the market.”
Malcolm Hardie, EKB
Yamaha’s keyboard division appoints two new salesmen to key regions in England, Scotland and Ireland
New appointments for Yamaha EKB
“The winners of the awards will know
that their work has been evaluated by
the sharpest minds in the business.”
Dianne Thompson
CEO, Camelot
V-Expo commended
and dates announced
8 mip110_FINAL 25/6/09 10:18 Page 1
full page 22/6/09 11:44 Page 1
ACTIVE MUSIC has announced
that it has been appointed the
exclusive UK distributor for
Steph Accessories, including
Stephi guitar straps.
Made in Canada, Steph
products offer leather guitar
strap products in unique and
interesting designs, along with
its own retail POS options,
making it easier for the retailer
to sell.
All Steph products will be
shipped with these display
systems, as well as bar coding,
and will be pre-priced for UK
recommended prices. With
what Active describes as ‘a
good discount structure’, the
whole package allows the
retailer to make strong
margins, with simple process,
on a traditionally high turnover
accessory product.
“We are very excited about
this new relationship,”
commented Lee Worsley of
Active. “Steph products fit
perfectly with our portfolio of
quality products that offer
good margin opportunity with
full retail support”.
The full range of Steph
products was launched at LIMS
09 and initial reports from
Active indicate that the take-
up has been encouraging.
Steph Accessories
(previously known as Stephi
Straps) has been a crafter of
leather accessories since 1984
and products are entirely
crafted in Canada.
ACTIVE: 020 8693 5678
JHS HAS added Trev Wilkinson’s
Italia line of guitars to its
catalogue. The range was
launched by JHS at its annual
Event in Garforth, Leeds.
Conceived and designed by
the man behind the launch and
development of Fret-King and
the JHS Vintage, Vintage Icon,
Vintage Advance and Encore line-
up, Italia instruments take
inspiration from the individual
guitar designs of the ‘50s and
‘60s and are priced competitively.
“It’s been such a blast to work
with Trev on Fret-King, Vintage
and Encore that we were
delighted to be able to add
another of his truly masterful
concepts to our range,” enthused
JHS MD Dennis Drumm. “Italia is
a brand with such style, flair,
verve and panache, with guitars
and basses which are so cool, so
desirable and just so good to
play, it’s going to be as much of
a pleasure to sell them as it is for
guitarists to own and play them.”
Italia instruments have already
won fans of the calibre of Chris
Rea, who recently purchased an
Italia Maranello guitar during a
shop visit on London's Denmark
Street. Rea commented: “I found
this blue sparkly guitar and that
was it for me. I thought it was an
old guitar; I didn't know it was
new. In terms of me playing and
listening to it, it sounded almost
identical to Pinky [Rea's Fender
Stratocaster], but with no buzz,
not a sausage.
“Italia guitars haven't always
had the heavy duty push behind
them in the past that you need
to really make an impact on the
market these days,” added
designer Trev Wilkinson. “They
offer something different to the
standard fare while still being
well-made, extremely playable
instruments in their own right. I
think they'll get the attention
they deserve with the JHS team
behind them.”
JHS: 0113 286 5381
DISTRIBUTION • NEWS
Active Music
signs Steph
SOUND TECHNOLOGY has
acquired the distribution rights
to JoeCo’s 24-channel Blackbox
Recorder in the UK.
The Blackbox is a multi-track
recorder aimed at the live music
market. It has the ability to
record up to 24 channels of hi-
res audio directly to a USB2
drive. It can be plugged into the
insert points on any console
and provide Virtual Sound
Checking capabilities.
Blackbox records to standard
external USB2 disks formatted
with FAT32 in Broadcast WAV file
format (BWAV), thus allowing
any material to be used in a
studio Digital Audio Workstation
without the need for file
conversions or transfers.
Blackbox was designed and
developed Sadie founder Joe Bull,
who left the company last year
to start JoeCo.
Bull commented: “It’s great
that we’ve been able to team up
with such a professional
distributor as Sound Technology.
I’m confident that we and our
customers are in good hands.”
“With the strength of our
existing portfolio of brands in all
areas of live performance, we
feel Sound Technology is
uniquely positioned to rapidly
establish the Blackbox Recorder
in these markets,” concluded
Sound Technology’s managing
director, David Marshall.
Sound Tech is the UK supplier
of Harman Pro audio products.
SOUND TECHNOLOGY:
01462 480000
UK guitar specialist supplier wins re-launched US classic
ARIA UK has secured an
exclusive distribution agreement
for Larson acoustic guitars for
the British Isles.
Larson was established in the
1890s by the brothers Carl and
August Larson, who spent the
next 50 years establishing a
wide variety of different styles
of guitars and fretted
instruments under a number of
trade names, such as Maurer,
Prairie State, Dyer and Stahl.
The brothers invented some
unique features, including
laminated bracing – a system of
building tops and backs under
tension – and a number of other
innovations set them apart from
other builders.
The Larson brand was unique
among pre-World War II guitar
manufacturers as it represented
the only non-industrially
produced range of flat-top,
steel-string instruments that are
still widely recognised as being
of high-quality and high value.
In 2006, a strategic alliance
between European luthier,
Roman Zajicek of Rozawood
guitars and Imusicnetworks’s
Toni Götz, re-launced the Larson
brand, utilising the Larson
brothers’ innovations and design
concepts – crucial to capturing
the unique tone of the old
Larson instruments.
ARIA: 01483 238720
Aria for Larson Guitars
Glitz and glamour: the Italia range has proved popular before
Harman distributor to represent the innovative recorder in the UK as JoeCo prepares for wider reach
Sound Technology takes on JoeCo’s box
Trevor Wilkinson’s modern retro line showcased at JHS Event before return to market
JHS gets Italia by defaultCanadian accessories
company now
available in UK
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10 mipro110_FINAL 25/6/09 10:21 Page 1
Year Established: 1986
Number of employees: Six
Is business up or down compared
to last year?
There are signs that dealers have
reached the point in destocking when
they need to buy, which is definitely
translating into higher sales. Also, the
recent LIMS show was a huge success
for our Bentley digital pianos and
drums, which is very positive.
Which are your best selling lines?
Pianos by C Bechstein, Petrof,
Bentley and Pearl River, guitars by
Samick, Pearl River and Shine,
Bentley digital pianos and drums,
Knight stringed instruments and
Bentley brass and woodwind.
Apart from your products, what
are your strengths as a
distributor?
First off, we have probably the
lowest overhead costs as a
percentage of turnover for the
industry. We also have four family
members that can make instant
decisions, which is crucial in any
business environment. Additionally,
Richard Webb and David Rushworth
have years of retail experience and
are sympathetic to the difficulties
their dealers face, so we like to
ensure that dealers make the
highest margins from Intermusic
instruments. We have extremely
quick delivery due to high stock
investment, and finally our low
overhead allows us to supply
containers of own brand products
with proven reliability at lower
prices than dealers can buy direct.
Do you think it’s been a tough
year for retailers?
Yes, but there are signs of recovery.
Company results show the recession
started three years ago in the music
industry and the number of failures
has now receded.
Is the internet the biggest
challenge facing the industry?
Yes. The internet has enabled traders
to dictate margins to the whole
industry, forcing the closure of good
High Street businesses.
Encouragement has been given by
suppliers seeking to reach sales
targets set in Japan and the USA.
Distributors and retailers have to
adapt to the new order or face
closure. Intermusic has been the
most active supplier in helping
dealers to stay in business.
In a perfect world, what product
lines would you add to your
portfolio?
We have been appointed distributors
for the new European W Hoffmann
piano factory. This fills the gap left
for medium priced European pianos
due to recent factory closures. It
complements our current range and
enables us to be competitive in all
price ranges.
What are your aims for the next
12 months?
Firstly, to pick up market share left
by the recent closure of several
piano factories. Intermusic is the
only supplier left for medium priced
European pianos. We also aim to
continue in our domination of the
low end digital piano market, and
consolidate our position in the
digital drum business, as well as
consolidate our position in strings
instruments, brass and woodwind
and guitars.
SIGN UP FOR THE MI PRO NEWSFLASH SERVICE AT WWW.MI-PRO.CO.UK miPRO JULY 2009 11
PROFILE • DISTRIBUTION
Address: 9 Cabot Business Village, Holyrood Close, Poole BH17 7BA
Phone: 01202 696963 Fax: 01202 696964 Email: [email protected]
Contacts: Acoustic and Digital Pianos - Steve Hammett
Musical Instruments – Oliver Webb
CONTACT DETAILS
MI Pro talks to Intermusic about piano distribution, the challenges ahead and
the benefits that a family business can bring to the industry...
11 Mipro110_FINAL 24/6/09 17:38 Page 1
DRUMSENSE, THE education and
resource drum-learning
programme, has announced a
clinic given by Simon Phillips to
take place at the Brit School,
Selhurst, (near Croydon) on July
14th at 7pm. Drumsense
founder Colin Woolway will
open the show and drummers
Simon Mellish and Martin
Ranscombe will be on hand to
explain their latest DVDs on
technique and tuning.
Tickets are £12.00 and can be
obtained from drumsense.com
or by calling 020 8288 0863.
Simon Phillips is a renowned
and respected drummer, who
plays rock, fusion and jazz and
has played with a huge number
of top-flight musicians and
bands including Toto, The Who,
Jeff Beck, Mike Oldfield, 10cc
and Joe Satriani, to name a few.
Phillips has been an endorser
of Tama drums for many years.
His carefully tuned and dynamic
drum sound is highly identifiable
– he uses large drums and
incorporates octobans and a
gong drum in his kit.
Colin Woolway is founder and
director of Drumsense, probably
the world''s most widely used
drum teaching programme. The
author of two student texts, he
is a regular clinician and highly
regarded educator.
DRUMSENSE: 020 8288 0863
Renowned clinician and session drummer team up for display at Brit School courtesy of major drum education source
ROBIN DIMAGGIO has joined
the Paiste stable of endorsing
artists. The drummer has
toured and recorded with
music veterans such as Paul
Simon, David Bowie, Jackson
Browne, Diana Ross, Dr Dre,
Luther Vandross, Sean Lennon,
Johnny Cash, and Chris Isaak,
as well as with acclaimed
world musicians,
sitarist/composer Ravi Shankar
and violin maestro L Shankar.
He has also appeared on David
Letterman and performed at
the Grammys, American Music
Awards, World Music Awards in
Monte Carlo and the MTV
Awards.
His current project is
Earthsong, a CD compiled of
tracks from top artists in every
country around the world.
Spearheaded under the United
Nations and Humanitad.org,
Earthsong is part of a larger
effort to save the environment
and promote world peace.
Phillips clinic with Drumsense
DRUM NEWS
12 miPRO JULY 2009 www.mi-pro.co.uk
Ludwig celebrations continue LUDWIG HAS continued its
centenary celebrations with the
release of a DVD of the film it
premiered at the NAMM show
this year: A Century of the Most
Famous Drum Company.
In this 100-year retrospective,
the Ludwig legacy unfolds
through exclusive footage and
interviews with the artists and
craftsmen that helped create it.
Features include commentary
from noted historians, collectors
and members of the Ludwig
family and staff, as well as
performances by key players that
built the Ludwig reputation.
The announcement of the
Ludwig Centenary snares is
bound to cause interest, with a
1928 Gold Triumphal reissue, the
100th Anniversary hand-
engraved Black Beauty, a laser-
engraved Black Magic model and
two titanium Supraphonic
models, known as The Chiefs.
The manufacturer has also
made the Anniversary Edition
Stainless Steel Pro Beat kit, of
which only 100 will be made,
with the first 50 featuring a
polished chrome steel finish and
brass hardware and the second
50 with brushed stainless finish
and chrome hardware.
ACTIVE: 020 8693 5678
Top session drummer adopts classic brand
MUSIC SHIPPING (MSC) and
Bigdog Drumstuff are joining
forces, with MSC taking over
Bigdog’s UK distribution with
immediate effect, allowing the
manufacturer to concentrate
on product development and
export markets.
Bigdog’s percussion products
include Bigdog pedals, stands,
thrones and other accessories,
all of which will now be
available from MSC’s next-day
service to UK retailers.
“We are excited to be able
to offer such a high quality
range of hardware, whose
presence we believe we can
really expand in the UK
market,” said MSC’s managing
director Craig Fenney.
“The Bigdog range fits
perfectly with our other lines.”
Speaking for Bigdog, MD
Keith Mann added: “Joining
forces with Music Shipping
means that we can concentrate
on our core business –
developing quality,
competitively priced products
that drummers want to use. I’m
confident that Craig and his
team at MSC will give dealers a
first class sales service and
together we can make Bigdog
more available and keep up
with growing demand.”
MSC: 01562 827666
Percussion accessory company goes with Kidderminster supplier to
concentrate on product development and export markets
Simon Phillips showing
how it’s done
Big Dog sniffs out MSCDiMaggio endorses Paiste
THIS PAGE IS SPONSORED BY MIKEDOLBEAR.COM, THE LEADING ONLINE RESOURCE FOR EVERYTHING DRUMS.
VISIT WWW.MIKEDOLBEAR.COM FOR MORE DETAILS.
MSC’s Karen Pawley and Matt Longbottom and (far right) Craig
Fenney flank Bigdog’s Keith Mann
12 Mipro110_FINAL 25/6/09 09:34 Page 1
soar valley 17/6/09 11:47 Page 1
Alot of issues were raised at the
second London International Music
Show (LIMS) and all of them
concerned the MI trade. By and large,
everyone saw the public and education
days as well attended and valuable in
terms of brand profile, with the added
attraction of thousands of kids getting all
enthusiastic about being in a large hall full
of musical instruments. (“I wish we’d had
days out like this when I was at school,”
was how Peavey’s Clive Roberts put it.)
Gripes from the 14,000-odd public
visitors were confined to the
disappointment from the drumming
fraternity that so few drum specialists had
decided to exhibit. From the trade
perspective, this left the likes of Roland,
Yamaha, Korg, Sutherland and Active
Music to mop up where the no-shows
had spilt.
Of those that raved about the show,
Bose and Intermusic stand out, both
because of the business done on the trade
day and the fact that they sit at opposite
ends of the MI market. “In the depths of a
recession, it’s remarkable that the show
happened at all,” said Intermusic’s David
Rushworth. “For us it was a very successful
show. We are very pleased.”
Another big thumbs up came from
industry stalwart and Mariner Guitars
chief Ken Achard: “As a follow up to last
year's inaugural event at ExCeL, I thought
the exhibition was another superb effort
by the entire industry. Despite the difficult
trading conditions, manufacturers and
suppliers presented themselves
professionally with notable investments in
terrific displays. The MIA and the
organising committee should be proud of
a job well done.
“For us and our distributor, The Music
Force, the show fulfilled its purpose
absolutely. We successfully introduced
Mariner guitars to a wide audience, sold
product to retailers and were able to share
our passion with many musician
consumers. The MI industry is obviously
alive and well. Bring it on for 2010.”
But for many, the trade day didn’t quite
do it and Chris Statham of Mel Bay’s
comment was typical. “Although we were
very disappointed with the trade presence
on the Thursday and Friday, it was great to
interact with the consumers on the
Saturday and Sunday,” he said. “You get to
hear their opinions on our product and as
we only supply the trade it is always nice to
get the feedback from the end-user direct.”
Orange’s MD, Damon Waller, pretty
much concurred, while raising a few other
concerns as well. “My honest opinion is it
was better than expected, but not good
enough,” he said. “The trade day needs to
be better organised. It is very frustrating
having public wandering about when it
should only be trade.
“The retail area worked relatively well
being separated, although I agree with
them that it needs to be in a more
prominent position. Frankly, I find it a
disgrace that certain distributors were
selling directly to consumers by the end of
the show, simply because they had no
retail partner. I have said before we would
not support another car boot sale.”
Roland’s John Booth, however was
bullish. “Roland’s experience of LIMS was
overwhelmingly positive, he says. “On the
trade days, we saw all our major dealers
and quite a few medium sized ones we
didn’t expect. We didn’t see many small
ones, but that must be considered work in
progress for all of us. We did great
business on Thursday – it was way over
our target. We did some trade business on
Friday, but we’d like to see more dealers
on this second day.”
Perhaps understandably, the reactions
to the show received by the MIA were
generally full of praise, although Paul
McManus is very aware of the popular
comment that LIMS doesn’t actually seem
to know what identity to put forward.
“After years of the BMF, we knew that
there was only one way to establish any
sort of trade show in the UK and that was
by using the consumer,” he pointed out.
“Dealers didn’t come to the BMF because
a lot of big suppliers stayed away.
Suppliers stayed away because they
wanted public exposure. If there is one
thing we have to do, it is to get the
message across that LIMS is a consumer
show. The bonus is that there is a special
day – a preview day, if you like – for trade.
Of course, dealers can come on any day
SHOW REVIEW • LIMS
14 miPRO JULY 2009 www.mi-pro.co.uk
By and large, everyone saw the public and
education days as well attended and valuable in
terms of brand profile.
A light shines
Bose did big business on the trade day Fusion added design expertise to the mix
For the second time, the Excel centre in London’s Docklands hosted the London International Music Show, an event that delivers a
14,15,16 mip110_FINAL 24/6/09 17:12 Page 1
www.mi-pro.co.uk miPRO JULY 2009 15
LIMS • SHOW REVIEW
they want, but the first day will have a
quieter, more businesslike atmosphere.”
In order to further establish this facet
of the show, McManus will be pushing for
the abandonment of any special ‘preview’
tickets at a premium price for the public.
As for retailing from the stands,
McManus would like to hear from anyone
who thinks the £25 merchandising limit
from stands was abused. “This shouldn’t
happen. We were watching as closely as
we could and didn’t see anything
untoward. I know some exhibitors had no
representation in the retail village and this
is something we will be trying to address
to make it an even playing field, but there
cannot be retailing from the stands.”
One seemingly intractable issue that has
arisen from the two shows, however, is the
problem with the drum specialists.
Some say the problem was not the
exhibition space, but having side
attractions that would pull the public in.
Others seemed to think the combined
stand method worked well, but the
drumming public weren’t keen on sharing
their space with other musos. “This could
be a no-win situation,” admits McManus.
“What is important, though, is for
exhibitors to get in touch and explain how
they want to exhibit.”
One thing is for certain, however, and
that is that the retail village will be a
permanent fixture for any future LIMS.
While the four retailers who sold at the
show were a little disappointed with the
retail village’s location (as were the
exhibitors trying to sell through them), the
MIA is determined to keep this element of
the consumer show. “It brings us back to
the original point,” said McManus. “To get
the exhibitors, you need the public. To get
the public, you need retail. This is how we
can continue to keep the trade day going.”
“Our business is about more than
shifting boxes,” comments Rob Castle at
Korg. “We have to encourage people and
one way we can do this is by firing them
up with the buzz that they get from a
show like this, seeing products, demos,
artists and performances. The show will
never please everyone and we have plenty
of ideas about how we can improve things
for next year but there were a lot of
consumers who loved it and will go away
and spend the rest of the year saving up
for their next instrument and hopefully
spending it in their local music shop.”
RETAILING WOES
The retailing element is a tough one to
swallow, particularly for the dealers
themselves. “Many music retailers I have
spoken too are not happy that there is
retailing at the show – thus some of the
retailers will not go to the show,”
commented John Hulke of The Firm.
“Musikmesse and NAMM work well as
trade shows and the public do attend, but
there is no retailing and it works with big
names attracting crowds. As soon as
retailers get involved, the public expects
everything to be heavily discounted.”
As we all know, the shows throughout
the year are generally trade or consumer
shows. Mixing both has its problems.
Location has been a point raised by
those that did not attend, but anyone
could easily argue that when the BMF was
in central Birmingham, the trade
complained about that location, too. The
fact that some 45 Irish dealers turned up
at LIMS speaks volumes. If you wanted to
go, you would have gone.
In the end, with the limited time
allowed, the MIA and its show organisers
did just about enough to keep LIMS alive
and to make the 2010 show happen. With
a full year to make the next one happen,
everybody will be watching closely to see
how the shortfalls are addressed. With the
SoS-sponsored Sound Recording
Technology show appearing as busy as the
guitar and amp element of the event (not
to mention the standing-room-only SoS
seminars), the danger is that the drums
and traditional instrument elements might
find themselves marginalised as the show
concentrates further on the positive and
profitable guitar market.
As Barnes & Mullins MD Bruce Perrin
put it: “As a trade show there weren’t
enough dealers to make the effort and
cost worthwhile. As an international show,
there was little public interest in anything
other than guitars. As the London Guitar
Show – great. Next year we will plan our
exhibit focused on consumers interested
in guitar and allied products. Do we as an
industry actually require a trade show?”
To which the answer might be‘no’. But
is there room for trade to hook on to the
buzz of a public show? That can only be
‘yes’, surely?
in the eastEVENT: London International
Music Show 09
DATE: June 11th to 14th
VENUE: ExCeL, London
EXHIBITORS:106
VISITORS: 21,200 (1,550 trade,
5,550 Education Day, 14,100
public)
VERDICT: Given the limited time
the organisers had to pull the
show off, it was a success, but
trade particularly is unforgiving
as regards mitigation. Generally,
with a handful of glowing reports
and a few condemnations, the
show is largely seen as having
done just enough to make its
continuation certain, but next
year will need to be better.
Mel Bay endorser Rodney Branigan
LIMS was a useful place to network
Taylor Guitars put a great stand together
trade day, a consumer show and a barrage of publicity. Andy Barrett gathers opinions from key players…
14,15,16 mip110_FINAL 24/6/09 17:12 Page 2
PACING THE AISLES
Wandering round the hall at ExCeL on the
education day, there was a palpable sense
of, well, a day off school to be frank, but
the excitement of the unleashed hoardes
of musically minded youngsters certainly
gave the place an air of excitement. LIMS
felt busy and full of life and by all
accounts there was plenty of business
going on beyond the screaming kids
hunting down free plectrums to make the
whole thing worthwhile.
The Marshall stand was big and busy,
with some natty recent new products (the
Haze mini stack for one looks and sounds
particularly tasty) on show to tempt in
the passing throngs. Signings were taking
place and the ever-ready Jim Marshall was
once again manning his post, pen in hand,
welcoming in another long queue of
grateful young Marshall fans. The gossip
around Marshall all pointed towards some
significant developments at the amp giant
later in the year, so keep yours ears peeled
come September.
Not far off from Marshall’s set up was
the newly re-branded Music Force, which
made its presence felt with some
attractive eye-catching displays
showcasing some of the many products
that now accompany Ashton under the
company’s banner. Of particular interest
were the Sparrow guitars, which added a
touch of rockabilly design flair to some
classic guitar shapes.
Elsewhere at ExceL, Korg was well on
the way to capturing some creative young
minds thanks to the stacks of synths and
Kaos pads it had on display. The constantly
busy stand made it difficult for MI Pro to
muscle through to get a swift couple of
minutes on the Microkorg XL, but it was
well worth the wait.
A familiar stack of Orange amps was a
constant draw for guitarists looking for the
classic British tone (and of course a photo
opportunity beside the biggest wall of
Orange amps ever seen), which meant a
busy day for Damon Waller and the team.
Meanwhile, Freestyle showcased its
latest addition: Hiwatt. With a display that
rammed home just how many of the
greats had or indeed still have a Hiwatt
behind them, it’s clear that this is a
partnership that will benefit both
companies greatly. Freestyle kept its other
key brands up front and centre as well,
with Eko, Gator and Minarik all getting
plenty of attention.
Finally, the prize for the busiest stand of
the day was pretty much a dead heat
between Roland and Yamaha. Both had an
excellent array of chatty and entertaining
demonstrators and both had a staggering
amount of product on show. Roland’s V-
Drums were a huge draw, with queues
stretching back pretty much all day as
eager young hands tried to get a chance
to beat the life out of various models
including the TD-12KV and the impressive
TD-20K. A teaching area with a number of
kits out for lessons was also a constant
source of attraction, while the Boss pedals
also drew their own crowds. Roland
announced two new products at the show:
the Juno-Di mobile synthesizer and the
Boss FRV-1, a recreation of the classic
1963 Fender Reverb combo.
Yamaha had electric kits on display too,
as well as the new S90XS and S70XS
synthesisers on constant demo and
drawing good crowds. The two new
models share the same sound engine and
internal operating system and are only
differentiated by the keyboard lengths of
88 and 76 keys.
SHOW REVIEW • LIMS
16 miPRO JULY 2009 www.mi-pro.co.uk
SPREADING THE WORD
The marketing and PR campaign of LIMS
ran over six months, with its aim to
create awareness and excitement around
the exhibition. There were many specific
objectives, including reaching out to the
trade, the education sector and all the
instrument and computer markets, as
well as students, musicians and
mainstream consumers – in fact
anyone interested in music, gear and
a fun day out.
The project encompassed the whole
marketing mix and there were specific
campaigns in London (coverage was
secured in The Evening Standard with a
ticket offer, the London Paper, London Lite,
Time Out, XFM radio, Visit London and
more), several promotions ran locally,
including a feature in the Newham
residents paper (105,000 circulation),
Tower Hamlets websites, Britannia Village
and BBC promotions, as well as using the
marketing databases of ExCeL. There were
several national promotions, such as with
Tesco Clubcard and Network Rail. More
than 60 regional papers, with a combined
circulation running into millions, featured
the show.
Future Publishing was announced in
early 2009 as a media partner. It has
consistently supported the show with a
lengthy marketing campaign through
various mediums including a portfolio-
wide advertising campaign for the event
in its music titles. Online support was
provided on Musicradar.com, which saw
a site takeover for three months with
regular news features, on-going
promotion in the newsletters and a live
blog produced just for LIMS (updated
throughout the course of the show).
Media partnerships with Sound on Sound
helped bring in the music recording
audience and further partnerships were
developed with Rhinegold and Oyster
House Media and, of course, MI Pro,
whose support and coverage has been
instrumental in raising the show’s profile
to the trade.
There were over 500,000 leaflets
placed in mainstream consumer music
press, together with a significant
advertising campaign taking in the likes
of Q, Mojo and Kerrang. LIMS show
promotions and new stories ran in Stuff,
Mojo, Classic Rock, Kerrang, Q, Metal
Hammer, NME, Rock Sound, Terrorizer and
many more. In addition, an on-going
campaign on the internet created
coverage helping to direct people to the
LIMS website, particularly Guitar Idol,
which had 140,000 voters around the
world for its final and millions of hits
during the heats.
Commenting on the marketing,
David Phillips from A & R marketing
said: “Overall, more than 600 press
cuttings were generated and we have
achieved widespread coverage
both locally, across the UK and
internationally. The support from
exhibitors donating gear for promotions
has been fantastic and I would like to
thank them for both their generosity and
support in helping to promote the show.
I can announce that journalists from
more than 100 publications attended
this year’s exhibition.”
The prize for the busiest stand of the day was
pretty much a dead heat between Roland and
Yamaha. Both had lots of product on show.
14,15,16 mip110_FINAL 24/6/09 17:13 Page 3
full page 22/6/09 16:28 Page 1
John Hornby Skewes – the ubiquitous
JHS – holds a special place in the UK’s
MI industry. It isn’t the country’s oldest
wholesaler/distributor and it’s not the
biggest, but it is the core supplier to so
many retailers, particularly independents,
that what it does has far-reaching effects
for the trade.
Started by the eponymous John Hornby
Skewes, who still plays an active and vital
part in guiding the company, today the
business is also being steered by Dennis
Drumm, who has made some distinctive
contributions to the JHS style – not least
the development of the increasingly
potent Vintage range, but also the
nurturing of a thriving pro audio side, with
brands such as HK, Lab.Gruppen and, most
recently, Allen & Heath.
Simply offering a wide range of
products is not enough though, as the
number of wholesalers that have risen and
fallen down the years testifies. What got
JHS to the top, and has to be maintained
to keep it there, is a good reputation.
I begin by asking Dennis Drumm what
sets JHS apart from its competitors.
“‘The Family Company’ is an interesting
concept,” he replies, “which is just what
JHS is, always has been, and hopefully
always will be.
“We’re an ‘independent’, just like the
majority of our music trade customers.
In fact it’s arguable that the musical
instrument distribution and retail business
is the last remaining unconsolidated
consumer goods sector in the UK
marketplace and it’s best served by
enthusiastic, knowledgeable, independent
distributors and resellers, selling to like-
minded, independent consumers.
“JHS comes from the same humble
beginnings as most of our customers; we
were all ‘start ups’ once, and over the
years we’ve suffered all of the same ups
and downs and trials and tribulations as
our customers tell us they face. We’ve
used, and continue to use, those
experiences to respond positively and
sympathetically as we are growing our
business. We work with our customers to
help them to grow their businesses, and
it’s been terrific to have contributed to the
growth of so many great ones over the
last 45 years.”
Fine words, but what does this actually
mean for the retailer struggling in an
increasingly tight business environment?
“We employ great area sales managers,
who have terrific relationships of trust
with our customers. Through our field
sales force, we listen intently to what our
customers tell us they want, and, by and
large, we give it to them. The message
that comes back to us is that stability,
fairness, transparency, value, and above all,
trust, are all
hugely
important.
“Offering a
programme of
high-profile
distributed and
proprietary brands
with high demand,
great value to the
consumer and strong
benefits to our customers in
terms of service levels, product
quality and, of course, high
dealer margin are also paramount.
“I know some will take issue with
some of those claimed attributes, and
satisfying 100 per cent of the audience,
100 per cent of the time can only ever be
a goal, but our stability is built upon 45
years of trading. We are a feature of the
international music business landscape,
and in the UK and Ireland, and we’re the
supplier of first choice for many dealers,
for very good reason.”
Which doesn’t, Drumm admits, mean
that JHS never makes mistakes. “Do we
foul up occasionally, get things wrong,
cause upset, say or do something
incorrectly, ship the right thing to the
wrong place, ship the wrong thing to the
right place, tread on someone’s toes, fail
to live up to a promise, or someone’s
expectations? Sure, of course we do –
show me an organisation that doesn’t.
“But do we care? Deeply. Do we learn?
Absolutely! Do we respond adequately,
and with humility? You bet we do. All of
this is a result of a business ethic
which pervades our organisation,
emanating from the top of our
COVER FEATURE • JHS
18 miPRO JULY 2009
John Hornby Skewes might appear to be much the same as it’s ever
been, but the changes the company has seen recently (not least Dennis
Drumm being managing director), have been fundamental and wide-
ranging. Despite this, Gary Cooper discovers, it is an independent, family
business first and foremost…
“The industry is best served by enthusiastic,
knowledgeable, independent distributors and
resellers, selling to like-minded consumers.”
Dennis Drumm, JHS
TalkingDrumm
18,19,20 mip110_FINAL 24/6/09 14:26 Page 1
www.mi-pro.co.uk miPRO JULY 2009 19
JHS • COVER FEATURE
company and our chairman and founder
John Skewes. Our ethic is predicated on
the fundamentals of good business
practice: play fair, support the community
you serve, listen to your customers and
give them what they want.”
Much of this, of course, would be said
by anyone trying to persuade a retailer to
do business with him but, it has to be said,
JHS does have a reputation in the MI trade
for honest, plain dealing. This matters
particularly in the area of pricing, where
the issue of discounting remains the
hottest of potatoes. How important does
Drumm think that is?
“Fairness and transparency are deeply
ingrained in our business model, with a
very clear and ethical trading policy, a
level playing field pricing structure, visible
in plain sight to all. Our customers know
where they stand and I believe our policies
are able to bring a measure of equilibrium
to a sometimes turbulent and ultra
competitive market.”
Drumm also sees a cost advantage
for retailers in JHS’s product breadth.
“We’ve got the award-winning
Odyssey brass and woodwind, Antoni
stringed instruments, Performance
Percussion, Kinsman cases and
accessories, Guitar Tech, GYC – these
are all products which help a dealer
use us as a one-stop shop,
reducing costs, saving them time,
making their lives easier, and
making them more margin.”
To an observer interested in
how the MI industry works,
one of the most interesting
developments at JHS in recent
years has been charting the
growth of the Vintage brand, in particular
the company’s efforts to leverage it way
beyond the traditional role of distributors'
‘copy lines’ to being an aspirational brand
in itself. It’s an enormously difficult task,
but the company has made some
significant headway in that direction.
“The value we build into our proprietary
brands is probably best evidenced by
Vintage, which we’ve grown from a small
‘me too’ range, launched ten years ago, into
a major international brand, sold in some
60 markets. This has been achieved by
building in true value – the blend of
specification/price/profit – yet many of the
brands with which we compete seem
unable, or unwilling to do so.
“Our motivation with Vintage is simple:
players, especially at the beginning of their
careers, deserve the best our industry can
provide to them, not a compromised
product built down to a price. It’s often
said that ‘knowledge is power’, so we use
our knowledge to build the absolute best
instrument for the price, for the benefit of
the consumer and the seller.”
Drumm says that with nearly 500
‘Vintage Plus’ dealers in the UK and
Ireland, the formula is clearly working.
“We support those dealers and the Vintage
brand with extensive consumer press
advertising, a very effective PR machine, a
great online presence, strong in-store
point of sale material, good catalogues, a
strong endorser roster and a full-time
demo guy, who does dozens of free clinics
a year, all to help our dealers sell more
Vintage product.”
Vintage isn’t JHS’s only success with
own brands, Drumm says, pointing to the
introduction of Wilkinson’s Fret-King
brand: “One of the most interesting things
we’ve done of late has been the co-
operation with Trev Wilkinson, to
significantly sharpen up the Encore
electric range. It’s great working with Trev
and his magic wand, plus our
determination to produce the best entry-
level guitar in the market – not just the
cheapest – has created musical
instruments which elicit a response of
pure disbelief from guitar players, at how
something so inexpensive can be so good.
“Trev’s often said, and I agree, that it’s a
piece of cake to make a great guitar for
two or three thousand pounds, but to
make an instrument that’s a great guitar
in its own right for a hundred quid or so is
a real challenge worth taking on, to which
we’ve risen and succeeded ”
It’s not always simple, of course, to
translate that into sales. “It’s taking a little
longer to convince some of our trade
customers,” Drumm admits, just a little
ruefully. “But I challenge any dealer to pick
up an Encore E6, keep any prejudices they
might have well under control, and make
a balanced assessment. The result will be
the same: astonishment at how good the
product is. We make them this good
because we can, we should, and those
first-time guitarists deserve the best the
industry can give them.”
As any reader who has struggled with
an unplayable guitar in the past (in other
words, anyone over 40) will tell you, this is
good – not to say long overdue – news.
But it isn’t all relentless struggle in
Leeds, Drumm says: “Possibly the most fun
we’ve had in the history of the company
though, is with SpongeBob SquarePants
Real Musical Instruments.
Recent times have seen a co-operation between
Trev Wilkinson (left) and Dennis Drumm (right)
18,19,20 mip110_FINAL 24/6/09 14:26 Page 2
Nickelodeon, the owner of SpongeBob,
is terrific to work with, the brand is, well,
outrageous, with so many possibilities and
we’ve now grown it from the original two
products, rushed out for the 2007
Christmas season, to an exciting range
that includes the new full-size electric and
acoustic outfits, to picks, ukes, drum kits,
and the super SpongeBob Facelifts.
“So many licensed goods in many
sectors concentrate on brand and price and
let quality suffer, because they think the
power of the licensed property concerned
will cover a multitude of sins. As the
licensee for SpongeBob SquarePants Real
Musical Instruments, we can take the same
approach as we do with all our proprietary
brands. These are musical instruments,
they’re going to be played, they need to be
right, and they are.”
But the effort JHS has been putting into
its own brands hasn’t meant any
slackening of interest in its distributed
lines. Given how they tend to shift around
these days, has Drumm never felt tempted
to step back from the merry-go-round of
distributed brands?
“Not at all – and a healthy balance of
proprietary and distributed brands is a
very important part of our strategy. In
2008 we took on Fishman, the world’s
number one transducer brand, teamed up
with it to load Fishman into our entire
Vintage acoustic line, and helped it launch
the awesome Fishman Solo acoustic amp
to the UK market. This is the kind of
synergy we are looking for with
distributed brands. Likewise, when we
added Allen & Heath in 2008, synergy
played an important part – for us and for
Allen & Heath.
“JHS is as opportunistic as the next
company and there are brands in the
marketplace, which the brand owners, our
dealers, and the present distributors all
know are ‘under-represented’. It’s up to the
brand owners to want, or be driven to a
change, and have a view of JHS as a
company which can drive their brands
forward. My door is always open, we have
conversations with companies, we have a
wish list, but I’m a realist. If a brand is
happy where it is and can’t see the
opportunities that everyone else can see,
or want to appoint some other company
for reasons best known to itself, then who
am I to make a fuss? There’s enough to
get on with.”
All the same, you don't need a pair of
gypsy earrings and a crystal ball to sense
that the international MI business is
undergoing some major turmoil, at
present. How does Dennis Drumm view
these developments?
“On a macro level, one can sense the
beginnings of potentially seismic shifts,
with the global economic turmoil
reportedly creating havoc amongst major
international players in many sectors,
including musical instruments. Companies
which have taken on an incredibly high
level of financial gearing at the peak of
the recently departed ‘good times’ are
now struggling to cope with massive
commitments, have diminishing revenues,
are shedding labour, divesting themselves
of liabilities, closing production facilities,
and exhibiting clear signs of distress.
“I’d expect to see more brands on the
move, maybe the disappearance of some
companies, or disappearance of some
brands, before we are out of the woods.”
It is in JHS’s interest of course to help
retailers survive in these tough times. One
thing to consider doing, Drumm says, is to
promote like crazy and it is undeniable
that few companies in the industry spend
as much money advertising and
promoting its products as JHS. This is just
as true of its participation in exhibitions –
JHS just about does them all and then
goes that extra mile by organising its very
own, which, Drumm says, is a major part
of not just its self-promotion, but also its
attempt to help retailers.
“Possibly the most important occasion
in the entire JHS calendar, from a show
perspective, is our JHS Event, with 2009
being the 13th year of a trade occasion
which has become a fixture in the
calendar, and a fundamental contributor
to the business success of many of
our customers.
“At the JHS Event, the hundreds of
dealers who join us enjoy our hospitality,
and cement their relationships with the
people at JHS they deal with on a daily
basis. Visitors have an exclusive first look
at a host of new products, have the
benefit of some very advantageous
promotional pricing, have offers and deals
exclusive to JHS Event visitors and, of
course, our now traditional and very
generous interest-free, six-month
financing on all JHS Event business, which
enables many to get through the summer
months with a terrific range of hot, new,
profitable products, helping them to keep
their businesses well stocked and even
more vibrant.
“I have to be honest and say that
sometimes we struggle to understand why
more customers don’t take advantage of
what is, quite simply, the best deal in the
trade, but at least those who do attend
JHS Event go away with a distinct
competitive advantage.”
Drumm concludes by talking about
perception and the future: “Overall, we want
JHS to be seen as a company which is easy
to do business with – fun even – and
although I might have been company
trumpet-blowing a little, we have a clear
understanding of our mission, which is to
serve our customers and provide, on time,
every time, well designed, well specified,
well priced, well marketed, in demand
products, which bring our customers profit.
“Personally, I count myself very lucky to
have joined this company in 1980 and to
have been given the opportunity to
contribute to its growth and direction. I’m
also exceptionally lucky to have a terrific
family to keep my feet on the ground. My
wife Linda is a director and part of the
Skewes family, so she understands the
demands of the job. JHS is a team – 90
people in all – that works diligently to
make everything seem easy, seamless and
efficient to our customers.”
COVER FEATURE • JHS
JHS has seen a variety of well-known UK endorsers including, left to right, Geoff Whitehorn, Jarrod Noire and tribute act ZZ Tops
20 miPRO JULY 2009 www.mi-pro.co.uk
18,19,20 mip110_FINAL 24/6/09 14:26 Page 3
full page 21/4/09 11:53 Page 1
Ten years ago, had someone
responded to the demand: ‘name
one of the most competitive
markets in MI today’ with ‘gigbag’, he or
she would probably have been laughed
out the pub. Today, the answer would
receive sage nods, as the world is inundated
with more brands than you can shake a
shoulder strap at.
And the reason for this turnaround
inside a decade? There are probably
several factors – including the idea to use
high density foam in cases – but
ultimately the revolution was brought
about by one company: Ritter.
The Swiss team actually made its name
in terms of gigbags in County Durham. So
successful was its ‘gigbag as lifestyle
product’ philosophy and image, that the
company soon found itself with a global
brand, and today can count itself not only
as the most recognisable name in gigbags,
but also as the source of no fewer than
three other modern gigbag ranges.
Tribal Planet, Fusion and Madarozzo all
have their design and concept roots
shooting from the north east of England –
although all three of them would be very
swift to point out the current differences
rather than the historical similarities.
The result, though, is a plethora of good
quality bags. In much the same way as
Levy’s Leathers (which also does a range of
gigbags) proved to the world that a
customer buying an expensive instrument
is more than willing to pay a bit extra for a
strap to match the pride and joy, Ritter and
the subsequent brands have shown that
the price is not the issue when it comes to
bags, either. It’s all about style and value –
and protection, of course. Today’s gigbags
keep instruments very secure.
In summary, then, there have never
been so many good looking, high quality
instrument bags on the market as there
are now, and they’re a useful add-on sale,
too. Fill yer boots…
RITTER
As mentioned above, Ritter is responsible
for the gigbag market being as it is today,
so what better place to start? The brand
has three ranges – Junior, Classic and
Revolution – made for a wide range of
musical products including guitar and
fretted instruments, keyboards, percussion,
brass, woodwind and classical instruments.
The Classic range covers many different
shapes and styles, from ¾ classical guitar
designs to more radical Explorer styles. For
an example of specification, the Classic
RCG models feature 15 to 20mm soft foam
padding, a new, ergonomic backpack
system with fully integrated MP3
player/phone pouch and a built-in polyester
bridge, headstock and end pin protector.
The high-end Revolution series features
ultra thick 40mm padding for maximum
protection for instruments.
FUSION
The tale of Fusion gigbags is nothing
short of breathtaking, with the company
having come into existence less than two
years ago and already causing ripples,
with distribution established in almost
20 countries.
Aside from the impressive looks and
concepts behind the range, a further
surprise comes from the fact that Fusion
was founded by four equal partners
investing their life savings. The fact that all
four are women should probably not be an
issue, but in the MI world, no-one would
deny it is very unusual.
Of all the markets to produce fierce competition based on brand image and design innovation, the humble gigbag is
certainly one of the most unlikely. Andy Barrett has a look at why this should be, while pointing out that there is a lot of
money to be made on products that, these days, look pretty amazing…
Price is not the issue when it comes to bags. It’s all
about style and value – and protection, of course.
Today’s gigbags keep instruments very secure.
22 miPRO JULY 2009 www.mi-pro.co.uk
SECTOR SPOTLIGHT • GIGBAGS
In the bag
Left: The Fusion team looks proud of its creations. Right: Fusion products at work
22,23,24 mip110_FINAL 24/6/09 14:38 Page 1
The inspiration behind the company is
Amanda Wheatley, a 3D designer who
started out with Dunlop and Slazenger
sports products. In 1992, together with
colleague Wendy Caldwell, she formed her
own design consultancy where she created
products for other leading brands in the
sports world including Gilbert, Jaguar and
Gray Nichols.
In the early ‘90s she combined her
experience in the leisure industry with
that of being an accomplished musician
and designed a range of musical
instrument bags that became Tom Rees’
Gig brand. These bags were the first to
combine a sports bag with an instrument
bag. For the following ten years she
designed gigbags for Ritter Outdoor.
There are four ranges under the Fusion
brand, starting with the high-end F1 and
working down to the entry-level F4.
F1 features include the Flow System
lumber support for comfort and
ventilation, the ability to use the Fuse-On
attachment bags, reflective panels, quality
inverted zips with chunky rubber zip pulls,
Jacquard water-resistant polyester with
rip-stop material panels, MP3/mobile
phone pocket, backpack straps,
comfortable, chunky and riveted handles,
guitar neck supports, and hard-wearing,
anti-crush moulded bases for protection.
The Fuse-On concept is a great
example of Wheatley’s problem solving
abilities – an ingenious system which
allows users to add (fuse on – do you see
what she’s done there?) bags to the main
instrument bag. Various options are
available, including large and small back
packs, all of which can be detached and
used as individual bags. They are
interchangeable with different instrument
bags which means, for example, that a
clarinet bag can be fused on to, say, a sax
bag – genius.
TOM & WILL
Another relatively new start up is the
Surrey-based Tom & Will web supplier,
which has been trading for just three
years. The company was born when its
founders recognised that there was a need
for a good quality gig bag that didn’t
break the bank. As such, the bags are,
indeed, top quality and reasonably priced
and also up-to-date in terms of design.
Since its inception, the range has
expanded to include over 100 gigbags for
a huge range of instruments, with new
lines being designed and introduced all
the time.
For the doubters among you, Tom &
Will bags were used for the Extreme
Cellists Four Peak Challenge, which
involved three cellists climbing the tallest
mountains in Scotland (Ben Nevis),
England (Scafell Pike), Wales (Snowdon)
and Ireland (Carrauntoohill) in aid of the
Aspire and Mountain Rescue charity. The
cellists climbed with their cellos and
performed on top of each mountain.
The cases, Tom & Will reports, coped
extremely well and the challenge was a
resounding success. The instruments (while
in cases) took the odd knock on the way
up and on one mountain were exposed to
consistent rain. The cellos, of course, were
completely unharmed by any of this.
REUNION BLUES
Anything but a new company to the
market, Reunion Blues has been wowing
the US market since 1976 with its all-
leather gigbags for guitars, brass,
woodwind, orchestral – the whole
caboodle. Whether all-leather or leather
and fabric, Reunion Blues bags feature a
dual-layer, high-density foam padding,
string protectors (when necessary) at the
headstock and bridge, a soft fabric lining,
smooth lock clasps and a limited lifetime
warranty.
The advantages of the all-leather
products are two-fold. First, nothing has
such timeless good looks as leather, and
the sleek designs of these bags will turn
heads. Second is the fact that these are
cleanable. Yes, musos like that well worn,
king-of-the-road look, but leather has its
own, inimitable way of looking well worn.
The ability to use a spot of saddle soap
means one doesn’t have to be unhygienic
to be cool.
LEVY’S LEATHERS
Talking of leather, Levy’s Leathers has a
large selection of pro quality gigbags for
all styles of fretted instruments, as well as
percussion, trumpet, flute and sax – not to
mention mixers, keyboards and
accessories. The CM series has high build
quality in a variety of sizes, and also
features double guitar bags in various
combinations. For example, for the multi-
instrumentalist among your customers
you could offer two electrics together or
one electric and one acoustic.
The boutique range has distinctive styling
and quality finishing for those after a gigbag
that’s a bit different, and at the high-end of
the market, Levy’s makes all-leather and
suede luxury gigbags. SSP £449.99.
The CM series includes a 600 denier
polyester acoustic guitar bag featuring
one-inch foam padding, plush lining,
internal bridge and string protectors, saddle
bag accessory pocket, twin shoulder straps
and genuine leather trim, while the
Boutique range includes a Chenille cheetah
gigbag for various guitar shapes. There is
also an internal bridge and string
protectors, designer accessory pocket and
twin shoulder straps. Leather guitar bags
have leather trim and appointments, a
large saddle bag accessory pocket and twin
shoulder straps.
GIGBAGS • SECTOR SPOTLIGHT
www.mi-pro.co.uk miPRO JULY 2009 23
22,23,24 mip110_FINAL 24/6/09 14:38 Page 2
SECTOR SPOTLIGHT • GIGBAGS
KINSMAN
JHS’ stalwart line has seen a lot of other
brands pass by over the years, but it keeps
its head well above the water line, thanks
to top-notch functionality and a starting
price that not only puts the simpler
models in the impulse-buy section of a
store’s stock, but could easily be labelled
‘I’ll have two’.
There are four ranges in the collection:
Premium, Deluxe, Regular and Standard,
with the latter starting at £9.99.
The top of the range, Premium electric
guitar bag retails at £41.99, and features
1,200 denier, heavy-duty fabric outer,
body cover with super-size zipped padded
magazine/music pocket, concealed outer
body net accessory pockets, neck
accessory pocket, adjustable (and
storable) shoulder straps, a protective grip
strip on bottom of the bag, plus a black
and two-tone contrasting design.
Inside the 25mm padding, there is a
soft lining, neck support block with Velcro
fastening, leatherette protective pads for
headstock and bridge and a support block
for strap button protection.
WESTFIELD
Another name that goes back as far as
most retailers is Westfield, the P&R
Howard brand that covers just about
any angle in the MI business you care to
think of.
Westfield has a range of sturdy deluxe
gigbags featuring heavy duty, 20mm
padding, chunky gauge 20 zip, a pedal
pocket (why others don’t think of that,
we’ll never know) and a large pocket for
music, cables and so on. There are also
padded back straps that can be zipped
away if not in use.
Colour finishes available are black and
red or black and grey and the range is
available for electric, bass, jumbo and
classical guitars, five-string banjo and one
for acoustic bass, too.
TGI
Staying with the bread and butter of UK
supply, Barnes & Mullins’ TGI range, as
with Kinsman and Westfield, fills the
entry level gap perfectly, while still
managing to nod towards the ‘lifestyle’
brands with good designs and high
functionality.
Three lines make up the TGI collective:
the Budget, the Transit and the Extreme,
with bags for most guitars, as well as
banjos and mandos.
The Extreme series is made with black
woven nylon with contrasting blue piping,
featuring a 30mm double heavy padding,
70 denier, ‘no-scratch’ lining and strong
coloured zip chords. For safety during
portability, the bag has two extra strength
webbing back straps with rubber shoulder
supports and heavy-duty chrome clips and
rings. It’s ideal for those with instruments
of higher value. Complete with a sheet
music pocket and two zipped accessory
pockets.
ROKSAK/GATOR
Freestyle’s bag range, Roksak, also comes
in four ranges, starting with Economy 100
(again at a remarkable starting price of
£9.95) and moving up through the
Standard 10 and Deluxe 20 and topping
out with the Premium 20 series at £34.95.
This bag has a waterproof, dustproof and
tear-resistant nylon outer and extra thick,
well balanced, padded carrying handles. All
straps are stitched around the bag and
riveted and there are a variety of
accessory pockets on and in the jacket
and the headstock sections.
Interestingly, the Premium has a
reinforced carbon fibre base with nylon
protectors, as well as the expected bridge
and headstock protectors and 30mm of
high-impact padding throughout.
Also from Freestyle is the Gator
Extreme bag, which has a 600 denier
nylon exterior and 420 denier nylon
interior, ten millimetre internal padding,
the reinforced interior at the headstock
and bridge and all the straps and pockets
you would hope for.
The bag is designed to fit any (and all)
of the likes of Flying V, Explorer, Dean ML,
Warlock and pretty much any of the other
extreme and unusually shaped guitars you
can think of.
MADAROZZO
Back into the world of the Ritter spin-offs
and even the name ‘Ritter’ makes an
appearance here, as it is Martin Ritter who
has set up the Madarozzo gigbag and case
couture range, after spotting a gap in the
market.
“The Madarozzo couturier range is a
premier collection of individually designed
musical instrument bags, cases and
accessories that offers the discriminating
player a fusion of fashion design,
functionality and instrument protection,”
says Ritter.
The full gamut of musical instruments
is catered for by Madarozzo, with some
120 bags in the range for all guitars, brass
and woodwind, drums and percussion,
orchestral strings and keyboards.
The distinctive, eye-catching design
belies the serious protection offered
by these bags, with high quality foam
padding throughout, giving top
performance protection without
making them heavyweight.
GIG
Tom Rees’ Gig bags in Huddersfield
not only pulled off something of a
coup by registering the name Gig
(which sits very comfortably
alongside the generic word
‘bag’), but was also the first
to go into direct competition
with the work being done by
Ritter, way back when.
Rees originally set up the
business to run alongside his
successful tech, repair and retail
operation, to offer brass and
woodwind players an attractive
alternative to canvas and vinyl
covered wooden boxes – and the
brand has since grown to global
proportions and now has models
for strings and guitars, as well as
brass and woodwind.
There are two ranges, Student
and Advanced, each of which
comes either stitched 600D
polyester and microfibre or as
moulded EVA materials.
CONTACTSRITTER (HEADSTOCK) ........................................................ 0121 508 6666
FUSION (ARIA)...................................................................... 01483 238725
TOM & WILL ....................................................................TOMANDWILL.COM
REUNION BLUES (SUMMERFIELD) ....................................0191 414 9000
LEVY’S LEATHERS (WESTSIDE) ........................................0141 248 4812
KINSMAN (JHS) .....................................................................0113 286 5381
WESTFIELD (P&R HOWARD) ................................................01355 236621
TGI (BARNES & MULLINS) ...................................................01691 652449
ROKSAK/GATOR (FREESTYLE) ...........................................01924 455414
MADAROZZO (SUTHERLAND) ..........................................029 2088 7333
GIG ...........................................................................................01484 431725
24 miPRO JULY 2009 www.mi-pro.co.uk
Ritter has bags for most
instruments, including
trumpets
22,23,24 mip110_FINAL 24/6/09 14:38 Page 3
…more than just a gig bag!
Quality!Distributed byTelephone + 44 (0)1483 238720
Visit us online www.fusion-bags.com
Mi Pro Advert June Final:Layout 1 16/6/09 15:15 Page 1
©2009 FMIEDistributed by Fender GBItel: 01342 331 726.
Hamer Advert.indd 1 15/6/09 16:23:21
HIGH-END ACOUSTICS • SECTOR SPOTLIGHT
www.mi-pro.co.uk miPRO JULY 2009 27
For any guitarist worth his salt, a
decent acoustic guitar is not a luxury,
but rather an absolute necessity.
Whilst making a mighty rock and roll based
racket with an electric set up is always
alluring, the power of the acoustic lies not
in its volume, nor in its ability to shake a
room, but in the subtle nuances that make
being a musician genuinely enjoyable.
The higher end of the market, at £500-
plus, is home to a mix of well established
and popular brands – the Martins and
Taylors of this world – alongside a growing
number of up-and-coming manufacturers
determined to stake a claim. So, here in all
its glory, is the cream of the crop of the
acoustic market at the moment. Enjoy…
MARTIN/RECORDING KING
Home to arguably the best known name in
acoustic guitar-land in the form of Martin,
Westside has plenty to offer those looking
to spend their hard-earned ash on a new
instrument. The return of the popular 1
Series, first introduced in 1993, is sure to
prick up a few ears. Four new models are
available, with the intention being to
provide affordable solid wood guitars that
reflect the spirit of the Style 15 and Style
17 instruments that were first introduced
by Martin during the Great Depression.
Sitka spruce tops with hybrid scalloped
bracing sit alongside rosewood fingerboard
and bridges, bound and inlaid tops and
backs and a hard shell case for good
measure, with RRPs starting from £999.
Further developments at Martin include
a collaboration with Roland that has
resulted in the production of a new
preamp, the Roland AP-1, which will now
be available on several new Martin models
including the 00C-16DBGTE, DC-16OGTE
and the OMC-16OGTE. The AP-1 utilises
Roland’s advanced Composite Object
Sound Modelling technology to produce
three body-specific tone variations
designed to emulate that of a miked guitar,
and includes a programmable seven-band
eq, anti-feedback control, digital chromatic
tuner, digital reverb and LCD display.
Elsewhere at Westside, Recording King
continues to perform well, with the Classic
II Series proving especially popular. These
guitars are the most authentic pre-war
style acoustic guitar available, with
everything from the select woods to the
vintage-style bevelled pick guard.
Featuring a solid Engelmann spruce top,
solid back and sides in mahogany or
rosewood, and a one-piece mahogany
neck, each guitar is handcrafted and has a
loud, expressive acoustic tone.
MARINER
Mariner, a new brand and brainchild of Ken
Achard, looks set to do a good job for
Music Force as the company seeks to
establish its new identity with some
striking new product. The L-6N Super
Jumbo is a Korean luthier-built super jumbo
from Mariner’s Archive Series of premium
acoustics. The range, which starts at £685,
includes dreadnought, auditorium and drop
shoulder jumbo models that feature the
Open Arch mahogany swell back. With
solid mahogany sides and selected Sitka
spruce tops, maple bindings, mother of
pearl inlays and Grover Rotomatic tuners,
these instruments meet the high specs one
might expect of a pro guitar. The L-6N sells
for £710 RRP, complete with Deluxe
shaped, plush lined, hard shell case.
At LIMS 2009, Mariner unveiled new
and updated models in its Masthead and
Eso series. Of particular note is the all-
new Eso E-6AR, an auditorium style, top-
end model featuring book matched solid
Indian rosewood back and sides and AAA
grade Sitka spruce top. Figured maple
bound and purfled with abalone, a
mahogany neck, centre spliced with maple
and rosewood and topped off with gold
Grover tuners, it’s something of a feast
and well worth checking out.
Thewooden
topsHere we go again – it’s time to take a fresh
look at what’s new in the mid to high-priced
sector of the paradoxically most conservative
and most dynamic market within MI. Rob
Power sees the wood through the trees…
27,28,30 mip110_FINAL 24/6/09 17:27 Page 1
FENDER
With a number of big names including
Taylor and Takamine now under Fender’s
ever-expanding wing, it’s no surprise that
there is plenty to be found in the
company’s lines.
Takamine’s 2009 range aims to offer
performers a mixture of good looks and
classic tone. The LTD2009 features a NEX,
small jumbo body with solid spruce top
and solid mahogany back and sides.
Finished in a gloss Vintage Sunburst, its
top is intricately decorated with a MOP
inlayed pick guard and abalone rosette.
Other noteworthy features include an
ebony fretboard with deluxe shell inlays,
ivory cab fretboard binding, mahogany
neck and rosewood pin bridge. Electronics
are powered by Takamine’s award-winning
and state of the art CTP-2 Cool Tube
preamp, and a hard case is included.
At the very high end, Taylor continues
to dominate as one of the biggest
acoustic manufacturers in the
world. Its 814ce Grand
Auditorium Cutaway, retailing
at a mighty £3,189.99,
showcases perfectly what the
company does best, bringing
together an unmistakable
rosewood tone, Taylor styling
and the versatility of the of a
Grand Auditorium body. A
Venetian cutaway and
Expression system pickup
complete a desirable
picking package.
TJ BADEN
First becoming involved
with 440 Distribution in the
wake of Arbiter’s collapse, TJ
Baden is a name that, although
unfamiliar to some, looks like it
will make itself known very soon. The
company was established by Baden, an
ex-Taylor employee of 18 years
standing, who set out to establish
a company to build modern, clean
looking and sounding guitars that
offer great margins for dealers.
These designs are handmade in
the old school way – all solid, with
nitro-cellulose finishes, bone nuts and
saddles, with individual attention paid
to every guitar and each one
shipping in a hard shell case. There
are two body shapes available, five
wood options and two pick up
options in the form of the
Fishman Aura and Matrix Infinity.
Prices range from £759 to £1,649.
VINTAGE
There are only a few Vintage acoustics
that sneak over the £500 mark, but
those that do are of an extremely high
spec and offer excellent value at this level.
One brand new addition is the
V1700VSB Jumbo, with solid spruce top,
solid flame maple back and sides, Indian
rosewood fingerboard & bridge and a
Vintage Sunburst finish, which clocks in at
£579.00 RRP. A natural finish is also
available at the same price.
The other is the remarkably popular
V1800N, which features a solid spruce top,
solid rosewood back and sides, flame maple
binding with abalone purfling and a slotted
headstock design for a snip at £539 RRP.
FRESHMAN
The Scottish firebrand has plenty to offer
in this area of the market, beginning with
the widely acclaimed 350 series. Solid
Canadian AA graded Sitka spruce tops,
solid mahogany back and sides, rosewood
fingerboards and Grover Machine Heads
with black buttons and a satin Finish make
for a high spec first entry into the £500-
plus area, with an RRP of £599.95.
Next up is the 500 series. The choice
and combination of high grade timbers,
married together with care and attention,
have produced lovely looking instruments
that sound quite equally impressive. The
guitars in the 500 Series are individually
hand sprayed for a perfect gloss finish,
with ivoroid binding and herringbone
purfling to add subtle finishing touches.
TANGLEWOOD
At the top of the tree for Tanglewood is its
MasterDesign range, designed and built in
collaboration with renowned Scandinavian
luthier Michael Sanden. Sanden builds
luxury boutique guitars at his workshop in
Sweden and has designed a range
incorporating some of his most functional
and stylistic handcrafted features into six
models – three mahogany and three
rosewood – which have all been made to
a precise Sanden blueprint. They include
the famous Sanden Ebony Japanese
brushstroke bridge, the delicate rosewood
face unbranded headstocks, the zero fret
to offer precise intonation, and the
charming and tasteful ‘T’ emblem
fashioned in green abalone on the 12th
fret of all models, the only visible sign of
branding on each instrument.
Each guitar is quite unique in its
handcrafted manufacture and the
understated elegance of MasterDesign by
Sanden really is worth taking the time to
check out, with prices starting from £1,199.
IBANEZ
Ibanez has some interesting acoustic
models in this price bracket, including the
Ibanez Artwood Studio range, which
delivers strong, resonant tones. The finest
craftsmanship, state-of-the-art electronics
and new features such as FAST (Fast
Action Set-Up Technology for easy neck
adjustments) and Flying Top construction
make the Artwood Studio models some of
the highest quality acoustic instruments
Ibanez has ever produced.
The Flying Top construction was
developed by Swiss luthier Lukas Brunner,
and this construction has been applied to
Brunner’s own unique instruments. Instead
of an X-bracing pattern, the top is
reinforced with a thin piece of spruce that
is graduated towards the edges, and
supported at a single point by a ‘flying
brace’ attached to the sides. This provides
an ideal combination of strength, weight,
stiffness and flexibility. The Artwood range
starts from £765 RRP.
WASHBURN
Sound Technology has plenty to offer
players looking for their next acoustic.
First up is the Washburn Cumberland
Jumbo Series, which is made up of three
full-bodied jumbo models, each with
various options. The solid spruce topped
J28S DL is available in both six and 12-
string configurations, and features a
quilted maple back and sides. The J28SCE
DL adds a cut-away, B-band A15 preamp
and the option of a standout transparent
black finish. The J27CE is a striking looking
guitar with Java Ebony top, back and sides,
and is sure to catch roving eyes with one
hand on the wallet.
The latest Festival Series model – the
EA21HM (Heavy Metal) – is aimed
squarely at the metal connoisseur who
demands the same pointy looks from their
acoustic guitar as they do their electric. It
features a Florentine cut-away, six-a-side
slanted headstock and B-Band A15
preamp. The EA21HM is available in Black,
White and Trans Red.
Larrivee is also available from Sound
Technology, with a range that includes the
USA made, ‘Larrivee’ shaped L-10,
featuring a solid Sitka spruce top and
stunning Indian rosewood back and sides.
Deluxe abalone inlays decorate the ebony
fretboard and bridge. Abalone also
enhances the purfling around the
soundboard and sound hole, and all
models are available left handed at no
extra cost. Various electric options are
available including both LR Baggs and
Fishman Aura preamps, whilst all come
with hard cases.
SECTOR SPOTLIGHT • HIGH-END ACOUSTICS
28 miPRO JULY 2009 www.mi-pro.co.uk
At the top of the tree for Tanglewood is its
MasterDesign range, designed in collaboration with
renowned Scandinavian luthier Michael Sanden.
27,28,30 mip110_FINAL 24/6/09 17:27 Page 2
acess all areas 17/6/09 15:32 Page 1
30 miPRO JULY 2009 www.mi-pro.co.uk
YAMAHA
Yamaha’s £500-plus acoustic guitar line-
up features a number of models from the
APX, CPX and L-Series ranges, with the
biggest news for the company this year
arriving in the form of the new NX series.
Billed as ‘nylon string guitars for non-
nylon players,’ the nine model range
(£575-£3,135 RRP) features a choice of
models, including the ‘crossover’ NTX with
an APX-style body, 48mm nut width
(slightly wider than a steel string but
narrower than a classical) and radiused
fingerboard. There is also the distinctly
more traditional NCX model with its flat-
radius 52mm nut width and ‘CG’ style
classical body, whilst the entire range
benefits from a nylon-specific two-way
ART pickup system using Yamaha’s
proprietary contact pickups.
Yamaha is positioning the series to
appeal to guitarists across the board, way
beyond the traditional realms of the nylon
string players. “We’ve seen a growing trend
for people playing crossover nylon string
guitars – that is using nylon strings way
outside of what convention says nylon
strings should be used for,” says Yamaha’s
Julian Ward. “The NX design was very
much about crossing the line between
steel and nylon strings,” continues Ward.
“We looked at it from the point of view of
a long-established classical guitar
manufacturer but also having the
perspective of one of the leading
performance electro-acoustic
manufacturers thanks to our massively
successful APX and CPX ranges. And our
ART system is incredible for nylon.”
FAITH/PATRICK JAMES EGGLE
Faith has become an important brand
for Barnes and Mullins, representing a
foot firmly planted in the world of
high-end acoustics. Patrick James
Eggle has teamed up with one of
the finest European workshops
around to create three models
that use only the finest AAA-
grade tonewoods, and meet with
his own guitar-building mantra of
‘Quality over all’. The Signature
concept was launched at the recent
LIMS 2009 show, and is sure
to win fans quickly. Prices start from
£1,850 for the Orchestra model, rising
through to £1,999 for the JMB. ”For a
guitar to carry my signature I have to be
completely confident in its ability to
perform,” comments Eggle on the range.
“When Faith asked me to create three
models that would go head-to-head with
the most prestigious guitars around, I
decided to keep to what I know the best –
the quality of tonewood and meticulous
craft. I have spent my whole life building
guitars for some of the most demanding
musicians around, and I would have no
hesitation in recommending Faith Signature
guitars to every professional I know.”
SEAGULL/SIMON & PATRICK
Two key brands for EMD fit into this
category. First up is Seagull, which with its
S6 has a bone fide award-winning guitar
that is well regarded by a number of top
flight players. A solid cedar top, wild
cherry back and sides, silver leaf maple
neck, Indian rosewood fingerboard and
bridge plus a semi-gloss lacquer finish are
all part of the package at £509.
The second important acoustic brand
for EMD is Simon & Patrick, which with
the Showcase series has a genuine top
flight contender. With an RRP of £1,289,
you would expect a top quality guitar, and
that is exactly what you get. With a
compound curve design, and solid spruce
top, this is a guitar that screams quality all
over and is well worth a punt for players
looking for something away from the
usual names in this part of the market.
COLLINGS
Regarded as some of the finest flat tops
out there, Collings has an extensive range
of tonally wonderful guitars that are built
to exacting standards. The 12 fret 00 series,
with its dimensions similar to a typical
classical guitar, slotted headstock and
small pyramid bridge, certainly has
resonance with a certain type of guitarist.
The comfortable size and timeless
appearance of the Collings 00 is matched
by the ease of playing a wide neck and
shorter string scale affords. The tone is
balanced and precise, and it has been
adopted by players for a wide range of
playing styles from simple vocal
accompaniment to ragtime solos. A
versatile performer indicative of the high
quality throughout Collings’ ranges.
TIMBERLINE
The Timberline brand gives Strings &
Things a toe in the acoustic market, and it
is doing a solid job. One need only take a
look at the 80 series, which, starting from
£839, offers both quality and value for
money. A solid Engelmann top with
abalone edging is complemented by an
ebony fingerboard and bridge and all gloss
finish, not to mention a rather dashing
Timberline hard case.
BLUERIDGE
With Blueridge, Gremlin has a brand that
is extremely alluring to players after
guitars that have the look, feel and tone of
pre-war instruments, but don’t want to
have to re mortgage the house to afford
one. The GR5240 is a great example: a
parlour bodied guitar with a solid Sitka
spruce top, solid mahogany body and a
slotted headstock. It’s a connoisseur’s
guitar from an era when they really knew
how to make them, and retails at a pretty
affordable £699.
The ‘50s-styled, slop shouldered BG-140
is another Blueridge guitar worth a look. Its
vintage sunburst finish, Dalmatian tortoise
pickguard and exclusive ‘Century Wreath’
peghead and fingerboard are nicely
complemented by a carved mahogany, low
profile neck. Complete with a short scale
and solid mahogany backs and sides, this is
an awful lot of guitar for its £699 RRP.
NORMAN
Straight out of Quebec, Canada, Norman
Guitars is one of the big names in Active’s
catalogue. Comprising of three series – the
Protege, Studio and Encore – Norman’s
guitars offer straightforward, clean designs
which utilise high quality tonewoods and
aim to provide players with a guitar that
will only improve with age. The B18
features a semi-gloss polished finish and a
select pressure-tested solid cedar top. The
back and sides are a three-way cherry
laminate, whilst the rosewood fingerboard
and Graphtech nut and saddle finish
things off nicely. It has the option of
Fishman Classic 4T electronics and a case,
and is of course designed and
manufactured in Canada.
CONTACTSMARTIN (WESTSIDE) .............................................................0141 2484812
MARINER (MUSIC FORCE) ...................................................01780 781630
FENDER .....................................................................................01342 331711
TJ BADEN (440 DISTRIBUTION) ........................................0113 258 9599
VINTAGE (JHS) ......................................................................0113 286 5381
FRESHMAN ............................................................................01355 228028
TANGLEWOOD ..........................................................................01937 841122
IBANEZ (HEADSTOCK).........................................................0121 508 6666
WASHBURN (SOUND TECHNOLOGY) ...............................01462 480000
YAMAHA ................................................................................01908 366700
PJ EGGLE/FAITH (BARNES & MULLINS) ...........................01691 652449
SEAGULL/SIMON & PATRICK(EMD) ...................................01293 862612
COLLINGS ............................................................................+1 512 288 7776
TIMBERLINE (STRINGS & THINGS)....................................01273 440442
SECTOR SPOTLIGHT • HIGH-END ACOUSTICS
27,28,30 mip110_FINAL 24/6/09 17:27 Page 3
Barnes and Mullins 17/6/09 15:36 Page 1
Whenever you talk to a general MI
dealer (and a lot others, too)
and ask ‘what’s your bread and
butter business?’ the answer is usually
‘accessories, bits and pieces, the little
things, the impulse buys’. Hardly
surprising, then, that some of the biggest
names in UK supplies are very conscious
of – and focused upon – the little things
that keep a retailer’s business ticking over.
While not exactly one of the big boys
(yet), MI Direct is this year celebrating its
fifth anniversary of bringing value and
exclusive products to the market. “When
we set out, our original mantra was to
provide the independent music dealers
with quality products from overseas
manufacturing facilities, which gave
greater than average profit opportunities,”
explains one of MI Direct’s founders, Paul
Whelan. “It was important that these
products could not be found at the click
of a mouse, therefore giving the dealer a
fairly exclusive product for their shop.”
The company’s first line was the Cable
Guys brand of cables, which, with its
original marketing and obvious quality,
was soon creating a buzz for Whelan and
his co-founder, Bob Edwards. Interestingly,
the next step was to grow into a very
favourable partnership indeed – with the
Australian company Grover Allman.
“We see partnerships with customers
and suppliers as the most important
aspect of our business and we have
developed these relationships over the last
five years to a very personal level, which
has helped build the business to where it
is today,” explains Whelan. “The Grover
Allman relationship has really flourished.
“It contacted us early on with the
Simpsons range of plectrums. It had been
involved in the UK before, but had not
really received the penetration for their
products that it had wanted. We naturally
jumped at the opportunity.”
Whelan and Edwards were well
prepared for such a product. They had
been involved with licensed products in
the early ‘80s when they worked in the
toy industry and knew right away the
impact licensed images can have on
product sales. There was, Whelan explains,
an immediate chemistry between his
company and the Australians and a lot in
common in the way each side viewed
business relationships. From the beginning,
the two sides have worked closely,
developing a range of products under the
Simpsons brand – guitar straps, manuscript
bags, ukuleles and classical guitars
(targeting both boys and girls).
Other licensed products followed, with
South Park picks and straps and now the
latest addition to be developed and
coming soon to the UK will be Family Guy
– thus making an impressive triumvirate of
irreverent cartoons. Family Guy, as with
the others, will hit the streets with a range
of guitar picks and develop from there.
Today with Whelan and Kevin Grover as
complementary managing directors, MID
is developing other ranges of accessories
with Grover Allman, including MI Direct’s
Guitar Buddy brand, which will also
incorporate the GA branding. Grover and
Whelan believe that brand building is
important to the development of their
respective products and Whelan points to
the success of Cable Guys guitar and
audio leads as an example. “We have built
a brand that people now ask for by name.
These cables are manufactured to a very
high quality and offer profit opportunities
of 200 per cent mark-up.”
The relationship between GA and MI
Direct has not stopped there and further
partnerships have been born, like when MI
Direct introduced GA into new countries
such as Norway. MID has benefited from
expanding contacts in Australia through
GA, developing the growing range of
Renegade straplocks and leather straps
from Colonial Leather. These relationships
have allowed the individual businesses to
dovetail and the collective strength will
help, MID believes, to build some strong
product brands in the future.
The latest development for MID has
been the agreement with Lesley Kane’s
new Irish distribution operation, KMI.
“A fortuitous meeting in Frankfurt this
year between us, Lesley and Kevin meant
we could move forward with expansion,
with someone we knew and who we
believed would become an important
partner,” relates Whelan. “Both Kevin and I
recognise the difficulty covering these
areas and we see sub-distributors as an
integral part of a growing network of
partners.” (The company has had a similar
relationship with Steve Clinkscale in
Scotland over recent years.)
The firm has also gone through some
personnel changes and has become a
limited company, with Whelan and
Edwards as directors and Denise Whelan
becoming company secretary.
“We never underestimate the small
products,” says Whelan. “These are
impulse buys and can only enhance
retailers’ sales, and profits.”
Amen to that. And with so many small
companies working together to create
something that is bigger than the sum of
the parts, understanding each other’s
business and what each business
demands, all working together to get
value-for-money products to the end user,
everyone involved can feel very good
about making more than a little money.
Amen to that, too.
MI DIRECT: 01543 473762
COMPANY PROFILE • MI DIRECT
With some of the most sought-after licences in the industry and a new distribution deal in Ireland, MI Direct is a
company that is going places fast. Rob Power finds out more…
Direct and to the point
Bob Edwards (left) and Paul Whelan
32 miPRO JULY 2009 www.mi-pro.co.uk
32 mip110_FINAL 25/6/09 09:36 Page 1
summerfield full page 23/6/09 11:54 Page 1
After a successful four years, 2008
sadly marked the end of the DJ
Show North, after organiser Paul
Arnett observed a drop in enthusiasm
among DJs for non-retail events, such as
his. It was a great shame for the North to
lose its only DJ-focused show, but for the
electrical and related product distributor,
CPC, it provided a golden opportunity to
build some awareness of its steadily
increasing presence in the MI market.
Established in 1967, CPC has over 40
years experience of serving a large and
diverse customer base. The company
stocks more than 100,000 products from
over 1,200 manufacturers and adds a
mind-boggling 10,000 new lines every
year. A growing percentage of this stock
includes sound and light equipment and
this has recently led to the addition of
musical instruments.
Chris Beesley, product manager for AV
and installation, explains: “We pretty much
cover all markets, but at the moment
we’re playing a big role in the sound and
light markets and that extends into the
musical instrument sector. We stock a
reasonable range of budget instruments –
we don’t go into the higher-end branded
instruments, but we’re starting to import
more and more MI products ourselves. This
allows us to give music shops cracking
deals, from which they can resell at very
reasonable prices, give the end-user a
great deal and still yield a good margin.”
CPC is a relatively new player in MI
distribution and this, combined with its
philosophy of spreading thinly across a
huge number of markets, has meant that
it is still unknown to many potential
customers. To remedy this it has decided
to host an open day/trade show aimed at
the sound and light sector in general,
where those who could benefit from its
services can find out more about the
company and the products it sells. The
date is set for the last weekend in July, on
which DJ Show North was previously held.
“For us it’s about being better known in
the industry,” notes Beesley. “We cross
over a very wide range of products, so if
we open our doors and let them in, they
can come and meet us and find out
exactly what we do. The cancellation of
the DJ show left a free date as far as
Northern MI shows are concerned. We
figured that a good proportion of people
who would have gone to that show would
also have an interest in what we had to
offer. So we jumped on the back of that
and decided to hold our own show the
same weekend – it’s already one that
people recognise as having a sound and
light show. It seems like the best chance
to generate a bit more awareness of CPC
in the industry.”
The option of employing an external
venue was considered, but CPC decided
that the more personal environment of its
own offices was preferable. It is important
for trade visitors to have a look around
and get a feel for how it operates.
As Beesley says, CPC has an enormous
site – hundreds of thousands of square
feet – so there is ample room to fit
everyone in.
Called Sounds and FX Live, the show is
to be based around CPC’s new catalogue
of the same name, which details the
1,100-plus MI-related products that the
firm stocks. The event will bring together
25 manufacturers, showcasing more than
65 brands, many of which are recognised
industry heavyweights, such as Kam,
Sennhesier, Adam Hall and many more.
Exhibitors will be on hand to provide live
demonstrations of the latest products and
offer expert advice and guidance.
“The open day is designed to let
industry people know who we are and
what we do,” concludes Beesley. “From the
end-user, through education, right up to
trade level, where we already have
dedicated account managers dealing with
music shops all over country. We have a
lot to offer MI and this is set to grow.”
CPC’s Sounds and FX Live show takes
place on Sunday July 26th at the firm’s
offices in Fulwood, Preston. Information
and registration can be found at
http://cpc.farnell.com.
CPC: 01772 664832
COMPANY PROFILE • CPC
Taking a growing interest in the MI market, CPC has decided to publicise its diversification with a trade show. Rob
Hughes finds out how the demise of the DJ Show North has opened up the prospect of new business…
Informal introduction
34 miPRO JULY 2009 www.mi-pro.co.uk
34 mip110_FINAL 24/6/09 17:52 Page 1
Project1:Layout 1 20/2/09 16:03 Page 1
Filling the gap
COMPANY PROFILE • FENDER
With what is probably the broadest collection of guitar brands on its books, Fender is approaching each
one on a step-by-step basis. Hamer is at the forefront at the moment and Gary Cooper discovers that
the team has a very clear idea as to how this famous US brand will slot in…
When MI Pro sits down to quiz
Fender GBI’s Mark Ramsay
(Jackson/KMC brands manager),
Neil Whitcher (marketing communications
manager) and Graeme Mathieson (general
manager – pictured above), about their
plans for Hamer, we can’t help but be
reminded of our December 2008 interview.
When we spoke to Mathieson back
then, one of the first ‘off the record’ issues
we wanted to discuss with him was the
vacuum left in the UK guitar market by
Gibson’s decision to sell exclusively
through a small number of appointed
dealers. It had proved to be possibly the
most controversial move in British guitar
retailing for a decade or more and, for all
that those appointed by Brand G will tell
you how well they are doing as a result,
there is still anger and frustration among
others, some of whom had been doing
excellent business, particularly with the
affordable and popular Epiphone range.
Why should this bother Fender? Because,
when it acquired the Kaman stable it took
on, in the form of Hamer, one of the few
guitar ranges which could comfortably fit
into some of that empty space – what has
been called the ‘Gibson gap’.
Though a bigger name in its native USA
than here, Hamer’s vaguely Gibson-like
designs have tremendous cachet at the
top end of the market, while its Far
Eastern sourced XT range could potentially
save a lot of retailers from having to turn
away business when customers come
looking for Epiphone models they can no
longer supply. It’s not that the XTs are
copies – it’s that they do similar jobs and
come with a recognised US brand pedigree.
Fender GBI is far too professional to talk
publicly about going head-to-head with
another major manufacturer and really
would prefer not to mention the
competition by name at all, but that
inhibition doesn’t apply to commentators
– so we can say that the company’s
recent decision to ‘go for it’ with Hamer is
likely to be the source of some serious
interest to retailers. Particularly at a time
when they are looking forward to the
buying season getting under way in the
autumn and are wondering whether
anything has yet come along to fill the
gaps on their walls.
“We’ve taken some time to
identify where Hamer sits in the UK
market,” Ramsay says. “The XT
range fits quite nicely in the lower
to intermediate level, with prices
ranging from £229 to almost £600.”
Ramsay sees the potential XT
buyer in quite definite terms: “It’s the
general player, but with a slight bias
toward the younger end – say those
aged from ten to their early 20s,
“What sets Hamer XTs apart is the quality of
them. There are models that cater for a number
of needs in terms of the style.”
Mark Ramsey, Fender GBI
36 miPRO JULY 2009 www.mi-pro.co.uk
36,37 mip110_FINAL 24/6/09 17:17 Page 1
who want a first or intermediary guitar and who are
looking to spend that bit extra more than they perhaps
did on the entry level guitar they bought first time.
“What sets Hamer XTs apart is the quality of them.
There are models there that cater for a number of
needs in terms of the style and they are all very well
made. We’ve got guitars with Floyd Rose tremolos
on them; we’ve got guitars with high spec Seymour
Duncan and EMG pickups. There’s something for
everyone – it’s quite a wide range.
“You pick up a Hamer XT and you don’t think
you’ve picked up a Far Eastern guitar – you think
that you’ve picked up a really good quality guitar.”
Ramsay says it would be wrong, however, to think of
Hamer simply as a substitute for anything else. “That
would be the wrong way to think about it. It’s a brand
that exists in its own right and has a reason to exist
because of the quality, the range and the price points.
BUILDING THE BRAND
Good though the guitars might be, there is certainly no
shortage of good, cheap guitars on the market today. A
retailer has any number of options and even a few
significant brands in their own right aren’t unheard of in
this price range. But what Hamer offers is a name that
has serious American pedigree.
However, though Hamer is undoubtedly a well-
respected brand among older cognoscenti, it has had a
troubled history in the UK. Only in the past few years
has it achieved anything like its potential and it’s never
having received its promotional dues. Fender has had,
therefore, to plan carefully to establish the name with
the younger players.
“There’s a definite vibe that we need to get going
with the XT series,” says Whitcher, whose job it is to re-
establish Hamer under the Fender banner here. “We’re
pitching it right in there for the people who don't just
want the obvious shapes like a Strat, a Tele or a Les Paul.
In the XT range you’ve got a wider choice of styles to
choose from, with a V-shape, an Explorer-like and a
double cutaway model, and we need to pitch it for
those potential buyers.”
“It won’t happen overnight, we know that,”
adds Mathieson. “Players of 30 years and older
will know about Hamer, but an 18-year-old
probably won’t even know who Cheap Trick
was, whose Rick Nielsen was such a big
endorser for Hamer. So our first priority is
to get some ads out there to make them
aware of the brand and to get them into
the stores to give dealers the
opportunity to sell them.
“We think our first step with Hamer
is getting the product out on show,
which is what we are doing right
now. When people see them in the
stores and see what price they
are, they can reach their own
conclusions and we’re pretty sure the reaction is going
to be, ‘Blimey – is that that price?’”
“In terms of the marketing, we’ve created a new
catalogue with a fresher look and there will be
advertising in the consumer guitar magazines, but our
focus is very much based on the product itself,” adds
Whitcher. “We haven’t been working on the artist side
of Hamer yet – in fact we’re really at the first stages
with it and that means getting it to the dealers so that
they can see the opportunity that’s there for them.”
That said, Fender isn’t the only guitar maker bidding
to fill this market gap, so what is it that makes Fender
the place for a dealer to put his business, over and
above the appeal of the guitars themselves?
“We’re becoming a bit of a one-stop shop for some
retailers,” says Mathieson. “We’ve got the brands and it’s
all part of a single cash-flow stream with those dealers.
It becomes easier to handle when it’s all under one
account, so dealing with us is very easy. And it’s
important to realise that we’re not trying to cast our
net very wide with Hamer. We’re not looking for 500
dealers. We’re in the first stages of brand building and if
we end up with 50 dealers or 100 dealers, then that’s
what it will be and we’ll grow the line gradually, as we’re
doing with some of the other brands we took over, such
as Genz-Benz and SWR.”
SUPPLY AND DEMAND
Which brings us to the question of supply, although,
perhaps predictably, Fender is more than confident that,
should Hamer suddenly become flavour of the month, it
could supply in the sort of quantity that could be
demanded. “That’s not going to be a problem,”
Mathieson promises.
“There is definitely a gap that has emerged in the
market and we can only put that down to a lack of
availability to the end user,” he continues. “If you’re
looking to buy a product that costs £1,500 to £2,000,
you don’t mind travelling a bit, but if you’re looking to
spend £200 or £300 you don’t want to travel any
great distance.
“This is really our first toe in the water with Hamer as
a brand and we’ve taken our time working out what we
are going to do with it. We think now is the time and
that there are a lot of smaller and medium-sized dealers
out there that haven’t got a suitable product in this
market area.”
With a strong enough consumer push and some
mining of the brand’s heritage, it’s hard not to see
Hamer’s XT series as being in with a serious chance. It
certainly has competitors in its price range, but some of
the more serious of those with US connections are
aimed squarely at the heavy metal market and Hamer is
broader in its appeal than that. Whether Hamer’s hour
has finally come in the UK remains to be seen, but a lot
of retailers will be considering its attractions very
seriously over the next two or three months.
FENDER GBI: 01342 331726
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www.mi-pro.co.uk miPRO JULY 2009 37
36,37 mip110_FINAL 24/6/09 17:17 Page 2
Make a better mousetrap and the
world will beat a path to your
door. Or maybe not. Ralph Waldo
Emerson certainly thought so, but his
fellow American, Kevin Bolembach, though
he certainly builds impressive gear, has
had to hustle pretty hard to get it into the
UK market – though the dam might now
be about to burst.
Bolembach’s company, Godlyke
Distribution, makes the well regarded
digital Power-All step-down power system
for effects pedals, distributed here by
Rocky Road. It has a lot going for it – not
least because it is transformer-less, thus
hum-free, can work on any international
mains and can supply more than 20 9V
devices from a single outlet.
It has taken a while for the Power-All to
get going, but now Bolembach has novel
ideas on the way and he is looking to find
further UK outlets for some of them.
Goldlyke is unusual for a boutiquey
manufacturer in that, as its name
suggests, it is also a fully fledged
distributor in its own right in the USA,
handing products including Guyatone,
Emma, Maxon and Hao pedals. Indeed, it
has made analog boutique effects pedals a
speciality and is now becoming a
manufacturer, with its innovative Little
Dipper, under its own TWA brand.
“Over the past ten to 20 years there
have been great advances in digital
technology,” Bolembach says. “One of the
best applications has been in power
supplies. The copper coil transformer that
has been the industry standard since there
has been an industry is now going the way
of the dinosaur. Copper is expensive, it’s
heavy, costs are rising and, on top of that,
transformer-based power supplies are
incredibly inefficient. Much of the energy
is lost as heat. About ten years ago they
developed digital switching technology
and that’s what we are using in Power-All.
It’s incredibly efficient, there’s no heat loss
and it can take any line voltage and bring
it down to nine Volts DC, so it’s usable
anywhere and it meets all the
international safety ratings.”
Aside from its technical merits, there is
another factor that makes the Power-All a
hot sales prospect – it’s an affordable toy
in a recession. “Maybe a musician can’t
afford to go out and spend £500 on a new
guitar or amplifier, but £100 on a new
effect pedal is a different proposition and
what we have with Power-All is an
accessory to the accessories. It also means
the retailer just needs to stock this one
power supply, which will handle any effect
his customer has. It’s a one-stop shop for
power supplies – the Power-All will do
absolutely everything.”
Sold in two forms – as a power supply
only, or with multiple leads for daisy-
chaining up to 11 pedals with a variety of
jumper cables to suit any pedal (even
vintage and obscure ones), it’s an
affordable purchase for the musician who
likes to buy good quality gear, but isn’t in
the mood for a new Les Paul. Also in the
Power-All range are a ground reverser,
making vintage UK pedals more easily
usable in modern multi-pedal arrays, and a
variety of other geeky accessories for the
still strong pedal market.
Godlyke’s latest product, the Little
Dipper pedal, sees the company heading
directly into the boutique pedal market,
though at present has no UK distributor.
“TWA is our new brand name – Totally
Wicked Audio – and the first product is
the Little Dipper, an envelope controlled
filter designed to emulate the vowel
sounds from human speech, which it does
using a velocity sensitive dual filter matrix.
It’s very reactive to picking dynamics from
the guitar player and as the filters sweep
across each other they create frequency
notches, then follow the note envelope. It
creates ‘AEIOU’ vowel sounds and some
really interesting dynamic effects –
emulating talk boxes, phase shifters, auto-
wahs. It’s got a lot of applications.”
Having distributed some interesting
Japanese pedal brands for a decade,
Bolembach has done his research and says
there is a definite gap in the market for
the Little Dipper, something he has
enhanced by making it as cool to look at
as he says it sounds.
“We’re currently looking for a UK
distributor for TWA and Little Dipper,”
Bolembach says. “It’s not a cheap product
– in the States it will retail on the high
street for $300, so it could be around
£300 in the UK, but it is a really unique
product, 100 per cent made in the USA,
not aimed at a price point. It’s for pros,
boutique guys and it’s the first of a range
with a second unit now in prototype stage
which we hope to be able to release
before the end of the year.”
And available when in the UK? Watch
this space.
GODLYKE: +1 866 246 3595
COMPANY PROFILE • GODLYKE
38 miPRO JULY 2009 www.mi-pro.co.uk
Spare a thought for the smaller manufacturers, often one-man bands toiling away in workshops to get the quality they
believe in – and it is usually about quality. Gary Cooper finds out what makes Godlyke's Kevin Bolembach tick...
Godlyke supplies
BOLEMBACH:
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38 mip110_FINAL 24/6/09 16:36 Page 1
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www.mi-pro.co.uk miPRO JULY 2009 41
There are some companies that have
become part of the MI furniture.
They seem always to have been
around, they continue to be so and we
assume they always will – until you stop
and think about it for a second, that is.
Staying in business (in MI particularly),
requires a constant vigilance just to keep
apace. Anyone that has survived more
than 30 years is always worth revisiting in
order to assess what is new.
Strings & Things’ story, beginning with
how it sprouted from the head of the
near-legendary Top Gear retail operation
on Denmark Street in the 1970s, has been
told many times. But with founder Rod
Bradley celebrating his 65th birthday the
day before I spoke to him, it seemed an
ideal time to get the latest chapter.
For a start, forget about retirement.
Bradley simply doesn’t have the time.
“Chance would be a fine thing,” he says. “I
get to see a bit more cricket now than I
used to, but there’s still lots to do here.”
Strings & Things started out, as the
name implies, selling strings and
accessories to the trade – and this is still a
major part of the company’s business,
with the main contract being Ernie Ball, as
well as joint distribution deals for
D’Addario and Dunlop and its own Picato
brand. But when Ernie Ball took over the
Music Man brand in the ‘80s, the company
found itself at the very heart of the music
business. (The fact that Ernie Ball and, by
default, Music Man is still the core of
Strings & Things business is another
tribute to the staying power of Bradley
and his team.)
The recent news from the stable is the
new Sterling by Musicman range of mid-
to-high priced guitars and basses. “They
have been trying to do this for a while
now,” explains Bradley. “Originally, there
were the Subs – all US made, but because
of that it was difficult to compete. Then
they tried the OLP range, made in the Far
East. These went quite well, but the
diversity of the sources eventually brought
the whole thing to a halt. The Sterling by
Musicman instruments are made in the
Far East too, but everything goes to
California for quality control. The launch
of these has been pretty impressive.”
Dealers had only received initial
shipments as MI Pro went to press, with
the second shipment due later in July.
“We’ve got some big back orders already,”
he adds.
Sterling is not an entry-level brand, by
any means, but it enables the end users to
get their hands on a genuine Music Man
design for half the price.
Another major brand for Strings &
Things is the Hercules range of stands.
“We have been doing XCG stands for a
while now,” explains Bradley. “It’s a
Taiwanese company we have a very close
relationship with, so when they came up
with Hercules a few years ago, we got first
shout. It’s an excellent product with some
really good features – it’s all part of the
bread and butter of our business.”
The company will also be taking on
Paiste and Vic Firth – it handled the Paiste
brand for many years, and has recently
entered into an agreement with Korg to
sub-distribute these brands.
All of this means that Strings & Things
has seen considerable growth over the
past year and will need to expand to keep
up. “We’re in the process of taking more
space,” he says. “It’s the good fortune we
have of having such good brands – they
grow and we grow with them. And it’s
good to have Paiste here again, too. With
Pete Lunney (general manager), Mark
Snelling (director and purchasing
manager) and me all having been around
for a while, we know how to talk to the
right people and keep things changing –
and that is so important for business.”
Despite success over the years, Bradley
has kept his feet on the ground. When I
ask him if things have changed since the
days when he wanted to change the
world, he says that was never on his mind.
“We didn’t think like that. Music changes,
so we change, too. We are a cog in that
wheel and our job is to help musicians get
out and create as they want to. You don’t
come across many innovators in MI – but,
for want of a better word, we are here to
service music makers. That’s the beauty of
this industry – who knows what we’ll be
doing next year.”
STRINGS & THINGS: 01273 440442
COMPANY PROFILE • STRINGS & THINGS
Strings & Things has been the staple of MI retail consumption for well over 30 years now since its well documented
beginnings. Andy Barrett discovers that the only consistent element in such a stable history is change…
“Music changes, so we change, too. We are a cog
in the wheel to help musicians create.”
Rod Bradley, Strings & Things
Left to right: Mark
Snelling, Peter Lunney and
Rod Bradley – talking to
the right people
Sterling efforts
41 mip110_FINAL 24/6/09 16:50 Page 1
Although the art of re-invention is
central to the popular music
business, it is something of an
oddity in business – and virtually non-
existent in MI business. Thus Audio
Technica’s activities of the past three
years have stood out as something of a
showcase when it comes to re-branding
and then re-examining and tweaking that
branding on a regular basis.
Behind it all is AT’s senior marketing
manager, Harvey Roberts, a man with an
unimpeachable pedigree, having worked in
similar ways with both Fuji and Psion
before joining the Leeds mic operation.
Since giving the Audio Technica brand a
complete facelift in 2006, Roberts and his
team have been analysing every aspect of
the business, even going as far as running
an anonymous survey through Music Tech
magazine late last year. The results were
pretty encouraging.
“We wanted a warts-and-all perspective
of how we are seen, by both end users and
retailers,” explains Roberts. “Obviously, we
get feedback from the sales team that is
pretty accurate, but that will never reveal
any little home truths. It’s all very well
sitting in your office and believing this or
that, but every now and then it’s better to
get the information first hand.”
Interestingly, from the dealers, the
prime reasons for recommending a mic
were the customer service available,
product availability and speed of delivery.
Audio Technica was encouraged to see
that it came top in these areas.
“Over 80 per cent said our customer
service was ‘good’ or ‘very good’ – 52 per
cent saying ‘very good’,” says Roberts.
“This proved to me that the product is not
just the microphone, but that and
everything around it.”
At this point, a lot of companies might
have been tempted to say: ‘well, that’s all
right then’ and carry on. Audio Technica,
on the other hand, saw it as an
opportunity to strengthen its positives.
“Some of the changes we have made
have been on-going, such as restructuring
the field sales team and co-ordinating
them with a team member in the Leeds
office – all of this was happening anyway,
but it still fits the scheme in that it is
important to have the left hand knowing
what the right hand is doing.
“On top of that, we have extended our
opening times for the customer service
department to be more in line with the
hours the retailers work – 8am to 5:30pm
– and we will be opening over Christmas
in future, just as the retailers have to. The
Christmas break can be as much as two
weeks and it is a busy time in the shops
with lots of queries and even returns.
Forcing the dealer to say ‘I’m sorry, there
won’t be anyone at Audio Technica until
January 3rd’ simply isn’t good enough.”
Further to that, the entire office-based
sales team is taking an NVQ in customer
service. Some might argue that sales
people need good customer skills anyway,
but it transfers to the office workers, too.
It’s no-one’s job to simply answer the
phone and then pass the buck.
Then there is the new regime of weekly
calls to check on back orders, a new
website (partly beta tested by the UK
retailers). It all goes towards making Audio
Technica an accessible company and not
one that, through the sort of growth that
all companies aspire to, becomes slowly
more corporate and faceless.
“We are a family company at heart,”
insists Roberts. “So, yes, you’re right to say
we aim to be more accessible. This comes
from asking ourselves why we do
something and how customers see us.”
Taking this into account, the Music Tech
survey put AT at the top as regards mic
companies’ websites. “The figures weren’t
good, though,” he admits. “A third of
respondents said the site was adequate or
poor, so this is why we have gone out to
make it better, more user-friendly, more
interactive and with easier, broader search
functions. Users customise their pages to
fit their interests and specialisations. I’m
really pleased with the results.”
Despite this, Roberts says there will be
further tweaks and additional functions to
the site over the next year or so.
Perhaps the most significant fact of all
of this, however, is the fact that none of it
has happened in a vacuum. Each element
has an effect or an influence on every
other one, co-ordinating the sales teams,
warehousing, IT and customer service to
bring an integrated system to dealers and
end users, while all the time projecting the
image of a single, considerate company.
“It’s nothing ground-breaking,” says
Roberts. “It’s simply making the best use
of what we have and making sure that it
works together.”
AUDIO TECHNICA: 0113 277 1441
COMPANY PROFILE • AUDIO TECHNICA
42 miPRO JULY 2009 www.mi-pro.co.uk
While few companies have made more impression upon its end-user community than Audio Technica recently, the
company is keen not to rest on its laurels. Andy Barrett discovers that, for good service, you have to run to stand still...
“We are a family company at heart. So, yes, you
are right to say we aim to be more accessible.”
Harvey Roberts
Servicing needs
Audio Technica’s office-based sales team in Leeds (left) and Harvey Roberts
42 mip110_FINAL 24/6/09 17:33 Page 1
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folk boom:Layout 1 10/06/2009 11:41 Page 1
Guitar players have developed an
unhealthy fascination with preamp
distortion... Well, that’s the line
being put forward by Laney at the
moment – and the closer you look, the
more you might find yourself agreeing.
Where did this obsession come from?
Talking to Headstock’s sales manager,
Lindsay Harvey, and marketing manager,
Simon Fraser-Clark, the answer is clear. It
boils down to the actions of one Mr Eddie
Van Halen.
“Adding an extra preamp tube to his
amps sounded the death knell for a
significant part of our guitar playing
cultural heritage,” asserts Fraser-Clark.
“That of power amp distortion.”
Up until this point, the argument goes,
our musical cultural heritage had reflected
the sound of amplifiers being driven hard
– both preamps and power amps wound
up to give guitar players that golden
sound of rich harmonic compression.
This preamp obsession did not go
unnoticed by Laney and, a few years ago,
the company decided to do something
about it.
“It’s important in the amp business to
be seen as cool,” muses Harvey. “To have
that you need a good reputation,
definitely, but you have to make sure you
stay the course as well.”
Laney has certainly done that. The
manufacturer has been producing valve
guitar amps continuously since 1967 and
has enjoyed considerable success for the
past decade. Over those years the
emphasis on bigger amps and increased
preamp distortion became the dominant
factor in amp production – ‘more gain,
please’ seems to have been the
resounding battle cry of the MTV and
weekend warrior generation.
Combine this with the vast
improvement in the availability of quality,
affordable PA and you can guarantee that
the first thing a sound engineer will say to
a guitarist at sound check is ‘you can turn
that down for a start’. Setting good tone
at low volumes means preamp overdrive.
“We came to realise that we, and that’s
guitar players in general, were losing a
major part of our tonal heritage,”
continues Fraser-Clark. “Reversing this
trend became a bit of an obsession and
resulted in a mission to allow players to
rediscover the sound of a small amp being
pushed hard – an amp where you are
listening to both parts of the amplifier, the
pre amp and the power amp being pushed
hard and being made to work.”
Enter the LC15 in 1996, a highly
affordable low-Watt valve amp and the
first to tap into this trend of realisation
that small can be beautiful when it comes
to tone. The LC15 has gone on to sell over
10,000 units and remains one of the
definitive small valve amps on the market.
This small is beautiful philosophy is
something that is still closely associated
with Laney products.
“Small really is beautiful when it comes
to Laney,” says Harvey. “The Lionheart and
the newly launched Cub ranges have all
taken on board the low Wattage idea and
resulted in great sounding and very
appealing amplifiers. The Cub 8 and Cub
10 offer players amazing sounds and very
competitive prices and make real valve
tone available to everyone now.”
With the products most definitely right,
Harvey believes, and the products ticking
over nicely, the next step is to get the
message across to the dealers. “It really is
the dealers that make the difference,” he
points out. “Having them onside and
understanding the principles at work here
can make an immense difference. Yes, the
hi-gain sounds are popular, but those in
the know can point out where the best
sound comes from.
“Laney has over 40 years of heritage, so
a lot of people know what we are about
anyway, but the Cubs are something new
that also embrace that heritage, not turn
away from it. There is a good selling point
there.” For Laney – and hopefully for the
dealers and end-users, too, beautiful things
really do come in small packages.
HEADSTOCK: 0121 508 6666
COMPANY PROFILE • HEADSTOCK
44 miPRO JULY 2009 www.mi-pro.co.uk
Preamp distortion, it would seem, has become something of a pre-requisite in amp design of late, but try telling that to
the folks at Laney. Andy Barrett takes a look at the famous manufacturer’s latest take on the oldest of traditions…
Lindsay Harvey (left) and Simon Fraser-Clark believe in Laney’s small beauties
The power and the glory
44 mip110_FINAL 24/6/09 17:34 Page 1
We’re based in Rothley in
Leicestershire, basically about as
central in the UK as you can
get. I travel every day from Nottingham,
but the travelling is pretty good for me as
all the rush hour traffic is going in the
opposite direction.
Days can be pretty varied – I don’t tend
to do the same thing from day to day.
Once I get in of a morning one of my
main responsibilities – as I’m head of
advertising and graphics – is to get stuck
into that side of things straight away. A lot
of it is branding and advertising within
Soar Valley Music. The advertising side of
it is all about trying to present the
company in a true light through liaising
with magazines and dealing with the right
people. For example, as far as Soar Valley
goes, it is important that dealers are clear
where we stand as a company with our
positive ethical trading on our drums.
Around midday I can start to
concentrate more on the day-to-day
running of the company. I have a rich
diversity of responsibilities in my daily
routine, and at Soar Valley it’s over and
above simple importation and distribution
– it’s more than it says on the tin in some
respects. We all have responsibilities that
cross over, and it’s very much a team
effort here, which is reflected nicely in our
relationships with dealers.
I put together costings and Samba kits
for our dealers, who often get enquiries
from schools that don’t know what they’re
looking for but have a wad of cash allocated
to invest in Brazilian or African gear. One of
my responsibilities is to put together kits
that let customers know what is out there.
We’re quite a small company: there are
five people in the office and three in the
warehouse who prepare everything to get
out of the door. It’s all hands on deck here
– the company has been going for 25
years and has managed to build up a good
reputation which keeps us going. I’ve been
here for 15 years now, and it’s a great
place to work. It’s a nice atmosphere to
work in and our new building is
overlooking a really nice countrified view.
I’m heavily involved in the branding –
we develop new brands for the UK market
with our manufacturers. We have a new
range of electronic drums coming soon
that I’ve been working on – called
Techtonic. I’ve produced logos, marketing
support material, adverts and POS
information for our dealers. I’m trained as
a graphic designer and I’ve been able to
hone those skills here which has been very
handy, both personally and professionally.
We’ve also got a new range of drums,
which have been produced specifically for
Soar Valley by Remo, and I’ve been doing
graphics for that. As a wholesaler, we can
do a lot of extra things as we have the
resources here to be able to do that.
When I get home, there’s also plenty
going on. It was my own personal interest
in music that got me involved with Soar
Valley in the first place. I play in a band
called In Isolation. We’re a new wave band
– we recently headlined Club NME in
Derby, which was great. I have also
devised a promotional tool for bands and
punters on Twitter called Follow an Indie
Band Wednesday which allows bands and
listeners to recommend bands, so I’m
pretty busy.
I WOKE UP THIS
MORNING
WWW.MI-PRO.CO.UK miPRO JULY 2009 45
PROFILE
RYAN SWIFTSoar Valley Music
Ryan Swift of Soar Valley Music takes us through his day, beginning with the commute and ending with a gig or two...
45 Mipro110_FINAL 24/6/09 17:37 Page 1
full page 20/5/09 10:07 Page 1
LOCATION REPORT
A return to
sunny Swindon
RETAIL13 proves lucky for some
NEWS, OPINION, DATA
As MI Pro went to press, the 13th JHS
Event was in full flow (June 21st to
24th), with (as ever) the sun shining
and enthusiastic comments from both
sides of the order book.
Full figures will be reported in the next
issue, but needless to say, attendance was
impressive on the opening Sunday, giving
dealers the chance to get some of the
best deals of the year, while enjoying a
pint and a plate of food, some relaxed
chatter and a nice day out for the family
to boot. There really is nothing like it.
Of note this year was the quantity and
quality of exhibitors that had taken
advantage of the in-house trade show.
These included the online, e-tailing expert,
Retail Up, Manchester’s print distributor,
Music Exchange and Future Publishing,
which was at the show to flag up the
Music Radar website and its music titles.
Gordon O’Hara of Retail Up was
extremely pleased with the results of his
attendance. “It’s been good, very up-beat
and a lot of business done,” he said. “I’m
impressed with the blend achieved.”
Talking to JHS’ MD, Dennis Drumm, at
the end of the Monday, his satisfaction
was palpable. “It’s been fantastic. Sunday’s
sales look to be well up on last year and
with two days still to go, it’s
fingers crossed for a record year.”
On top of the exhibiting ‘guests’, JHS
had brought in a record number of its own
suppliers – of particular note being Larry
Fishman and Joe Barbieri of Fishman
Acoustic, talking dealers through the
impressive Fishman Solo portable PA.
Other suppliers of interest included
Kustom Amplification’s Ted Burger, Erjan
van der Laan from Dunlop Manufacturing,
Allen & Heath’s Bob Goleniowski and
Martin Daley, US Danelectro clinician and
demo artist, Danny Dugan and Manuel
Rodriguez Junior of Rodriguez Guitars.
As well as some impressive looking new
Vintage models (acoustic and electric, the
latter featuring some additions to the
Vintage Icon range), JHS is now the
exclusive distributor for Trevor Wilkinson’s
Italia guitars. “It probably won’t come as a
surprise to anyone,” said Drumm, “but
we’re very pleased to have these guitars
here. They fit into a very special niche in
the market and there are a lot of fans out
there – dealers, as well as end users.”
JHS Event again brings the best of MI business in relaxed atmosphere with own brands and extensive exhibitor attendance
NEWSCredit card
regulations,
Headstock
latest, Cliff
Owen
BEHIND THE COUNTERNever mind the
economy, it’s
hot in here
INDIE PROFILE
Mark 1 Music,
Kent
The JHS band led by Geoff Whitehorn (centre) accompanied business and pleasure
47 MiPro110_FINAL 24/6/09 17:54 Page 1
48 miPRO JULY 2009 www.mi-pro.co.uk
RETAIL • NEWS
Credit regs affect MICard companies’ extensive requirements now moving ‘downmarket’
RETAIL UP’S Gordon O’Hara, in
the latest of his online features
with MI Pro, has flagged the
updated requirements of credit
card companies on retailers and
other providers of card facilities.
A consortium of credit card
companies – having already
successfully imposed strict e-
commerce credit card processing
rules on major companies – are
now moving ‘downmarket’ to
impose the same strict
requirements on mid-sized and
smaller businesses, explains
O’Hara in his piece, which can
be read on the MI Pro website.
In order for stores to continue
to accept Visa, MasterCard,
American Express and other
cards, the Payment Card
Industry (PCI) Data Security
Standards (DSS) now require
proof of compliance.
These include a 240-question
survey of internal policies,
programming, hosting
arrangements and management
controls that apply to the site
and a quarterly scan that
includes (on average) 25,000 or
more tests of retailers’ site’s
ability to prevent hacker and
programming attacks that allow
unauthorised access to card
numbers and security codes.
“The requirements are
substantial and should not be
underestimated,” said O’Hara.
“They require a highly detailed
programming policy that can be
examined at any time, strict
management controls over how
new programming is produced,
tested and approved, and insist
that hosting facilities will no
longer (in essence) be
maintained in the store due to
requirements for controlled
access and firewalls.”
The article outlines all of the
requirements, as well as
solutions to achieving
compliance, not least, of course,
by utilising a new program from
Retail Up itself.
RETAIL UP: 020 7096 4216
Headstock’s new
products and dealers
HEADSTOCK DISTRIBUTION
has announced two new amp
ranges from Laney and a raft of
new members for its Tama
dealership network.
The first of the new Laney
ranges, named Cub, comprises
two tube amps with a
traditional look and sound in a
small package.
The single-ended, Class A
Cub 8 features an eight-inch
Celestion driver and produces
five Watts RMS from a single
6V6GT equipped power
section. Its straight-ahead pre
amp features tone and volume
and is loaded with a single
ECC83 pre amp tube.
The Cub 8 houses an
extension speaker socket on
the rear panel so it can be used
to drive a larger speaker if
necessary. (An article profiling
the company’s marketing
positioning for these new amps
can be found on page 44 of
this issue.)
Also new from Laney is the
Prism range of digital
amplifiers. Previewed at the
Frankfurt Musikmesse, these
are digital amplifiers that take
inspiration from combinations
of amplifiers and effects used
to create classic guitar tone
recordings and authentically
reproduce these to provide the
player with guitar tone
‘building blocks’.
New additions to the Tama
Elite dealership network have
been announced and are as
follows: Wembley Drum Centre,
London, Anglia Drum Centre,
Norfolk, Andertons, Guildford,
Drumwright, Reading,
Percussion House, Cardiff, PMT,
Southend and Salford,
Scheerers, Leeds, and Rhythm
Base, Glasgow.
HEADSTOCK: 0121 508 6666
New amps released by Laney and Starclassic
� Elite dealers access exclusive Tama products
A Lifetime of SatisfactionIn 2007, we introduced a unique Lifetime Warranty* across our 40 Series studio microphonesand in 2009 we are going a step further and extending this offer to include both our Artist Eliteand Artist Series ranges of wired microphones.
Unsurpassed in the market, our Lifetime Warranty offers genuine added value to every sale andreinforces our commitment to unbeatable customer service.
Call us today on 0113 277 1441 – and experience more.
*Terms and conditions apply. Visit www.audio-technica.com/warranty for full details.
Cliff Owen 1929 to 2009CLIFF OWEN, the founder and
owner of Cliff Owen Music in
Seven Kings in Essex, died on
June 11th after a short illness.
According to his son, Max,
Owen had always wanted to run
his own musical instrument
shop, having played saxophone
since his teens.
While doing his National
Service, he swapped two tickets
to a local dance for an old sax,
and began learning after lights
out under his bed covers.
“It was always his ambition to
open a store,” explained Max
Owen. “He had been a publican,
a greengrocer and an electrician,
but it was always his dream to
work in MI. He finally opened his
store in 1977.”
The first shop was a small
affair, but after two years, he
opened up the shop on the site
it is today, with some 7,000
square feet. The shop is now
managed by Max Owen.
Cliff Owen is survived by his
wife Sheila, Max, daughter Rifka
and three grandchildren.
The funeral was held on
June 16th.
O’HARA: Substantial requirements
48 Mipro110_FINAL 24/6/09 18:00 Page 1
WWW.MI-PRO.CO.UK miPRO JULY 2009 49
13 – 16 October 2009 Shanghai New International Expo Centre, China
live for the music
International Exhibition for Musical Instruments and Services
For information, visit www.musikmesse.com Or email [email protected]
• over 40,000 distributors, dealers, retailers and musicians from 91 countries
• over 1,100 exhibitors showing a broad product mix of both western and traditional Chinese instruments
• set against the backdrop of one of the world’s most exciting and rapidly-developing music product markets
BEHIND THE COUNTER • RETAIL
...don’t take off all your clothes. That’s the message from our undercover reporter as MI retail takes a hit in the summer
It’s getting hot in here...
It’s getting hot out there.
Really very hot indeed. Not
hot in an ‘economic
meltdown’ kind of way, though.
This is more of a ‘why can’t we
have a paddling pool in the
shop’ situation. Customers have
begun taking it upon
themselves to parade their
shocking white limbs around
the place, as if wearing shorts
in public was acceptable
behaviour for an Englishman in
the summer time, while lobster-
faced weekend sunbathers look
nothing short of proud that
their tan was achieved in dear
old Blighty.
While all this is great news
for ice cream vendors, sun
lotion merchants and people
who sell those handy little
portable fans, it’s not such
great news for us humble MI
retailers. Summer can be a
harsh time for us, as people
spend less time indoors,
practising their instrument like
good musicians should and
spend more time frolicking –
yes, that’s right, frolicking –
about outside, chasing girls
who shed their winter layers
to display acres of flesh for all
to see.
Dark days indeed. We’ve
already seen a bit of a drop off
as the frenzied excitement that
accompanies the first truly hot
days of the year puts Joe Public
into a kind of hot weather
panic, where a whole summer’s
worth of activities must be
packed into what could turn
out to be just a few warm days.
In order to counter the sun’s
devilish plot to sink us, we’ve
been doing a bit of planning of
our own. Marketing and being
resolutely pro active will
hopefully provide the key for us
in these long, sweltering
summer months.
Phase one has been an
entirely new and improved
window display. We all know
how important the window
dressing is and now, thanks to a
concerted effort involving quite
a bit of drilling, some
hammering and a lot of
swearing, our windows look like
portals into some heavenly
music kingdom, promising
untold treasures to any passing
muso. Thankfully, all our labours
are paying off as increasing
numbers of passers by have
begun drooling at the displays,
with an awful lot of them
coming in the shop as a result.
Take that, seasonable good
weather.
Phase two has been the re-
launch of our website and
establishment of our e-
commerce wing. Nothing short
of a leap into the unknown for
us, our online adventures will
no doubt lead to wonderful
things. For now though, we’re
spreading the word and finding
out about things like this
‘Google’ machine everyone
keeps talking about. There will
no doubt be more to report on
this once things really get
going, but for now it’s nothing
short of a hop, skip and a jump
in the right direction.
One thing that is for
absolute certain is that summer
is no time for relaxing, not for
our kind anyway. Efforts must
be doubled and at our place
ideas abound as to how we can
keep customers coming
through the doors in these
scorching times. Hopefully
some of them will pay off…
NEXT MONTH...I’ll be taking a look at the
terrifying world of online
retail, as our shop takes its
first lamb-like steps into the
wider world of e-commerce.
Until then…
49 Mipro110_FINAL 24/6/09 14:32 Page 1
50 miPRO JULY 2009 WWW.MI-PRO.CO.UK
RETAIL • INDIE PROFILE
MARK 1 MUSICKENT
Is business up or down
compared to this time last year?
It’s difficult to say – we expanded
recently, so we are up on last year
marginally, but because we moved
into a premises that’s three times
as big, it’s difficult to ascertain
what we should be doing.
Generally the trend is slightly
down, but we won’t really know
until next year.
Do you advertise the shop
locally?
Yes – we do various promotions in
football club magazines, in the
paper and in various programmes
for festivals, as well as listings.
Do you have an online
presence?
Yes. We don’t trade through it, but
it’s good to have it up there.
What do you consider to be
your main strength?
Pretty much the same as
everybody that’s in retail –
customer satisfaction. The
customer is the most important
thing. We look after our punters
and we have a loyal and regular
customer base because we do our
best for them and try to make
sure they are always kept happy.
What do you think is the most
important lesson you’ve learned
in the business so far?
That would be looking after the
customers.
What is the biggest challenge
facing you?
Online business. It’s had a massive
impact. One obvious issue is that
we end up sorting out other
people’s shit – they buy something
online and we have to fix it for
them as the online retailers can’t
do it. People don’t know what
they’re buying and it’s a big
problem. Someone will buy a kit
online and when it’s delivered they
find out it’s actually a mini drum
kit. It’s also difficult to compete
because the online people are
often simply shifting boxes, which
means their margins are lower.
Given the power, what would
you change about the industry?
I don’t really know – I guess I’d
bring in retail price policing.
FACTS & FIGURESAddress: Mark 1 Music, 12 - 16 Victoria Road, Deal, Kent, CT14 7BN
Phone: 01392 496379
Owners: Terry and Mark Cutting
Established: 1996
Employees: Eight including part timers
Best selling lines: Hard to say as we cover such a broad variety of
instruments and accessories.
50 Mipro110_FINAL 24/6/09 14:31 Page 1
WWW.MI-PRO.CO.UK miPRO JULY 2009 51
KEMPSTER & SON
Well placed along a High Street with a lot
of passing traffic, Kempster & Son is, first
and foremost, a guitar shop, with a broad
selection of excellent quality acoustic and
electric instruments.
A decent amount of floor space makes
browsing the tempting treats on display
nice and easy, while extremely friendly
and highly knowledgeable staff are both
on hand and eager to help.
The store is well stocked with Fender, as
well as a dashing of Tokai and the odd
Epiphone. The electric guitar section is
well presented and competitively priced.
In terms of acoustic, Tanglewood
dominates, but there are a few treats in
store for eagle-eyed shoppers, such as the
odd Guild. Upstairs is a drum room that’s
not quite as tempting as downstairs, but
once again it’s well presented and nicely
stocked up with Zildjian cymbals and a
couple of Pearl kits.
The general feel of the place is that of a
homely store, the type that has taken all
of the best bits of the last generation of
MI shops – the service, in depth musical
knowledge, and comfortable surroundings
– and married them to the best in modern
retail. All told, it’s a great place and well
worth a visit.
HOLMES MUSIC
On the other side of the city centre from
Kempster and Son is Holmes Music.
Holmes Music has been selling MI ware to
the people of Swindon for over 40 years
now and has established itself as a real
hub in the muso community.
As well as the wide-ranging educational
facilities at the store, the Holmes family
organises events and has recently been
involved in a busy charity campaign in aid
of the Goldenhar Family Support Group.
A busy place, with a constant buzz
around it, Holmes Music has a bit of
everything on hand – organs, pianos, sheet
music, electric and acoustic guitars, and a
very decent selection of drums. Each
department has its own manager, so
expert help is only ever a question away.
Plenty of big brands have been covered
off, with Marshall, Fender and Tama all
getting plenty of floor space, while an
acoustic section features a good few
Freshman guitars on display.
Once again, friendly and helpful staff
populate the shop floor, and the whole
place gives off a positive air.
ROCK AND ROLL MUSIC
Around the corner from Holmes Music lies
Rock and Roll, a shop that used to be
awkwardly located in a knocked-through
house on the outskirts of town. Its new
home is much better, although the
proximity to the other shop must be a
shade uncomfortable for all involved.
A smaller store than its nearest
competitor, it makes up for it by ensuring
it has plenty of alternatives to its
neighbours’ gear on offer. An attractive
bunch of Orange and Hiwatt amps in one
corner compete with an array of Yamaha
guitars erring on the side of ‘metal’. Half
of the shop is given over to drums – in
particular a large Zildjian cymbal display
and a stand full to the brim with Tama
pedals and various other mouth-watering
accessories for the drummer.
Whilst certainly smaller than its
competition, it would seem that Rock and
Roll Music has plenty going on to demand
its own presence, and it ensures Swindon’s
musos are left with plenty of choice when
it comes to picking up new gear.
BRIAN TAYLOR MUSIC
Just outside of Swindon, in the flag-waving
town of Wooton Bassett, is Brian Taylor
Music, an interesting little place that looks
like somewhere Harry Potter would go for
his musical instruments.
A small shop front with plenty of Olde
Worlde charm leads to a space crammed
full of sheet music for every conceivable
instrument. Standard accessories such as
strings and straps mingle with musical
gifts – think ties, clocks, that sort of thing
– as well as an intriguing mix of instruments.
A set of junior bagpipes, flagiolets,
various weird and wonderful percussion
devices, as well as a guitar or two, are all
to be found among the various nooks and
crannies. It’s the sort of shop where one
might pick up a mandolin, having never
played one before, and buy it, simply
because it is well placed and feels like a
bit of a find.
Wooton Bassett can be rightly proud of
its interesting and heartwarming MI outlet.
The long drive down the M4 will eventually take all who travel it to glorious Swindon, home of many things, not
least the most confusing roundabout in southern England, but also a smattering of rather fine musical emporiums.
MI Pro takes a gander at what the town has to offer its musos…
Swindon
LOCATION REPORT • RETAIL
Holmes Music has a bit of everything on hand
and each department has its own manager, so
expert help is only ever a question away.
These stores ensure the
residents of Swindon can
always scratch the MI itch
51 Mipro110_FINAL 24/6/09 14:42 Page 1
52 miPRO JULY 2009 www.mi-pro.co.uk
MIA NEWS an update from your industry trade association
MIA says thank you to all the tradeTHE INDUSTRY-owned London
International Music Show was, the MIA
says, a great success and attracted over
21,000 visitors during the four days.
In a difficult climate that had seen
many other events and shows cancelled,
the music industry managed to pull
together and delivered a fantastic
showcase for the industry.
“We would like to thank every
exhibitor, sponsor and contractor who
made all this possible, we could not have
done it without you,” enthuses the
association’s CEO, Paul McManus.
“The trade day on the Thursday was
not helped by the Tube strike, but we still
saw over 1,500 of you at the show. It is
great to see that many of you came in
more than once as well.
“The Education Day brought in over
5,500 children and Music for Youth
facilitated a superb series of events
including the Big Gig (pictured).
“This was considered a great success
and we will definitely do more of this
next year. NAMM kindly helped us to
bring 1,000 local, underprivileged children
to the event.
“Peavey generously gave us a brilliant
industry party featuring the music of
The Commitments and a great time was
had by all.
“The dedicated public days (Saturday
and Sunday) were attended by over
14,000 people and visitors were treated
to seeing the best instruments in the
industry, together with some superb
performances from top musicians from all
over the world. The Steve Vai master-
classes were a particular success.
“For the first time, we were able to
track comments from the public as to
how they enjoyed the show (using
computer questionnaires) and we have a
very high satisfaction level from them
and they clearly like the format.
“So, success in a tricky climate, but we
know there is still lots to make better for
next year. We have asked all the industry
for comments about the pros and cons
from the show in order that we can take
all this on board before we start selling
the 2010 show. Please contact me on
[email protected] if you have any
thoughts, they are all welcome.”
MIA: 01732 750600
Industry association takes the opportunity to express gratitude to all at LIMS and calls for comments
“We saw over 1,500 trade visitors – it is great
to see so many came in more than once, too.”
Paul McManus
The Big Gig, organised by
Music for Youth
52 Mipro 110_FINAL 24/6/09 18:02 Page 1
DBT 17/6/09 15:16 Page 1
NEW PRODUCTS
HAYDEN
SPEAKEASY £1,349They say: This exquisite amp delivers a
versatility that equips it well for the
modern stage or studio.
For: Guitarists
Range: Hayden amps
Spec: 50-Watt, two-channel
(footswitchable) valve amp, separate
signal paths ahead of tone shaping stage.
Channel 1 (clean) with valve driven spring
reverb. Channel 2 with extra gain.
From: Hayden 01245 441155
54 miPRO JULY 2009 WWW.MI-PRO.CO.UK
LANEY
CUB SERIES VALVE AMPS
FROM £169They say: A traditional looking and
sounding small amp package, born
out of Laney's 40-year heritage.
For: Guitarists
Range: Laney combos
Spec: Two in range. Cub 8: 8"
Celestion driver, 5W, 6V6GT valve
(ECC83 preamp valve). Cub 10
(£219): 10" Custom Celestion driver,
two 6V6GT valves, Class A/B
circuitry, extra gain control.
From: Headstock 0121 508 6666
PEAVEY
PENTA ROSSINGTON
EDITION AMP £1,767.55They say: The result of a
relationship that has thrived for
more than 30 years.
For: Guitarists
Range: Peavey Penta
Spec: 140W, five mode amp on
single channel, four matched EL34
and four matched 12AX7 valves,
ceramic valve sockets, five preamp
settings with individual gain and
tone settings.
From: Peavey 01536 461234
Still catching up with
the sheer weight of
products from NAMM
and Musikmesse –
particularly in
backline
ACCESSORIES � BACKLINE � BASS & GUITAR � DRUMS � PRINT
PRODUCTS • BACKLINE
ENGL
E635 FIREBALL 100 £1369They say: Satisfies the needs of the modern
guitar player - even on the biggest stages.
For: Guitarists
Range: Engl Fireball
Spec: 100W, two-channel head, clean & lead
channels with separate gain control, bright
switch on clean channel, bottom switch for
low-end boost, passive, three-stage eq, lead
volume control, footswitchable mid boost,
master A & B volume control, power valve
monitor (LED).
From: Music Force 01780 781630
LANEY
PRISM SERIES DIGITAL
AMPS £TBCThey say: Gives the player
inspirational building blocks to
produce truly stunning guitar tones.
For: Guitarists
Range: Laney amps
Spec: Three models: P20, P35 and
P65. Each with Hero mode (Live
WISYWIG), four user channels, up to
22 tone spectrums, studio quality
programmable effects bank.
From: Headstock 0121 508 6666
ORANGE
TINY TERROR HARD WIRED
AMP £649They say: For the more discerning
guitarists, something extra is needed.
For: Guitarists
Range: Orange Terror series
Spec: Point to point, all hand wired
head, high spec transformers, carbon
comp resistors, mustard capacitors,
wider frequency response and lighter
than production version Tiny Terror.
From: Orange 020 8905 2828
MARKBASS
MOMARK MODULAR BASS
AMP SYSTEM FROM £622They say: A revolutionary system,
designed to allow players to build the
amplifier of their dreams.
For: Bassists
Range: Markbass amps
Spec: Two-unit rackable chassis in
250W, 500W & 800W versions, three
modules per amp, nine modules.
Three preamp, three eq and three
master modules.
From: Proel 020 8761 9911
54 Mipro110_FINAL 24/6/09 17:58 Page 1
WWW.MI-PRO.CO.UK miPRO JULY 2009 55
QUIKLOK
SL820 KEYBOARD STAND £209.50They say: The perfect solution for home
studio and live performance.
For: Keyboard players
Range: Quiklok stands
Spec: Solid steel construction, patented
foldable design, fully adjustable tiers, nine
height positions, four angle positions,
telescoping depth for universal usage, uneven
floor compensation.
From: Freestyle 01924 455414
NUMARK
NS7 CASE £229.99 (STREET PRICE)They say: So DJs can perform with the NS7 in the
case for safety and security.
For: Numark NS7 users
Range: Numark accessories
Spec: Coffin-style flight case designed for NS7,
wood construction, metal reinforcement, two
casters and handle for transport, removable front &
back panels, fits laptop stand.
From: Numark Alesis 01252 341400
ACCESSORIES • NEW PRODUCTS
BOSS
TU-1000 TUNER £239They say: A huge, striking, high-
intensity LED metre for visibility
on dark stages.
For: Musicians
Range: Boss tuners
Spec: Floorboard tuner, powers
up to six effects processors, two
audio outputs (one with direct
signal flow), open and
alternative tunings.
From: Roland 01792 702701
FUSION
F3 GIGBAGS £45They say: This bag offers far
more than other regular lower
end gigbags.
For: Musicians
Range: Fusion F3
Spec: 15mm high density padding,
water resistant outer, large pockets,
padded back-pack straps with
MP3/phone pouch, cushioned rear
panel, available for cello, keyboards,
brass and woodwind.
From: Aria UK 01483 238720
GATOR
GPA SPEAKER COVER
£39.99They say: Ideal for outdoor live
performances.
For: Bands, performers, engineers
Range: Gator bags
Spec: Speaker cover with
hideaway rain cover, fits while on
speaker stand, zippered access to
speaker front, access to handles
with velcro cover, access to rear
panel and sockets.
From: Freestyle 01924 455414
55 Mipro110_FINAL 24/6/09 17:56 Page 1
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WASHBURN
NUNO BETTENCOURT N1 &
N2 RELIC £299 & £499They say: Both stunning guitars are
‘aged’ to look like Nuno’s iconic
Washburn N4 Relic.
For: Guitarists
Range: Washburn electrics
Spec: Bill Lawrence L500 bridge
pickup, push/pull coil tap, alder body,
natural finish maple neck, rosewood
fingerboard.
From: Sound Technology
01462 480000
STERLING BY MUSIC MAN
STERLING SERIES £POAThey say: Ernie Ball Music Man
licensed, Indonesian made basses and
guitars.
For: Guitarists, bassists
Range: New Music Man range
Spec: : Music Man designs, parts and
components, four guitar models
(AX20, AX40, Silo20 & JP-50 John
Petrucci signature) and three bass
models (Ray34, Ray35 and SB14).
From: Strings & Things
01273 440442
BASS AND GUITAR • NEW PRODUCTS
ARIA
DIAMOND SERIES £199They say: The 60s are back once again as a
seriously affordable, alternative guitar choice.
For: Guitarists, bassists
Range: Aria solid bodied guitars
Spec: Reversed body shapes, German Carve
design, pearloid scratchplate, diamanté
studded headstock. DM380 guitar with APS-9
single coil pickups, alder body, maple bolt-on
neck, rosewood fingerboard, VFT-2 vibrato.
DMB380 bass with FB-1 single coil pickups.
From: Aria UK 01483 238720
IBANEZ
RG09 PEGASUS LIMITED
EDITION £379They say: With legendary playability
and traditional Ibanez RG features.
For: Guitarists
Range: Ibanez RG
Spec: Edge III double locking bridge,
three-piece Wizard II neck, Infinity
humbuckers. Royal blue or pearl
white finishes available.
From: Headstock 0121 508 6666EKO
RANGER VINTAGE 12
£219.95They say: The 12-string dreadnought
guitar with the perfect blend of
elegant, classical proportions.
For: Guitarists
Range: Eko acoustics
Spec: 12-string dreadnought,
adjustable rosewood bridge, double
action truss rod, die-cast chrome
tuners, laminated spruce top,
mahogany back & sides, linden neck,
rosewood fingerboard, zero fret.
From: Freestyle 01924 455414
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WWW.MI-PRO.CO.UK miPRO JULY 2009 59
ROLAND
V-PIANO £5,199They say: The next step forward in V-
Technology.
For: Pianists
Range: New Roland product
Spec: Non-loop-based emulation
technology, ‘vintage’ and ‘vanguard’
modes, string, hammer, tuning, voice
and frame adjustments for ‘bespoke’
piano stylings.
From: Roland 01792 702701
W SCHREIBER
7130 SERIES OBOE £1,650They say: Once again there are four
oboes available from Schreiber.
For: Oboists
Range: S&K woodwind
Spec: French fingering system,
grenadilla wood with natural wood
surface, stable key mechanism, epoxy
resin lining in bore, solid nickel-silver
mechanism, extra heavy silverplating,
five-year guarantee, made in Germany.
Ships with case and extensive
accessories.
From: Rosetti 01376 550033
TRADITIONAL • NEW PRODUCTS
KORG
LP-350 DIGITAL PIANO £919They say: Featuring rich and expressive,
realistic piano sound based on the latest
Korg sampling technology.
For: Pianists
Range: Korg digital pianos
Spec: 88-note real weighted hammer
action keyboard, touch control (light,
medium, heavy), stereo sampling system,
60-note polyphony, 30 voices, tempo,
reverb, chorus.
From: Korg 01908 857100
ROLAND
LX-10 DIGITAL PIANO £3,999They say: Uncompromised piano quality
in a small footprint – an attractive
addition to any home, school, or studio.
For: Pianists
Range: Roland digital pianos
Spec: PHA II Ivory Feel keyboard with
escapement, six-speaker sound system,
open/close lid sound differential, USB
port, polished ebony and satin black finish.
From: Roland 01792 702701
KEMBLE
CHOPIN ANNIVERSARY
SPECIAL EDITION £7,703.85They say: Celebrating the 200th
anniversary of the birth of Chopin.
For: Pianists
Range: Kemble uprights
Spec: 121cm frame, hand-wound
Bösendorfer bass strings, high-spec
hammers, ‘grand’ grade soundboard, solid
brass accents, burr walnut key blocks.
Available in three polyester finishes:
black, mahogany and American walnut.
From: Kemble 01908 371771
Wrongpic
new onein current
issue
59 Mipro110_FINAL 24/6/09 17:30 Page 1
Target: General
Comment: There are probably few people
who know anything about guitars that do
not know the name Bigsby. After all, how
many people have a patented vibrato arm
named after them? What most of them
don’t know, I would wager, is very much
about about the man behind the name,
Paul Bigsby. A modern-day renaissance
man, Bigsby was a champion motorcycle
racer, engineer, inventor, poet, 32nd degree
Scottish Rite mason, a musician and a
luthier. Combined, these skills (well,
perhaps not the mason bit) led Bigsby to
creating, contrary to popular belief, the
first solid-bodied electric guitar, years
before Les Paul and Gibson came up with
the more enduring model we know today.
Ironically, it was the success of the
tremolo arm that put paid to Bigsby’s
guitar making, as demand for production
took over his life, but this stunning book
should be left out on the coffee table for
all to see and learn. Bigsby guitars today
are very valuable collectors’ items, while
the vibrato is almost as ubiquitous as the
electric guitar itself. This delightful tome
tells the tale of both.
Hal Leonard (Music Sales):
01284 702600
BOOK OF THE MONTH
GENERALAuthor: Bill BrufordThe AutobiographyTarget: General
Comment: In a book that deserves to go far
beyond the expected Yes and King Crimson fan
base, Bruford looks back over his life and career
with wit and a candid demeanour that is worthy
of the best storytellers. How a man has survived
so much of the crap the industry has thrown at
him, but remains as enthusiastic as on the day of
his first pay cheque, is nothing short of a wonder.
Jawbone: 020 7720 3581
NEW PRODUCTS • PRINT
60 miPRO JULY 2009 WWW.MI-PRO.CO.UK
Author: Andy BabiukThe Story of Paul Bigsby
Author: VariousRaising an AmazingMusicianTarget: Parents
Series: You’re the Voice
Comment: The (newly re-branded) ABRSM has
come up with an extremely useful companion
for parents that would like to know whether
their child (or children) have any capacity for
musical participation or appreciation, how to
spot the signs, how best to encourage musical
growth and a run through of the sort of music
making opportunities that are out there for
kids. Hopefully, this book will get the the sort
of exposure it deserves (and will need).
ABRSM: 020 7636 5400
Author: AR DuchossoirGibson Electric SteelGuitars: 1935 to 1967Target: Guitar, general
Series: Authentic Guitar Tab Edition
Comment: Guitar geeks of the world rejoice.
If ever there were a niche market in the
history of a musical instrument, this book slips
into one of the most specialist nooks one
might care to think of. Gibson only made steel
or Hawaiian guitars for 32 years, but many
have forgotton that until the 1950s, the steep
lap guitar was the most popular and forged
the path for the solid bodied electric. This
coffee table edition looks at everything
Gibson did with this guitar.
Hal Leonard (Music Sales): 01284 702600
Author: RichieUnterbergerWhite Light White Heat:The Velvet UndergroundDay-by-dayTarget: General
Comment: Billed as ‘the most comprehensive,
immensely detailed work about one of the most
influential bands in the history of rock’. And it’s
hard to argue with that. Unterberger draws on
more than 100 interviews to produce the day-
by-day history of the band during its short
existence, as well as a monthly diary of events
before and after, running from 1958 to 2001.
Velvet-heads will be falling over themselves to
get a copy of this.
Jawbone: 020 7720 3581
60,61 Mipro110_FINAL 24/6/09 17:49 Page 1
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PRINT • NEW PRODUCTS
Author: Bill WoodsBodhran: The BasicsTarget: Beginner percussionists
Series: Mel Bay’s The Basics
Comment: It’s in the wrist action – and in this case, it really is. Woods
takes the learner through the essentials of stick control for this
wonderfully expressive piece of percussion, which, it turns out in the
introduction, is not even needed when one is getting a handle on the
techniques needed to master it.
Mel Bay: 020 8323 8010
Author: Ollie Weston (with MarkArnstrong, trumpet)Exploring JazzFlute/Saxophone/TrumpetTarget: Jazz wind
Comment: Schott’s new ‘Exploring’ series opens up with three books in the
jazz genre, with each chapter in the books containing tunes and exercises
designed to improve technique, reading, creativity and theory, as well as
adding a history of the genre and its innovators. With a demo CD, the book
takes the learner through harmonic and theory and brings the player to a
very high level from a ‘false beginner’ level.
Schott: 020 7534 0744
Artist: Drew AndrewsUkulele First JamsTarget: Uke players
Series: Mel Bay First Jams
Comment: The First Jam series is designed to give beginners (of any
instrument and of any age) a collection of tunes to learn and play, thus
establishing a repertoire from the word ‘go’. Further than that, the books
also encourage improvisation from the very earliest stages. These simple
tunes are the ideal basis upon which such improvisation can take place.
Mel Bay: 020 8323 8010
Artist: Massimo PalermoEncyclopedia of Bass ArpeggiosTarget: Bassists
Series: Mel Bay Encyclopedias
Comment: Bass playing is all about arpeggios and this book has
hundreds of them, covering the whole gamut of triads and seventh
chords/scales. For the learner, this is as good a way to get to know the
fretboard and the basics of bass harmony as any and for the more
established player, a handy reference for those little exercises that slip
out of awareness from time to time.
Mel Bay: 020 8323 8010
Author: Eva CassidySomewhereTarget: PVG
Comment: This could well be the last of the collections of Eva Cassidy
songs from her tragically short career. A selection of her more esoteric
arrangements and a few self-penned numbers, this book confirms once
again the talent that she was and the ability she had in taking almost
any song and making it her own. Fans will love this one.
Faber: 01279 828989
EDUCATION
POPULAR
60,61 Mipro110_FINAL 24/6/09 17:49 Page 2
62 JULY 2009 miPRO WWW.MI-PRO.CO.UK
CLASSIFIEDS: MINIMUM 12 MONTHS - ONE ANNUAL CHARGE QUARTER PAGE £1,295
MARKETPLACE INDEX
SU
PP
LIE
R S
PO
TLIG
HT
THE PLACE FOR BUSINESS
AALLPARTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0870 442 3336
BBARNES & MULLINS . . . . . . . . . . . . . . . . . . . . . . 01691 652 449BILL LEWINGTON. . . . . . . . . . . . . . . . . . . . . . . . . 01268 413 366
CCOVERNOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0121 327 1977
FFOCUS MERCHANDISE . . . . . . . . . . . . . . . . . . . 020 8245 9035FCN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01892 603730FUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0113 3200 304
GGHANA GOODS. . . . . . . . . . . . . . . . . . . . . . . . . . . 0117 955 8668GUITARRAS DE ESPAÑA . . . . . . . . . . . . . . . . . . . 0117 973 3214
HHC DISTRIBUTION . . . . . . . . . . . . . . . . . . . . 00353 5991 34268HERGA MUSIC SERVICES. . . . . . . . . . . . . . . . . . 020 8861 1590HOT ROX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0115 987 3163
LLEED REPRESENTATION . . . . . . . . . . . . . . . . . . 01243 378050LEISURETEC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01525 850 085
MMADAROZZO™/CBAC LTD. . . . . . . . . . . . . . . . . 020 8816 8368MARSHALL AMPLIFICATIONS . . . WWW.MARSHALLAMPS.COMMCELLAND/GREMLIN MUSIC. . . . . . . . . . . . . . . . 01273 491333MELBAY . . . . . . . . . . . . . . . . . . . . . . . . . . +44 (0)20 8382 8010MUSIC SHIPPING CO. . . . . . . . . . . . . . . . . . . . . . . 01562 827666
OOCARINA WORKSHOP . . . . . . . . . . . . . . . . . . . . . 01536 485963ORANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0208 905 2828
PPIANO LOGISTICS . . . . . . . . . . . . . . . . . . . . . . . . 0208 561 4321
RROBERT MORLEY . . . . . . . . . . . . . . . . . . . . . . . . 020 8318 5838ROTHWELL AUDIO . . . . . . . . . . . . . . . . . . . . . . . . 01204 366133
SSAXOPHONE UK . . . . . . . . . . . . . . . . . . . . . . . . . 01892 662 533 SOAR VALLEY MUSIC . . . . . . . . . . . . . . . . . . . . . 0116 230 4926STEVE CLINKSCALE . . . . . . . . . . . . . . . . . . . . . . 0157 225 885
TTEAC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01923 438 880
VTOM & WILL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08450 945 659
VVARSITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0131 557 4310
WWIND PLUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0116 243 1698WORLD RYTHM . . . . . . . . . . . . . . . . . . . . . . . . . . . 01242 282 191
TO ADVERTISE ON THESE PAGES CALL DARRELL CARTER ON 01992 535647MIMARKETPLACE
Breaking throughthe brass ceilingP. Mauriat brings an exciting vintage sax to Sax.co.uk.
MI Pro sees what’s on the jazzy horizon...
The pro saxophone market was
dominated for decades by ‘The
Big Four’ – Selmer, Keilwerth,
Yamaha and Yanagisawa. All great
saxes, but they don’t always meet the
expectations of players who have
grown up and fallen in love with the
classic horns of years gone by.
Several Taiwanese manufacturers of
good student instruments tried to
produce and market ‘professional’
models, but with limited success.
Then, along came P. Mauriat,
exploding through the brass ceiling
and sending out a sonic boom that hit
America in 2004 and reached Europe
in 2006.
The talents of vintage sax
enthusiast Alex Hsieh and US college
professor Roger Greenberg combined
to produce an instrument that the US
Jazz Times described as: “A monster
saxophone that plays so effortlessly
that you might be fooled into thinking
you are a better player than you
really are.
“The company has taken the best
of yesteryear, modified it and taken it
to a whole new level of playing
enjoyment. If you are smart you will
try these saxophones out – and you
will be glad you did.”
This new ‘vintage’ sax creates many
fresh retail opportunities. P. Mauriat
saxes appeal to players who would
never play a ‘shiny new instrument,’
instead preferring to continue
patching up their degenerating old
classic. Their ‘differentness’ appeals to
young players looking for something
that stands out from the crowd.
The P. Mauriat broad tone puts a
smile on the face of the most
demanding player – a welcome sight
for the sax salesman. As leading UK
sax player Andy Sheppard says: “There
is that woody/grainy thing in the
sound that I’ve only previously found
in my old Selmers. Fantastic.”
For leading UK saxophone retailer
Sax.co.uk, P. Mauriat has not only
challenged the dominance of ‘The Big
Four,’ it’s also out-sold them for the
past three years.
An easy sale, a good profit margin –
is there anything missing? It could be
a P. Mauriat saxophone if you haven’t
got one in stock yet. You can change
that by phoning 01892 662533 or by
visiting www.mauriat.co.uk.
62 mip110_FINAL 24/6/09 14:40 Page 1
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MI MARKETPLACEACOUSTIC DISTRIBUTION
IRELAND & N.IWalter Hennessy087 2596183
SCOTLAND &NORTH EAST
Steve Clinkscale07958 351712
NORTH WESTENGLAND &
WALESRoger Williams07816 298925
EASTERNENGLAND &MIDLANDSMark Hedge
07776 167336
SOUTH WESTENGLAND
Gary Charman07787 517007
LONDON &SOUTH EASTIan Collins
07836 237337
For full dealership detailscontact your local arearepresentative
HC MUSIC DISTRIBUTION LTD
00353 5991 34268sales@hcdistribution.comwww.cort-guitars.co.ukwww.myspace.com/cortguitars
AMPLIFICATION
To find out more about the JVM Series and other Marshall products contact: Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK11DQ www.marshallamps.com
ABROAD REPRESENTATION
ACESSORIES AND GIFTWARE
63-71 mip109_v1 24/6/09 14:44 Page 1
64 miPRO JULY 2009 WWW.MI-PRO.CO.UK
DISTRIBUTION
DISTRIBUTIONCLASSICAL GUITARS
DISTRIBUTION
MI MARKETPLACE
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MI MARKETPLACEDISTRIBUTION
DISTRIBUTION
DISTRIBUTION
DISTRIBUTION
63-71 mip109_v1 24/6/09 14:44 Page 3
DISTRIBUTION
MI MARKETPLACE
66 miPRO JULY 2009 WWW.MI-PRO.CO.UK
DISTRIBUTION
...bridges, necks, bodies,
electronics, frets, inlay dots, pickups, knobs,
switches, pickguards, tools scratchplates, strings, screws,
nuts, saddles, tailpieces ...and much more!!!
The UK’s Premier Guitar & Bass Parts Supplier
Pick a partABM, Badass, Bartolini, Bigsby, CRL, CTS,
Danelectro, Earvana, Electrosocket, Fender,
Gotoh, Graphtech, Hipshot, Hofner, Jim
Dunlop, Lace, Leo Quan, Moses, Razor,
Schaller, Sperzel, Sprague, Switchcraft
& Wilkinson.
To order call 0870 442 3336Low call rate 0845 345 5951
Order online or find a local dealer @:
www.allparts.uk.comor email us: [email protected]
GUITAR PARTS
63-71 mip109_v1 24/6/09 14:44 Page 4
WWW.MI-PRO.CO.UK miPRO JULY 2009 67
MI MARKETPLACEDISTRIBUTIONDISTRIBUTION
ETHNIC AND FOLK ETHNIC AND FOLK
GHANA GOODSWEST AFRICAN PERCUSSION
WHOLESALE AND RETAIL
PO Box 95, Fishponds
Bristol, BS16 1AG
Tel: 0117 9354132
www.ghanagoods.com
63-71 mip109_v1 24/6/09 14:44 Page 5
INSURANCE BUSSINESS
MUSIC PUBLISHERS
Excellence in Music
Office 2.05, Argentum 2 Queen Caroline Street Hammersmith, LONDON W6 9DX UK Sales Freephone: 0800 432 0486
Fax Number: +44 (0)20 8323 8306 E-mail: [email protected]
MI MARKETPLACE
GUITAR ACESSORIES
Rothwell effects pedals are trulyhand-made here in the uk and built to thehighest standards. The cases are handpolished and the electronics carefullyassembled by skilled uk workers. The circuit designis innovative and original (we don't do clones, repros ormods) and the sound is the sound of classic rock guitar - pure tone.Our pedals are quickly gaining a reputation for superb quality and are being played on some of theworld's biggest stages. The Hellbender (overdrive) and Switchblade (distortion) are currently beingheard by thousands of fans on Justin Timberlake's world tour, played by Mike Scott (also Prince'smain guitarist), who says "you make truly great, great pedals".
Why not join our growing list of uk and international dealers and stock Britain's finest boutiqueeffects pedals.
BRITAIN'S FINEST BOUTIQUE EFFECTS
WWW.ROTHWELLAUDIOPRODUCTS.CO.UK01204 366133
OCARINAS
Making Music in SchoolsSince 1983
UK made rainbow ocarinas fromOcarina Workshop are easy to playand great fun to teach with.
These pocket-sized instrumentsare popular with kids & well-tuned.Together with 'Play your Ocarina'music books, they are the key tosuccessful music-making in manyschools around the country.
Make sure school ocarinas are onyour counter-top and availablewhen customers request them!
Quote ‘MI Pro’ when you order12 Ocarinas & 12 Books and beamazed at the ocarina’s potential...
Trade orders are sent by return:free delivery & no minimum order
www.ocarina.co.uk
tel: 01536 485 963fax: 01536 485 051
email: [email protected]
68 miPRO JULY 2009 WWW.MI-PRO.CO.UK
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MI MARKETPLACEPIANOS AND HARPSICORDS
Rober t MORLEY Co Ltd
34 ENGATE St. LONDON SE13 7HA
020•8318•5838Grand & Upright Pianos by
Elysian, Grotrian-Steinweg, Bechstein,Monington & Weston
and other famous makers
John Morley Clavichords, Spinets,Harpsichords, Virginals & Celestes
Antique, Modern & New, Rental, Repairs,Sales lists & colour brochures on request.
Robert MORLEY & Co Ltd.Piano & Harpsichord Makers
Established 1881
www.morleypianos.com
MSC ONLINE
Extensive Product Information
Secure Dealer Only Section
Public & DEALER Forums
Online Ordering
www.musicshipping.co.uk
01562 827666
NEXT DAY DELIVERY
Drum and Percussion Accesories
THE MUSIC SHIPPING CO.
www.musicshipping.co.uk
PERCUSSION
PIANO MOVERS
PERCUSSION AND DRUMS
63-71 mip109_v1 24/6/09 14:44 Page 7
SAXOPHONES
TOP 10 BEST SELLERSNASHVILLE ACOUSTIC GUITARS . . . . . . . . . . . . £50.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £27.50 trade ex vat
NASHVILLE ELECTRIC GUITARS . . . . . . . . . . . . . £99.95 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £54.97 trade ex vat
ARK HEAVY DUTY MUSIC STAND. . . . . . . . . . . . . . £18.50 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £10.18 trade ex vatDOLMETSCH DESCANT RECORDER . . . . . . . . . . . . . £6.99 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £3.84 trade ex vat
STEINHOFF 108B UPRIGHT PIANO . . . . . . . . . . £1795.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £987.25 trade ex vat
RAVEN STUDENT TRUMPET OUTFIT . . . . . . . . . £140.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £77 trade ex vatNASHVILLE ELECTRO ACOUSTIC BASS . . . . . . . £125.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £68.75 trade ex vat
STERN VIOLIN OUTFIT. . . . . . . . . . . . . . . . . . . . . . £75.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £41.25 trade ex vatMAXTONE BONGOS . . . . . . . . . . . . . . . . . . . . . . . . . £29.95 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £16.47 trade ex vatNASHVILLE 5 STRING BANJO . . . . . . . . . . . . . . . £99.95 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £54.97 trade ex vat
WHOLESALERS
REPAIRSPROMOTIONAL
www.focusmerchandise.co.uk
70 miPRO JULY 2009 WWW.MI-PRO.CO.UK
MI MARKETPLACE
63-71 mip109_v1 24/6/09 14:44 Page 8
To advertise callDARRELL CARTER+44 (0)1992 535647
Acess All Areas ........................................................29
Anglo Spanish Guitar ................................................5
Aria ...............................................................................5
Ashton.........................................................................17
Audio Technica.........................................................48
Barnes & Mullins .......................................................31
CPC .............................................................................75
DBT Technology .......................................................53
EMD...............................................................................4
Fender ........................................................................26
Fusion.........................................................................25
Gremlin ......................................................................43
Hardcase ...................................................................58
Headstock .................................................................50
House Music .............................................................45
HSBC ..........................................................................52
JHS .............................................................................39
Leisuretec .................................................................46
Marked Events..........................................................56
Marshall........................................................................2
Messe Frankfurt .......................................................49
MI Direct ....................................................55,57,59,61
New Moon..................................................................62
Peavey........................................................................35
Retail Up!...................................................................47
Roland ........................................................................76
S.Johnson ....................................................................3
SCV.............................................................................40
Soar Valley .................................................................13
Sound Technology .......................................................1
Summerfield..............................................................33
TEAC.............................................................................9
Tom & Will..................................................................23
Trinity Xtras ..............................................................37
Westside..................................................................11,21
WWW.MI-PRO.CO.UK miPRO JULY 2009 71
MI MARKETPLACE
ADVERTISERS INDEX
WIND INSTRUMENT ACCESSORIES
TO ADVERTISE IN MIPROCALL
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72 miPRO JULY 2009 WWW.MI-PRO.CO.UK
JULY 2005
Cover Stars: 20 years after Ian Gilby found
himself out of work and (together with his
brother, Paul) started up what was to become the
UK’s top hi tech music magazine, he and Dave
Lockwood consider why Sound on Sound is better
than having a day job.
News: Apple picks Sound Technology, IAG buys
Mission, Yamaha and Nexo collaborate.
Features: The ninth JHS Event report, Cornford
amps – Paul Cornford reveals that you should
never call his products ‘boutique’.
Products: Red mics, Randall RM100C combo,
Mark Bass Little Mark amp, BC Rich Evil Edge
Mockingbird, Metric Halo Mobile I/O V2.
Number one singles:
James Blunt, You’re Beautiful.
Number one albums:
James Blunt, Back to Bedlam.
RETRO
THE LAST WORD IN MI PRO
MI Pro prides itself on bringing you hard-hitting news and analysis, but, we reckon you’d also enjoy seeing your peers in
their more ‘off duty’ moments. So, we’ve expanded CODA to include a permanent pictorial spread of the month’s social
highlights. If you have any snaps from an event you’d like us to include, please send them to [email protected]...
IN ASSOCIATION WITH
PARTY DOWN WITH PEAVEYThe exhibitor’s bash after the opening, trade day of the
London International Music Show was laid on, for the
second year, by Peavey Europe.
Now we should probably have got a picture of Clive
Roberts (Peavey’s MD over here) in gratitude for
throwing such a splendid bash – but he somehow
managed to avoid our photographer’s efforts to corner
him. Instead, then, welcome to the strange world of
Peavey’s marketing manager, Andy Rust.
Exactly what was going through his head at this
time (apart from a few too many Peroni beers) is open
to speculation, but it looks as though it was worth
every ounce of effort he put in.
Nice one Andy, nice one Peavey, cheers – and here’s
to next year...
GOOD LORDIDuring February and March Lordi were
on a European headlining tour. Following
that they went to Japan. If you missed
them, then get yourself to Finland for the
Rockperry festival in Finland on July 18th.
Since winning the 2006 Eurovision
song contest, Lordi have been working
hard on the metal scene and gaining a
reputation for hard hitting metal
combined with a horror show and they
have been gaining fans around the world.
Amen stopped the show just after his
guitar solo to salute his favourite
amplifier… A Marshall, of course.
Now that’s pretty cool.
MOORE, MOORE, MOOREA long standing member of the Marshall family, Gary
Moore, was playing at Hammersmith, so we had to take
the opportunity to go down and say hello. We arranged
to go and see his tech during the afternoon and managed
to get a couple of photos of the stage before sound
check. It wasn’t just Gary’s amps that were Marshall, as
the bass rig was Marshall VBA 400s, so it was a complete
backline of Marshall.
At this stage no-one was really sure what Moore was
going to be using, as on the stage there were two 1987s,
a handwired 1959, as well as a DSL 100, on top of two
1960BX 4x 12s, loaded with vintage 30 speakers..
We should have known he wouldn’t want to use
anything less than the two 100-Watt amps.
In fact he started playing through the 1959HW and
then switched to the DSL 100.
Moore was full of passion, as he always is when he
plays and that flowed through the guitar and could be
felt by the audience. A blues/rock guitarist at his best, a
true master.
72,73,74 Mipro110_FINAL 24/6/09 17:45 Page 1
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WWW.MI-PRO.CO.UK miPRO JULY 2009 73
IN ASSOCIATION WITH
There are few instruments,
especially those that were
unveiled in the early eighties,
that gain swift and easy access to the
hallowed halls of the MI Icon, but the
Juno 106 does so with ease.
Introduced to the world by Roland
in 1984, the Juno 106 was the third in
a series of synths dreamed up to fuse
together the best available digital and
analog technology, making the Juno
both bang up to date for its time and
slightly anachronistic.
With full MIDI control, it was on
the cusp of the newest trends around,
yet with all of its controls mounted
on a faceplate, it was the last of a
dying school of design. The most
important aspect of the 106, though,
was not its looks, but the sounds it
was capable of producing. Perfectly
tuned pitch alongside the warmth
brought to the table by the analog
heart at the centre of the synth made
it a perfect addition to any studio
looking for cutting edge sounds that
managed to sound ‘real’ as opposed
to entirely synthetic.
Its distinctive tonal qualities, often
attributed to its -24dB/octave analog
lowpass filter, with adjustable
resonance, allowed players to wrench
sounds from the 106 that simply
weren’t available in any of its
contemporary competitors. An on-
board analog stereo chorus effect was
also included and while it was capable
of making quite a racket, it only
added to the character of the sound.
A large band of memory slots for
patch storage, alongside a through
MIDI system demonstrated a synth
that, although seemingly backward
looking in its inclusion of analog parts,
was actually forward looking and
stood out from the crowd.
Although age is now creeping up
on the old warrior, it remains a
consistantly popular choice for synth
affectionados looking for that extra
something. The list of artists that have
used the 106 shows how versatile an
addition it has made to the musical
landscape, with everyone from Dr Dre
to Franz Ferdinand, Sigur Ros to Daft
Punk using its distinctive sounds.
UTMOST COMMITMENTWhen it comes to partying, there are few that do it better than the MI
trade and Peavey’s after-show party (featuring live entertainment from
The Commitments) was buzzing from start to finish.
Clockwise from top left: Finding a space at the bar was job number one
– although nobody ever seemed to be without a drink. Brownie points for every
face you can put a name to. (Answers on a postcard, please, to anyone you
fancy, but not us.)
A classic, Class A pairing, two MI stalwarts, Cliff Cooper (the founder of
Orange) and Peavey’s sales director Eric Lund, get amplified about business.
Tom Harrison – better known to many as 440 Distribution – and Jon Green
of Freestyle Music, doubtlessly talking acoustic guitars and other such things
that are indigenous to Yorkshire and the North East...
Last, but by no means least, keep your friends close and your string supplier
closer. Bass guitar virtuoso Doug Whimbish collars Rotosound’s Jason How,
doubtless in talks for that new range of signature bass strings he’s been
hankering after.
IS THAT A REALPONCHO?Or is it the latest in maternity wear for
window cleaners? No, in fact, Petrol, a
Vitec Group brand, has launched the
Petrol Rain Poncho, a piece of ‘audio
clothing’ designed to comfortably cover
a user carrying a mixer and fully loaded
sound bag.
While sound men at the BBC and
other outside broadcast-type people will
doubtless be thrilled by this, we at MI
Pro are making this compulsory office
wear from now on.
MI ICON Roland Juno 106
72,73,74 Mipro110_FINAL 24/6/09 17:45 Page 2
74 miPRO JULY 2009 WWW.MI-PRO.CO.UK
The North East’s premier hip
shaking, pop-post-punkers
extraordinaire, Maximo Park are
on album three and retaining a
position at the top of the UK
guitar band tree. As the first act
at this year's Glastonbury, there
will be new fans won over by
their intense live act.
Here's the kit they use...
SOUNDALIKESMAXIMO PARK
NEXTMONTHWe take a look at what remains of British
manufacture in MI, as well as scrutinising
the market for rental for schools. Also,
alongside a PLASA preview, we’ll be looking
at the sort of live mixing consoles MI stores
might be selling.
EDITORIAL: ANDY BARRETT
ADVERTISING: DARRELL CARTER
Company / job title:
Headstock Distribution / sales
manager for UK and Ireland.
Years in the industry?
21 years behind the bell and proud
of it. I had 16 very good years with
Yamaha before flying the nest.
First single bought?
The first record was an album by
Free – Free Live. Albums seemed
better value for money as only one
single was generally released from an
album back then. Oh... and Dog of
Two Head by Status Quo.
Favourite album?
Lying on a beach it would have to be
Pink Floyd, The Wall, amazing
production. For driving or skiing, you
can’t beat AC/DC, Back in Black.
Currently listening to?
Maximo Park, The Killers, Gorillaz –
I am mellowing in my old age.
Favourite musician?
Robben Ford, a great solo guitarist.
Which instruments do you play?
Electric guitar badly, I have several
Gibson Les Pauls and play them all
every day for about two minutes.
Are you currently in a band?
No, too busy being a Dad. I am
waiting for my 1985 set to come
back into fashion, I can still play All
Over Now and Message in a Bottle in
the wrong key.
LindsayHarvey
MI SPACE
© Intent Media 2009 No part of this publication may be
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Tel: 01992 535646 (Editorial)
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Fax: 01992 535648
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To order your subscription: call: 01580 883848 or
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SUBSCRIPTIONS
IN ASSOCIATION WITH
Really Commited
AND THE PARTYING GOES ON
Yes, as the MI Pro team made its way to Alka
Seltzer and bed, the hardcore party animals
were still going strong at the Peavey
Commitments party – and by this time, the
bar had stopped accepting the free beer
vouchers. That really is commitment.
On top we see Adam Hall’s LD Systems girl,
Haley (surname witheld to protect the guilty,
namely) Dave Brown and Andrew Richardson
(having sensibly taken a seat).
Below left is the show organiser, Clive
Morton, standing on a box next to Freestyle
Music’s boss, Phil Pilsworth,
Bottom right, we finish off where we
started, in Peavey Europe’s marketing
department, namely Claire Catchpole – clearly
relieved that everything has gone smoothly,
everybody is happy and she can finally relax...
Now, where’s that Pinot Grigiot?
Paul Smith – vocals – Shure SM58, bowler hat
Duncan Lloyd - guitar – Rickenbacker 330,
Faith acoustics, Marshall Vintage Modern 2466,
Marshall cab
Archis Tiku – bass – Black Music Man Stingray,
Ampeg SVT head, Ampeg cab
Lukas Wooller – keys – CFE UF8, CFE UA7
Tom English – drums – Tama Star Classic kit –
22"x18" bass drum, 13"x10" tom, 16"x16" floor
tom, 14"x5.5" Tama Bronze snare, Iron Cobra
Power Glide bass pedal, Iron Cobra Lever Glide
hi-hat stand, 1st Chair drum throne. Zildjian
cymbals – 20" A thin crash, 17” A custom
projection crash, 14" A new beat hi hats
72,73,74 Mipro110_FINAL 24/6/09 17:45 Page 3
New for 2009, Sounds and FX LIVE brings together 25leading manufacturers, showcasing over 65 TOP BRANDS at anintimate CPC venue.Register your attendance and make sure you don’t miss ourexclusive offers on the best equipment for:
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