MMR June 2012

w w w. m m r m a g a z i n e . c o m

June 2012

‘GoingGreen’ Still Going Strong...

Senseney Sensibility: Lori Supinie of Senseney Music

Survey: DJ & Lighting Market

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Contents JUNE 2012 VOL.171 NO. 6

32 Spotlight: “Going Green”

The sustainability movement has begun to mature and ecofriendly business represents a more sure-footed advantage these days, while many in the industry have taken heed of more aggressive use of the Lacey Act. Stakes are high in the quest for green manufacturing of musical instruments.

Cover design by Laurie Chesna.

22 Show Report: 2012 RPMDA

The Retail Print Music Dealers Association took its travelling annual conference to Alfred Music Publishing’s backyard in Los Angeles to help celebrate the publisher’s 90th anniversary and to spend four days rallying around new changes afoot in the industry.

42 Senseney Sensibility

Lori Supinie took over Kansas dealer Senseney Music in 2008 and has since won the NAMM Retailer of the Year Award, while the company continues to offer better and more convenient services to its customers every year. Her secret? Be nice.

46 Past Masters: The New Hohner John Lennon Signature Series Harmonica

Decades ago, a botched printing job nixed a Beatles-branded harmonica. This year, a trip to the vaults inspires Hohner to revisit one of the instrument’s original stewards.

50 Survey: DJ & Lighting Market

In every issue:

52 Product Showcase:

4 6 18 20 70 72 74 80

A look into the rapidly changing world once defined by “disc jockeys” and lighting gels, now dominated by hard drives and LEDs.

New & Notable Cases, Bags, and Accessories

64 MONO Got a Brand New Bag Bay Area-based MONO Cases is changing the face of soft-shell instrument cases with an upscale line of products designed with thoughtful, working musicians in mind.

Editorial Upfront People Financial New Products Supplier Scene Classifieds Advertisers’ Index

68 Q&A: Power to the People

Wholesale distributor and Onstage Stands manufacturer, The Music People continues to expand its operations throughout the world.

www.mmrmagazine.com MMR Musical Merchandise Review® (ISSN 0027-4615) founded in 1879, is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orchestra, Choral Director, Music Parents America and JazzEd. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: U.S.A., US possessions, one year $32; two years $40. Canada one year $80; all other countries one year $159. Single issues $5 each. May Supplier Directory $35. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to Musical Merchandise Review, P.O. Box 8548, Lowell, MA 01853. Periodicals circulation is directed to music dealers and retailers, wholesalers and distributors, importers and exporters and manufacturers of all types of musical instruments and their accessories, related electronic sound equipment, general musical accessories, musical publications and teaching aides. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competion. No portion of this issue may be reproduced without the written permission of the publisher. Copyright ©2012 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

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Program change.

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Editorial Sidney Davis

Volume 171 Number 6 June 2012

The Lady, Or The Tiger? Where is Herman Cain when you need him? The “Godfather” of the “9,9,9 Plan” may well have provided the answer for the unresolved question of taxing Internet sales. According to USA Today, more than a dozen states have enacted legislation or rules to force online retailers to collect sales tax on purchases, and similar legislation is pending in 10 states. The quandary regarding Internet taxes actually stems from a 1992 Supreme Court decision, which held that mail-order merchants did not need to collect sales taxes from states where they did not have a physical presence. Mr. Cain’s proposal of a flat 9 percent national retail sales tax would put aside the argument expressed by those resisting tax collection claiming the impracticality of sorting through (or matching) individual state sales tax and the preponderance of paperwork required to satisfy state and federal reporting demands. Amazon may well have exacerbated the problem last December when the online merchant offered customers a one-day 5 percent discount if they used its Price Check app to make a purchase while in a brick and mortar outlet. In truth, both those thumping for a sales tax to level the playing field and those opposed who maintain the burden of collection and dissemination of funds would be costly and counterproductive have scored points. While the legislative landscape looks to be tilting toward broadening the tax base (and Internet sales are an easy target), there remain unresolved issues. On one side of the ledger, the New York State legislature included a provision in their budget to receive $50 million on Internet sales taxes. Another view is that of a Direct Marketing Association executive who points out, “Small merchants could be forced to raise prices to cover the compliance costs and that’s going to harm e-commerce, which is one of the few promising growth spots in this stagnant economy.” Many states, California among them, already require businesses and individuals to report and pay at the same rate as sales tax for goods purchased online or out of state. However, compliance and enforcement has been minimal. The National Conference of State Legislatures estimate that uncollected state sales taxes will cost states $23 billion this year. Another source estimates that about $10 billion in tax on Internet sales goes uncollected. What this all means may well be a “Be careful what you wish for” moment with revenue starved states (not to mention the federal government) mandating collection procedures that could make it impractical for independent dealers to conform to a new set of tax guidelines. In a worst case scenario, a dealer in Rhode Island may be sending a check for $2.37 to the Idaho tax commissioner! There are bills pending in the Senate that would alleviate the collection problem requiring that states, not the retailer, bear the cost of any tax-collection software and a threshold (possibly $500,000 in sales) as a minimum requirement to comply. To further complicate the issue, a handful of states have considered laws that would use the presence of affiliate marketers to force e-commerce companies into collecting sales tax. In the broadest sense, according to entertainment and music industry attorney Ron Bienstock, this could translate to an online merchant such as Musician’s Friend being responsible for sales tax payments in every state that its parent, Guitar Center, has a retail location or distribution center. And on a final note, here is the view of Steve DelBianco writing in the Wall Street Journal, who cites the Commerce Clause of the Constitution, “To prevent unreasonable burdens on interstate commerce” (sounds like an argument for the Affordable Health Care Act). Mr. Delbianco states that, “Relatively little would be collected by enforcing an internet sales tax, Commerce Department data shows that sales due on all consumer e-commerce is only 0.5 percent of total state and local tax revenue, and much of that is already collected.” To this observer the solution is much like the no-win Frank Stockton short story, “The Lady, or the Tiger?” in which a king required his daughter to open one of two doors; opening one door would bring out a tiger who would kill her lover; opening the second door would reveal a lady who the lover would be forced to marry…

PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com ASSOCIATE PUBLISHER Rick Kessel rkessel@symphonypublishing.com EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com ASSOCIATE EDITORS Eliahu Sussman esussman@symphonypublishing.com Matt Parish mparish@symphonypublishing.com CONTRIBUTING WRITERS Chaim Burstein, Dennis Carver, Kevin Mitchell, Dick Weissman ADVERTISING MANAGER Iris Fox ifox@symphonypublishing.com CLASSIFIED & DISPLAY AD SALES Maureen Johan mjohan@symphonypublishing.com PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNERS Laurie Chesna lchesna@symphonypublishing.com Andrew P. Ross aross@symphonypublishing.com CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com SYMPHONY PUBLISHING, LLC Chairman Xen Zapis President Lee Zapis lzapis@symphonypublishing.com Chief Financial Officer Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300, Westlake, Ohio 44145 440-871-1300 www.symphonypublishing.com PUBLISHING, SALES & EDITORIAL OFFICE: 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310 Fax: (781) 453-9389 www.mmrmagazine.com

sdavis@ symphonypublishing.com

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Upfront S&P Revises GC Holdings Outlook to Negative It was reported that Guitar Center is facing a $134.7 million applicable high-yield discount obligation (AHYDO) payment in April 2013 and its Holdco notes are also becoming cash interest pay in 2013.

•

States Standard & Poor’s: • We believe the company will have to borrow under its revolver to meet its financing and operating needs during 2013 and that cushion to its senior leverage covenant

will likely narrow to about 10% We are re-assessing Guitar Center’s liquidity profile to “less than adequate” and revising our ratings outlook to negative from stable. We are also affirming all existing ratings on the company, including our ‘B-’ corporate credit rating.

…Complete ratings information is available to subscribers of RatingsDirect on the Global Credit Portal at www.globalcreditportal.com. All ratings affected by this rating action can be found on Standard & Poor’s public Web site at www.standardandpoors.com. Use the Ratings search box located in the left column.

Hal Leonard Moves Shawnee Press from Nashville to Milwaukee In June of 2009, Hal Leonard Corporation purchased Shawnee Press, Inc., one of the premier publishers of choral and instrumental music. This week, Hal Leonard chairman and CEO Keith Mardak announced that the Nashville offices of Shawnee will be closing, and its staff relocating to Milwaukee. From 1989 to 2009, Shawnee had been operating as an independent subsidiary of Music Sales Corporation, the US publishing arm of the Music Sales Group. Shawnee had been headquartered on Nashville’s Music Row since 2005. The influx of Shawnee employees

will beef up the Hal Leonard choral editorial department. Emily Crocker, vice president of choral publications for Hal Leonard, comments, “The Milwaukee and Nashville staff have been working very closely together since the acquisition. Having everyone under one roof will be fantastic, and further streamline our publishing operations.” Shawnee also employs several exclusive composers across the country who will continue to work remotely. For more information about Shawnee Press, visit www.shawneepress.com.

Forestone Moves Headquarters

In an official press release sent in early May, Forestone Japan announced that the company will be moving from it’s previous headquarters in Tokyo to new facilities near Osaka. The letter appears, in full, below: Dear business partners, endorsers and friends, Due to our rapid growth in the past year we were at the limit to operate properly from central Tokyo and moved our company to the south of Osaka. Here we have all the space and closeness to continent Asia to use our full potential and keep up the growth for the following decades. Please use the following contact data for any shipment, fax, phone call or visit. FORESTONE JAPAN Ltd./ H.M. Trading 3-16-7 Nishiyamadai, Osakasayamashi, Osaka, 589-0022 Japan Tel. +81-722-89-9992 Fax. +81-722-89-9994 Kind regards, Lars Heuseler, President

Music & Arts Acquires Alta Loma Music and Scales Music Music & Arts Center recently acquired Alta Loma Music of Rancho Cucamonga. For more than 30 years, Alta Loma Music has offered lessons and full-line retail to California’s Inland Empire community through its Rancho Cucamonga and Corona store locations. The partnership between Music & Arts Center and Alta Loma Music’s Pete Gamber will result in additional resources to better serve customers, including a wider instrument selection for both sales 6 MMR

and rentals, increased educational and performance opportunities, and instrument repair and maintenance. Alta Loma Music’s owners, Pete and Genette Gamber, will remain on staff to ensure continuity and a link to the stores’ existing customers. “After following Pete Gamber for many years and admiring his deep expertise in the music lesson business, we are excited to bring our resources together to better serve the local commu-

nity’s music needs,” explained Kenny O’Brien, Music & Arts Center’s president. “Both Music & Arts Center and Alta Loma Music are dedicated to providing the best possible music education resources and supporting new and experienced musicians in the Inland Empire region.” “The team at Alta Loma Music is excited to be part of the Music & Arts Center family. The backing of this experienced and well-run company allows us to provide even better customer service JUNE 2012

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Upfront and more products to our customers,” stated Alta Loma Music’s Pete Gamber. “I’ve known Kenny and the Music & Arts Center team since 2003, and look forward to remaining the Inland Empire community’s music destination.” Additionally, Music & Arts recently acquired Scales Music in St. Peters, Mo. Scales Music opened in May of 2011 and had been partnered with Music & Arts as a rental affiliate. This new Music & Arts outlet will be the first location in the St. Louis market. Sean Scales, former owner of Scales Music, will serve as a Music & Arts edu-

New Powell Flutes Site

Verne Q. Powell Flutes has launched a new website with expanded features and functionality. Visitors to www.powellflutes.com will now be able to find information and request services quickly and easily through the interactive format. The site is designed with several new

cational representative for school music programs in the St. Louis area. Sean has 10 years of experience working as an ed rep with the school music community in the local area. As a former affiliate, Music & Arts will continue all of the location’s rental operations uninterrupted. In addition, Music & Arts will retain all of the current private music instructors and their students with a goal to actively grow the lesson program in St. Peters. The transition will include an expanded product selection in the store and online, a full time ed rep to work with local music

sections which offer flutists multiple gateways into the Powell Community, including the Repair Doctor, Q Club, VQP Shop, and Powell Academy. With several social media channels, the website also provides links to the company’s associated Facebook pages, Twitter feeds, and You Tube channel.

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educators, and expanding the lesson facility. “From the time our doors opened just last May, we have been committed to making instrumental music more accessible and affordable to all students from 1 to 100,” says Scales. “The decision to sell this company to Music & Arts is the next step in that commitment.”

New GC Studios Opened in Q1 2012

Serving as a positive counterpart (of sorts) to the recent S&P downgrade for Guitar Center, in the first quarter of 2012, GC expanded operations at two of its stores – Highland Park, Illinois, and Tucson, Arizona – by adding Guitar Center Studios, an in-house, state-ofthe-art lesson facility. Guitar Cen-

ter Studios provides music lessons from beginner to advanced featuring certified instructors teaching curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. “The opening of our new GC Studios at our Highland Park and Tucson stores is an important moment for musicians in these areas,” commented Gene Joly, Guitar Center executive VP of Stores. “As arts programs are consistently being downsized at schools across the country, we feel it’s important to create these opportunities for the next generation of musicians. Many of our recent store openings over the last year-plus have featured GC Studios, and those facilities have been a huge success across the board. We look forward to serving the music communities of these areas in this increased capacity.” JUNE 2012

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Upfront JHS Brands Distributed in Norway through Audio Media John Hornby Skewes & Co. Ltd. has signed an exclusive deal with Askerbased Audio Media, who are now distributing Fret-King, Vintage, Encore, and SpongeBob SquarePants Real Musical Instruments throughout Norway. Audio Media are also taking on JHS accessory brands Guitar Tech

and Wilkinson, which features parts designed by legendary designer Trev Wilkinson. Adam Butterworth, JHS’s Export Sales Manager, said, “It is a pleasure to be working with Audio-Media for our brands in Norway. They are a very professional and modern company that will help our brands grow and flourish in the Norwegian market.”

(L-R) Steinar Bjerke, Audio Media Managing Director, Carl Tidemann (AM’s Sales Manager), Trev Wilkinson and JHS MD Dennis Drumm had a meeting at the NAMM Show 2012 in California to organise the deal (Photo credit: MusikkKultur, Even Finsrud)

‘American Revealed’ host Yul Kwon (right) visits C.F. Martin & Co.

Martin Featured in ‘America Revealed’ on PBS

C.F. Martin & Co. was one of several companies highlighted in the final episode of the four-part PBS series “America Revealed,” which aired in early May. Yul Kwon, the show’s host, visited Upper Nazareth Township and watched as an acoustic guitar is made by hand, much the way it was when the company was founded in 1833.

The NAMM Foundation’s Best Communities for Music Education The NAMM Foundation announced the results of its 13th annual Best Communities for Music Education (BCME) survey, which acknowledges schools and districts across the U.S. for their commitment and support for music education as part of the core curriculum. In all, 176 communities out of 237 that submitted surveys were recognized, including 166 school districts and 10 schools. The announcement comes in

anticipation of NAMM’s National Wanna Play Music Week, (May 7-13) a weeklong promotion designed to encourage people of all ages and skill levels to experience the proven benefits and fun of playing music. Established in 1999, The BCME survey is a nationwide search for communities who provide access to music education as an essential part of

iMSO Meeting at Summer NAMM Independent Music Store Owners (iMSO) is hosting a meeting for Independent Music Store Owners ONLY during the upcoming Summer NAMM Convention. The gathering takes place on Thursday July 12, 2012 at the Nashville Convention Center,

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Room 208 at 5:00pm. Admission is free and seating is limited. Interested parties can RSVP at http://imso. eventbrite.com/ iMSO currently has over 450 members exchanging information, knowledge and support and the organization is free to join.

a complete education and exemplify commitment and support for music education. The BCME survey is designed and implemented in collaboration with The Institute for Educational Research and Public Service (link to: www. ku.edu/~ierps/cgi-bin) of Lawrence, Kansas, an affiliate of the University of Kansas. The announcement of the 2012 Best Communities for Music Education campaign comes during a crucial time as school districts nationwide finalize budgets. The Best Community designation is a distinction worthy of pride, but is also a call to action for local music education advocates to help preserve and potentially expand access to their current music education programs. A copy of the survey can be downloaded for review at www.nammfoundation.org. In conducting the annual survey, the NAMM Foundation is joined by advisory organizations in the fields of JUNE 2012

Upfront (www.nationalguild.org), Yamaha Corporation of America (www.yamaha. com), Young Audiences (www.youngaudiences.org), and VH1 Save The Music Foundation (www.vh1savethemusic.com). The complete Best Communities for Music Education roster is listed alphabetically at www.nammfoundation.org.

music and education: Americans for the Arts (www.americansforthearts. org), League of American Orchestras (www.americanorchestras.org), The Mr. Holland’s Opus Foundation (www. mhopus.org), Music for All (www.musicforall.org), Music Teachers National Association (www.mtna.org), National Guild For Community Arts Education

2012 MDA Spring Meeting Wrap-Up Andrews & Ingersoll LLP, president of The Copyright Society of the U.S.A., and co-author of “Entertainment Law: Forms and Analysis” presenting Do You Own Your Own Brand? for a highly motivated audience. The MDA’s annual “Show & Tell Day” will be held on Tuesday, January 22, 2013 in Anaheim, and their 2013 spring meeting in conjunction with the 2013 NASMD convention, March 13th16th at the Hyatt Riverwalk Hotel in San Antonio, Texas.

The Music Distributors Association recently joined forces with the National Association of School Music Dealers (NASMD) in March at the Omni Orlando Resort in ChampionsGate, Florida. MDA members in attendance were able to take advantage of three days of professional development for manufacturers and retailers alike offered by NASMD. MDA also hosted an educational session for the second year in a row, with Corey Field, intellectual property attorney with Ballard Spahr

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GC and Slash Launch Nationwide Contest

Guitar Center and Slash have teamed up to offer an opportunity to twenty unsigned American bands. By submitting an original song at GCOnstage.com, bands can enter for the chance to open for Slash on his upcoming fall tour, supporting his new album, Apocalyptic Love, which came out May 22.

In the fourth installment of Guitar Center On-Stage, twenty bands hand-selected as Slash’s opening acts will perform at stops on the tour closest to their hometown. At the closing of the tour, one of the opening bands will be named by Slash as the grand prizewinner of Guitar Center On-Stage. The selected groups will also be receiving a tour support prize pack that includes gear from Ernie Ball, Zoom, Dunlop, Monster Cable, Pro-Mark, and Converse. The top performing band on the tour, as selected by Slash, will be named the grand prize winner and take home $10,000 in guitars from Gibson and Epiphone, a $5,000 shopping spree at Guitar Center and much more. Through June 30, 2012, unsigned bands across the United States are invited to submit their unique music track at www. GCOnstage.com. The 20 bands handpicked by Slash will be announced in August.

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Upfront Universal Named Vic Firth Distributor Of The Year display the Cannon Toms he was makUniversal Percussion has been named ing in the back of his Youngstown, Ohio North American Distributor Of The drum shop. There Year for 2011 by Vic he met Vic FirthFirth, Inc. This acprincipal timpanist complishment was with the Boston Symcommemorated by phony Orchestra and a plaque as well as a a major figure in the personal letter from percussion field. “I’d company chairman been buying Vic’s Vic Firth and sales sticks to sell in my & marketing direcshop,” says Tom. tor Mark Dyke. “But I’d never met For Universal him in person. It was president Tom Shelquite a thrill. ley, this is more than “Vic didn’t have a business award. It’s distributors at that the latest event in time,” Tom contina relationship that ues. “In fact, in those dates back to 1977. This plaque celebrates Universal Percussion’s status as Vic Firth North American Distributor early days he made That’s when Tom Of The Year for 2011. and shipped his – then a nineteensticks from the basement of his home. year-old fledgling percussion retailer – I can still remember calling in my orwent to the NAMM show in Chicago to

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ders and having Vic himself answer the phone. I could often hear dishes clattering and the family talking in the background. “Eventually Vic started selling sticks in quantity to a distributor named Charles Alden,” says Tom. “Vic told me that Charlie would pick up a load of sticks at Vic’s house and personally deliver them to dealers. Since Vic was now dealing with a distributor, I asked himmore than once-if he’d consider selling his sticks to Universal Percussion. When he finally offered me the Firth line, it was with one stipulation: My initial order had to be $1,500. I gave him that order happily, and Universal became the second Vic Firth distributor. That was many years ago. Today Alden Music is long out of business, making Universal Percussion the oldest active distributor of Vic Firth products-a fact of which we’re very proud.”

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Upfront Carl Fischer Music Celebrates 140 Years Carl Fischer Music celebrates its 140th anniversary in 2012, looking back fondly on its origins as an instrument repair shop on East 4th Street in Manhattan. The company continues to publish new educational and concert music for every instrument and voicing. Carl Fischer opened his first shop – a musical instrument repair business – in the East Village in New York City in 1872 and later began publish-

ing concert band works of composers such as Percy Grainger and John Philip Sousa. The company joined ASCAP in 1924 and moved to Cooper Square in Manhattan two years later. In the decades that followed, the company proved to be an important player in the publishing world, representing works by everyone from Mischa Elman and Jascha Heifetz to Anton Webern and contemporary comoposers

like Paul Lansky. The last ten years have brought the introduction of new products like the Performance Series for school concert band and string orchestra, Progressive Duets, The ABCs of Strings, the inclusion of the BriLee Music choral catalog, a number of free educational resources, After 140 years, the company remains a family-owned business. www.carlfischer.com

nation, which led, in part, to the MI boom of the 1960s. American Bandstand ran each weekday through 1963 and then weekly on Saturdays until its cancellation in 1987. Among the significant artists who gained their first widespread television exposure via Clark’s show are Simon and Garfunkel, Stevie Wonder, Ike and Tina Turner, Public Image Limited, and The Talking Heads. Dick Clark suffered a major stroke in 2004 which left him with impaired speech ability. After Clark’s death this week, President Barack Obama stated that Dick Clark, “made us feel as young and vibrant and optimistic as he was.”

Letters

Trade Regrets: Ed Cramer was a long-time music attorney who played a vital role in ensuring the performance and composing rights of musicians and songwriters. His dedication to ASCAP and other organizations helped many performers gather the royalties they earned with their writing and recordings. Ed Cramer passed away May 1. C. F. Martin Guitar veteran Lester Wagner died at the age of 83 on April 28. Wagner worked for Martin Guitars for 47 years. In 2007, he was interviewed for the NAMM Oral History program and he shared his many stories about being apart of guitar building. On April 18, Dick Clark passed away after suffering a heart attack following a “routine” outpatient medical procedure. Clark was a well-known radio and television personality and producer, who hosted such programs as Pyramid, Dick Clark’s New Year’s Rockin Eve, TV’s Bloopers and Practical Jokes, and – most significantly to the music world – American Bandstand. Initially a radio show in suburban Philadelphia, Bandstand was picked up (and re-named, American Bandstand) and re-formatted as a television program by ABC, debuting in the summer of 1957. The show was a major catalyst behind the rapid spread of rock n roll throughout the 16 MMR

George Shorney, the past president of Hope Publishing, passed away on March 31 in Naples, Florida. Founded in 1892 by George’s grandfather, Hope Publishing, has a well-deserved reputation for quality research and an extensive catalog of hymns. One of the early successes of Hope was their role in bringing the great British hymns to American churches. Along the way, Hope also acquired the rights to music collections that might otherwise have been lost, such as the nearly 8,000 songs written by Franny Crosby, who was blind when she wrote the now standard “Blessed Assurance, Jesus is Mine.” George served as president of the company and chairman before his retirement in 2001.

Hi Christian, Thank you for the “Reading the Fine Print” article in the April issue of MMR. We really value the info from all of the retailers – very insightful and appreciated! I did just want to point out that on page 51 it is mentioned that, “Alfred started selling direct from their website a couple years ago” and that is not entirely true. While it is true that on alfred. com, musicians can place an order for our products, Alfred does not fulfill these orders. Our amazing dealer network does that. We hand off every order to our partners in the retail world. Alfred takes great pride in working with our retailers to help drive business to them, and our website is no exception. Every sale made on alfred. com is handed off to a retailer, and any retailer can get in on the action. It’s a simple and free process – all they need to do is call their Alfred sales rep to get started. Thanks for your great magazine and commitment to the music industry. Ron Manus, CEO Alfred Music Publishing Company, Inc. JUNE 2012

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People Korg USA has hired of Nick Owen as vice president, sales. Owen comes to Korg USA with a wealth of experience in the music and sound reinforcement prod- Owen ucts industry, most notably in the Pro Audio market sector, as well as in consumer electronics. Over the last ten years, he served in various capacities at the Harman Pro Group ranging from director of sales, EMEA at Crown Audio Inc. to VP US Sales for AKG and Soundcraft, and more recently head of worldwide sales for dbx, BSS, Lexicon, and Digitech. In his new position, Owen will report directly to CEO Joe Castronovo and will be responsible for all aspects of Korg USA’s sales and distribution channel strategies in North America and will work closely with national sales manager A.J. Reitz to oversee the company’s sales teams and business development. D’Addario recently appointed Pat Zerbo to marketing program director and Ari Simon to inside sales manager. Zerbo has spent a number of years at D’Addario & Zerbo Company and, in this new role, will now be reporting directly to Jack Sonni, vice president of marketing. Zerbo will assist and facilitate the implementation of marketing initiatives Simon across the combined sales, marketing, and product management teams. Zerbo will specifically assist in brand development, as well as maximizing and disseminating B2C communications and connecting opportunities. He will also assist the Artist Relations team in developing marketing programs. Zerbo will also be involved in coordinating and

facilitating opportunities with strategic marketing partners within the general MI space. As part of this transition, Ari Simon has been appointed inside sales manager and will manage the company’s inside sales efforts, reporting directly to Peter D’Addario, U.S. sales manager. Since joining D’Addario in 2007, Simon has handled the largest ISR account roster and some of the largest customers throughout the Northeast. In this new position, Simon will be responsible for the Inside Sales Representatives’ sales goals achievement, B2B promotion creation, on-line training content, and other initiatives that are intended to continue to grow D’Addario & Company’s sales to independent retailers in the United States.

launch of its Samick and Kohler digital piano line. Yuter also served as district sales manager for Roland Corp. and most recently as national sales manager for Kurzweil Home products. As Casio’s western regional manager, Yuter will handle sales, while managing independent rep firms and key accounts. In addition, he will be responsible for overseeing product training and demonstrations, as well as in-store clinics to further educate the retail staff.

Ashly Audio has hired Gary Jones to the newly created position of central regional sales manager. Jones brings nearly thirty years of industry experience to his new role with Jones Ashly, where he will manage Ashly’s independent rep firms throughout Texas, Louisiana, Arkansas, Oklahoma, Kansas, Missouri, Nebraska, Iowa, Illinois, Wisconsin, Indiana, Michigan, Ohio, Kentucky, West Virginia, and western Pennsylvania.

Pearl Corporation has announced the promotion of Gene Okamoto from product manager to director of Research and Development. Okamoto joined the Okamoto Pearl Team in 1992 and was greatly influencial in the development of many of Pearl’s award-winning products, such as the H-2000 hi-hat, Eliminator bass drum pedal, ICON Rack, I.S.S. mounting system, and co-designer of the Eliminator Demon Drive bass drum pedal. Okamoto’s responsiblities as director of R&D involve testing, evaluating, and documenting product quality. Gene also plays an active role on the Pearl Drummer’s Forum, offering product advice and technical support to Pearl’s online community.

Casio America, Inc. has announced another new addition to the Electronic Musical Instruments Division: Dan Yuter as western regional manager. A veteran in the music Yuter industry, Yuter has worked for various music and consumer electronic companies, including Panasonic, Technics Musical Instruments, and Samick Music Corp where he played a key role in the

Sherman, Clay & Co. promoted Michele Roberts to Allegro GM. Roberts has been with Sherman Clay for eight years as national credit manager. Since joining the company, she has maintained a leadership role in the operations for the company’s internal MAC financing and their expanding Allegro Acceptance division, which provides financing to non-affiliated piano dealers as well the ever-increasing business of hearing aid dispensers.

Breaking News! Find it in the Hot News section of MMR’s Web site, www.mmrmagazine.com 18 MMR

JUNE 2012

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Become an Authorized “Fretlight is game-changing. Not only has it become our go-to product for beginning guitar players, but it helps us to bridge the generation gap. I encourage all retailers to jump on the Fretlight bandwagon while they still can.” Rick Myers Co-Owner of Jim’s Music Tustin, CA

“We’ve sold 20 times the number of guitars as I thought we would. I don’t know of any manufacturer that puts as much into ensuring the success of their vendors, especially right off the bat, and I truly believe our sales results are proof of that. Our Fretlight customers are super excited about it and feedback has been really positive so far, and that’s what it’s all about.” Pat Redd Owner of Funky Munky Music Shawnee, KS

“Fretlight brings the barrier for learning to play guitar way down. All guitar resellers should offer the Fretlight line and see a pop in all related products, even other guitars.” Brad Smith Senior Sales & Marketing Manager Hal Leonard Corporation

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Financial Steinway Revenue Up in Q1 On May 3, Steinway Musical Instruments, Inc. reported earnings for the three months ended March 31, 2012. First Quarter Results Compared to Prior Year Period: • Sales of $78.0 million, up $5.0 million, or 7% • Gross margin decreased to 29.7% from 30.7% • Income from operations of $2.2 million • Adjusted EBITDA of $4.1 million • Earnings per share of $0.05, up $0.01 Commenting on the quarter, CEO Michael Sweeney said, “We are pleased with our overall results for the first quarter. Our top line increased 7% and net income rose 17%. Our piano division results were satisfactory, with total revenues on par with last year. Piano sales varied by region. Shipments in Europe were strong while sales in the Americas remained at prior year levels. Revenues were up in China but soft demand in Japan led to an overall revenue decline in our Asia-Pacific business.

“Our band division exceeded our expectations for the first quarter, delivering significant revenue growth and gross margin improvement on a sequential basis. Gross margins improved 380 basis points over the fourth quarter of 2011 as production returned to more normal levels at our Eastlake, Ohio brass instrument plant.” Operating expenses for the first quarter increased $2.3 million over the prior year period. The increase included $0.7 million in legal and consulting fees associated with the Company’s pursuit of strategic alternatives. An additional $0.6 million in sales and marketing costs associated with new company-operated piano retail stores

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also contributed to the increase. Vacancies at the Company’s Steinway Hall building in New York City continue to adversely impact earnings in 2012, generating a loss of $0.06 per diluted share for the quarter, comparable to the first quarter of 2011. As a result of the Company’s partial bond redemption in May of 2011, total debt net of cash at the end of the first quarter was lower by $20.1 million, or 42%, than in March 2011. Net interest expense decreased $1.5 million, or 64%, for the quarter. Piano Operations For the first quarter, sales in Europe increased $1.3 million, or 10% over the prior year period, despite a $0.6 million negative impact of currency translation. European shipments of Steinway grand pianos increased 28% while shipments of Boston and Essex pianos increased 14%. Sales in the Asia-Pacific region decreased $0.8 million, or 7%, as compared to the first quarter of 2011. Unit shipments of Steinway grand pianos in these markets decreased 15% while shipments of Boston and Essex pianos decreased 9%. Sales in the Americas increased $0.1 million from the prior year period as unit shipments of Steinway grand pianos declined 6% and shipments of Boston and Essex pianos decreased 12%. Piano gross margins decreased slightly from the prior year period. In the Americas, higher retail sales mitigated the negative impact of fewer sales of high margin concert grand and Limited Edition pianos during the quarter. Band Operations Revenues for the first quarter improved $4.5 million, or 15%, over the prior year period on increased unit shipments in all major product categories. Sales to the Asia-Pacific region increased more than 50% as compared to the first quarter of 2011. At the Company’s Eastlake brass fa-

cility, production doubled that of the fourth quarter and exceeded the prior year period. As a result of better product availability, shipments of higher priced background brass instruments increased, reducing the backlog created during the strike in 2011. Gross margins for the quarter decreased from the prior year period primarily as a result of increases in material and overhead costs. Outlook Discussing management’s outlook for its band segment, Sweeney said, “We are seeing some good order flow, with orders up 7% at the end of April. Production levels have improved significantly at our Eastlake facility and we expect to catch up on our order backlog by the third quarter. For the year, we expect a healthy top line increase and continued gross margin improvement.” Looking at the piano business, Sweeney said, “Business in the Americas was lackluster in the first quarter but retail foot traffic was stable. We are seeing strong demand for our pianos in Europe and China, which we expect to continue throughout 2012. We are optimistic that overall piano revenues and gross margins for 2012 will exceed the prior year.” Segment Information Piano Segment First Quarter Results Compared to Prior Year Period • Sales of $44.1 million, up 1% • Steinway grand piano units on par with prior year • Boston and Essex piano unit decrease of 5% • Gross margin decreased to 34.4% from 34.9% Band Segment First Quarter Results Compared to Prior Year Period • Sales of $33.8 million, up 15% • Brass and woodwind units up 2% • Gross margin decreased to 23.5% from 24.4%

JUNE 2012

News

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visit us online at www.namm.org

Note from Gordy Celebrate Our Independents at Retail Boot Camp Summer NAMM’s “Take It to the Top” theme is one that resonates with independent music products retailers like me. It’s the show where we can learn how to set up our stores for success. By focusing on being our best, we can stay competitive and improve our way of doing business. NAMM U sessions inspire us to look ahead, think outside the box and embrace more technology, and the pace of Nashville is perfect too for quality meetings and networking opportunities. It’s important to be at this gathering, as we keep the momentum from the NAMM Show going, and prepare for the fall and holiday selling season. The people we see here are invested in being among the top, and NAMM keeps working to make the show even more valuable to us. This year’s show kicks off with something new and beneﬁcial for industry dealers: Retail Boot Camp. As the president of the Independent Music Store Owners (iMSO) group, I’m proud to partner with NAMM in hosting this program. If you’re a NAMM retail member and/or iMSO member, this event is free for you and your staff, and it’s perfectly timed on July 11 in Nashville to get you geared up for buying and planning when Summer NAMM starts the next day. For those who aren’t aware, iMSO is a growing organization devoted to sharing information about best industry practices through online forums and meetings. Our community stands together, believing we’re

integral to industry growth because we’re involved in our communities, we’re teaching lessons and we’re in the store every day building relationships. And that’s exactly where Retail Boot Camp comes in, providing the tools and tips to create value for your customers— beyond the sale. Retail expert Bob Negen of WhizBang Training presents this session to help us jump-start our businesses for our best year ever. It’s going to take some time—seven hours of intense training to be exact—but you will walk away with sharpened skills and fresh ideas to use right away. I’ve been in the business for 40 years now, and that experience tells me I need to stay open to learning more than ever. We all do. This session isn’t just for new dealers or those in need of a boost—even if you’re on top of your goals, it will take you a step further toward a more proﬁtable year. I’ve talked to a lot of industry members, and I get the sense that many of us are ready to embrace change—and this is a great starting point. Are you and your staff making the trip to Nashville? I hope you make the investment and prepare for continued success with us at Retail Boot Camp and Summer NAMM.

Gordy Wilcher Founder/Senior Partner of Owensboro Music Center and NAMM Board Member

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June 2012

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Show Report: 2012 RPMDA

A Hollywood Huddle

The Retail Print Music Dealers Association Convenes in Tinseltown

As Alfred Music Publishing president Morty Manus took the stage on the final night of the annual Retail Print Music Dealers Association convention, he had a simple message, delivered with a smile: “This business is like the Mafia. You can get in, but you can’t get out.”

1. Danny Rocks of the Company Rocks, Reiff Lorez of Lorenz Corp., David Johnson of Concordia Music, and Thomas Jeffers of Jeffers Handbell Supply. 2. Tim Cose of Hal Leonard and Georgia Milsap of Senseney Music with Mary McDonald and Chris Scialfa of Carl Fischer. 3. Norm Zimmerman of Steve’s Music and Chaim Rubinov of Sheet Music Now. 4. Christie Smith of Long & McQuade, Sue Beacock of Beacock Music, and Jenny Van Pelt of Lorenz Corp. 5. Sheilah Craven of Leading Note and Florian Hruschka of Universal Edition. 6. Gordon O’Hara of Retail Up! 7. Eric Ebel of NAMM. 8. Max Desmurs of Editions Robert Martin and Michelle Bolden of Jazz Accents. 9. Chris Snyder of Adoro Music Publishing. 10. Bernard Müeller of Schott Music.

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That one-liner was directed toward that night’s President’s Choice Award winner, Mick Faulhaber, who’d announced moments before that he considered himself to be on his farewell tour. But it also served as a friendly reminder of the attitude shared by most everyone in attendance at the 2012 RPMDA convention – that of a long-term and collective approach to the industry. Print music is facing an unprecedented series of challenges this year, but the lifelong members and newcomers alike at this four-day conference pledged an optimistic push forward into the next phase of retail. It was a cooperative gathering that took bold looks into the future and found a diverse set of options. As Pender’s Music’s Richard Gore said in one panel discussion about the future of the business, “It will get better!” It was the 36th year for the RPMDA convention, an event that gathers print music dealers, publishers, distributors, and related businesses for series of focused discussions and idea sharing sessions. There were over 200 attendees gathered at the Hilton Universal City (right across the street from Universal Studios and the flashy City Walk entertainment and retail district) – old friends, new acquaintances, and eager collaborators looking for tips on everything from social media to setting up in-store displays. As always, everyone went home with a few new tricks up their sleeve. JUNE 2012

1. The 2012-2013 RPMDA Board of Directors: Holly Anzalone-McGinnis, Christie Smith, Myra Sistern, Don Langlie, Carol Wilbur, Gayle Beacock, Chris Scialfa, Tristann Reick. 2. Ellen Reeves and Tim Sellers of Frederick Harris Music. 3. Tim Cose, David Janke, and Maribeth Barrons of Hal Leonard. 4. Karen and Lantz Berets of Berets Publications. 5. Jan Kelley of Last Resort Music. 6. Kevin Hackinson and Claire Cornish of FJH Music Company. 7. Bryndon Bay and Nancy Oliver-Vallely of Mel Bay. 8. Walter Commings of Grand Mesa Music. 9. Dale Miller of Harris Musical Products. 10. Lauren Keiser of the Music Publishers Association. 11. Craig Cornwall of Kendor Music. 12. Ian McLaughlin of Wingert Jones Publications. 13. Kim Frattosio of Alphonse Leduc/Robert King Music Sales. 14. Greg Cox, Jill Chapman-Cox, Julie Cox, and Dave Cox of Tri-Technical Systems. 15. Pam Hendricks, Daniel Frohnen, Ron Manus, Antonio Ferranti, and Holly Anzalone-McGinnis of Alfred Music Publishing.

Dealers are not scared of the Amazons and they’re not scared of digital. They’re actually finding solutions to tap in and be a part of it. (Daniel Frohnen, Alfred Music). JUNE 2012

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Future View The prevailing theme of the convention was the unavoidable change occurring in the print retail industry. Technology has been evolving faster than ever and everyone offered a different take on the best way to harness it. The ongoing feud between Amazon and brick and mortar shops surfaced throughout the gathering, including a panel discussion about the future of the industry moderated by NAMM chairman Kevin Cranley. Pender’s Richard Gore spoke out that stores need to let their customers know how much their business benefits the local communities. “One of our secret weapons is our relationships,” he said. “Something you can forget is how much in taxes you pay that goes into communities to be able to have public schools and roads. Amazon pays no taxes. That’s one of their attractions.” He’s considering posting the numbers at the front of his store. “We compensate your firemen. We compensate your police men. We contribute to your teachers – all the people that make your community better. We have to take it to the local level.” That doesn’t mean turning a blind eye toward the power of the Internet. To the contrary, there were countless opportunities to get involved with it as a retail tool. Alfred sales director Antonio Ferranti gave a seminar on going “From Brick & Mortar to Click & Mortar,” Constant Contact’s Kelly Flint gave a crash course on how to use Twitter and other social media, Hal Leonard’s Maribeth Barron offered tips on how to effectively use QR codes with in-store displays, and Bethel Music Center’s Bruce Treidel explained his store’s success using Google AdWords to expand interest. Across the board, publishers encouraged retailers to move ahead with up-to-date online systems for distribution that would streamline the process of selling digital and on-demand through their existing dealer networks. They pointed out that several services existed as turnkey solutions to this problem (some even exhibiting at the convention) that could make the entire process easier. One thing everyone agreed on was that an influx of new blood was essential to both staying on top of new technology and in simply keeping up morale. JUNE 2012

Alfred Music Celebrates 90th Anniversary A centerpiece of the convention was Alfred Music Publishing’s 90th Anniversary Party, which took place at the company’s new headquarters in nearby Van Nuys. Convention goers rode charter busses out to the new facilities and enjoyed group tours of the offices – from reception to production to the multimedia lab straight to Morty Manus’s corner office. A reception followed in a swank tent

with surprise performances by Lisa Loeb and CEO Ron Manus’s band, Sassafrass, made up of coworkers from Alfred and Daisy Rock Guitars. The timing of the party was fortuitous – it also allowed the entire convention to help Morty and Iris Manus celebrate their wedding anniversary. A Spotlight on Education Another touchstone of the convention was a focus on music education through

schools, lessons, and over-arching programs as a means to both shore up cultural resources and to strengthen customer relations. The Gist Piano Center’s James Harding gave an in-depth look at how he’s revamped his business’s education program. “You’ve got to fix the distrustful, suspicious relationships between teachers and dealers,” he said, going on to sketch out the key points of his Partners in Education Program, including discounts to members, free membership, free piano

Alfred Music Publishing’s 90th Anniversary Party

7 1. James Harding of Gist Piano Center presenting on “Redefining the Teacher-Dealer Dynamic.” 2. Constant Contact’s Kelly Flint leads a session on social media marketing strategies called “Twitter Made Simple.” 3. Bo Lebo of New Education Options, Inc. chimes in at the “Future View” panel discussion. 4. Antonio Ferranti of Alfred Music leads a presentation designed to help brick and mortar stores evolve to the age of “click and mortar.” 5. Chip Averwater of Amro Music leads a lively discussion based on his book Retail Truths. 6. Tracy Leenman of Musical Innovations speaks during a panel discussion that looked at new strategies to adapt to today’s changing retail environment. 7. Lori Supinie of Senseney Music and Willis Music’s Kevin Cranley, who moderated the Annual “Best Ideas” session, which Lori won with an idea for supplying discount coupons for a retail shops digital customers. JUNE 2012

1. Alfred converted their parking lot into a chic ballroom for the night. 2. Ron Manus, legendary recording engineer Ken Scott, and Lisa Loeb. 3. Daisy Rock Guitars. 4. Iris and Morty Manus reflect on a lifetime of service in the music industry. 5. Video and multimedia director Robert Hirsh shows off Alfred’s media lab. 6. Early pieces published by Alfred adorn the walls in a central conference room. 7. “Monster-punk” band Sassafrass featuring Alfred’s Ron Manus and Rich Lackowski and Daisy Rock’s Tish Ciravolo and Tommy Norton. 8. Alan Friedman of Friedman, Kannenberg & Company, P.C. browses a few displays in the halls of Alfred.

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1.Steve Rose of Music Minus One and Stephen Pearl of Stage Stars Records. 2. Steven Loweth, Joey Lyons, and Andrew Gordon of Mayfair Music Publications. 3. Jason Yamaoka and Karl Kjos of Kjos Music Company. 4. Frank Billack of C.F. Peters and Alice James of Oxford University Press.

tunings, and informal themed recitals. In return, stores reap benefits like a targeted contact list, increased store traffic, great relationships with key influencers, and, of course, increased revenue. At the yearly “Best Ideas” session, a number of retailers came forward with education-based ideas. Myrna Sistern from Middle C Music suggested that everyone have more lessons and family recitals, while Cindy Weber spoke of West Music’s recent Quad City Ukulele Club as a way to get customers to gather for fun group lessons (and a healthy boost in print music

the future of this business. Dealers are not scared of the Amazons and they’re not scared of digital. They’re actually finding solutions to tap in and be a part of it. To me, this has been the most exciting RPMDA because they’re all coming forward and being ready to conquer that part of the business. Another thing is I see a lot of younger faces here, which is good. I see a lot of store owners tapping into the knowledge of their staff and not just trying to go at it alone. To me, that’s the key to success – tapping into people around you. If they’re interested in social media, make them in charge of it. If they’re a retail junkie, tell them to give you some retail best practices so you can make the store better. It seems like they’re all doing that. Hendricks: It’s also interesting to see all the generations. We tend to have the 50-ish crowd and they’re bringing a lot people in their 20s and 30s, and there’s definitely a difference in how they view technology and their buying patterns and how they work with social media. It’s great that they’re listening to the younger people and getting ideas on how to market to the various generations. Frohnen: People are returning to Main Street. People are realizing, “I hate Amazon as a business owner, so I need to go support other local businesses.” We were watching BestBuy start to shrink and realizing that Main Street is winning. Myrna Sislen is a perfect example at Middle C Music – the more people do that, the better off this industry is going to be. I don’t

think brick and mortar is going anywhere.

Meet the RPMDA

ne of the great benefits of RPMDA (many would say its greatest) is the variety of backgrounds from which exhibitors and attendees visit – from well-known European publishers and veteran retailers to brand new sales reps and eager, young store managers. Here are a few of the many diverse voices at the 2012 RPMDA Convention. Alice James Oxford University Press Show’s been great. It’s the first time I’ve been and I’ve met a lot of people, which has now given me a good basis to get out and see some dealers in their shops. I think it’s great to see how some of the other publishers and companies interact and go about their business. In Oxford, we’ve been thinking ahead about expanding our reach in this market, but being here has definitely helped to solidify those plans. We’re quite strong in the Sacred and Choral markets, but now there are some other markets like high school and community choirs which we think have potential that we’d like to reach into. Pam Hendricks and Daniel Frohnen Alfred Music Publishing Frohnen: For me it’s been fantastic because everyone’s been talking about

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Annkatherin Mascus Breitkopf & Härtel A lot of people have come here because Los Angeles is a very exciting place to have a convention. The sessions were very interesting. It’s always great to meet all of our customers once a year. There’s not really a lot of new behavior this year – everyone’s complaining about the economy but it’s not the first time for that! Let’s hope that the industry continues to progress and we figure out how to take care of the downloading and piracy problem that we’re facing. Jason Yamaoka Neil A. Kjos Music Co. It’s easy to lose sight of what the dealers are going through. I remember growing up and going into the piano shop and buying the books and remembering just how much stuff they really have. This week has helped me say, “That’s right, I remember how much stuff they all actually have!” On top of all the stuff we send them, they’re buying from all these other vendors. It’s a great reminder that there’s so much more to it. You can utilize social media to keep people up to date with reviews and new products and things like video tutorials. Promotion in general is easier, because the catalogs are big. People forget.

JUNE 2012

sales) and Elliot Wessel suggested retailers get involved with school and community theater departments whenever possible. Finally, the group welcomed El Sistema-trained Youth Orchestra LA manager Daniel Berkowitz to speak about his involvement in rapidly growing education and social service movement begun in Venezuela 33 years ago. El Sistema USA is developing into a broad support and advocacy network that is helping programs based on the El Sistema model, with a goal of helping the program hit one million participants within the next five years.

2012 RPMDA Awards The convention culminated in the RPMDA Closing Dinner and Awards, a “Hollywood Wear”-themed party that saw members decked out in their finest gowns, flashy wigs, and ‘30s gangster suits. The dinner included a heartfelt tribute to lost and loved members. The Dorothy Award, given to honor a lifetime of service and special achievement in the music industry, went to Northwest Music Services’ Bill Stonier. Senseney Music’s Lori Supinie received the “Gwenny” Award (recently named

for the late Gwen Bailey-Harbour from Alfred Music) for first place in the Best Ideas session for her suggestion to give discounts to digital consumers. The President’s Choice Award went to longtime RPMDA member Mick Faulhaber of Ward-Brodt Music. Alfred Music’s Elisa Palladino was awarded the Don Eubanks Publisher Representative Award. The 2012 Sand Feldstein Service Award went to Tristann Rieck of Brass Bell Music. The evening closed out with remarks from brand new RPMDA president Carol Wilbur.

Also social media also makes it easier to touch base with dealers as well as the schools and directors – being able to personalize it a little bit more than just over email broadcasts and stuff like that without being able to actually travel and see everyone. It’s impossible to be as personal as you once could be. It would be awesome if the economy recovered. It would be awesome if this country took a stronger focus on education so that, in turn, music would return to the classrooms more. Teachers could get better salaries – but it’s a whole culture shift. Education is kind of at the bottom right now. It’s a long-term thing and everyone’s just worried about having enough money tomorrow.

move that along and close that gap. I think business in general is going to just be whatever each individual business makes of it. Folks are out there doing music, so it’s up to us to make that happen. I think there are challenging circumstances, absolutely. But for us, if we have something that’s not going right, we’re pretty quick to jump on it. I think you can fix almost everything. People are still out there shopping and buying music. When we have a down month in a category like drums, my brother, Russ, always says, “They’re still buying drums – they’re just not buying them from us.” That’s the approach we always take.

anywhere else. Print is still a very relevant part of this industry. According to industry censuses, it was the fourth largest sales category in 2011, so we can still help stores make a profit. The more we get together and work together, the better off everyone’s going to be.

Gayle Beacock Beacock Music and Education Center There are dealers here that have businesses close to my business and we’re just all in it together in this industry. You can really sense that. It’s cliché, but it really is a family atmosphere. I think the biggest gap we have between publishers and print music dealers is technology, in that publishers are so far ahead of dealers and part of their frustration is that we’re not keeping up with our technology as much as they wish we would. They need to get their content out there and they want to go through us, but we’re not as sophisticated yet as dealers, for the most part. There are a few exceptions, but most of us are behind in that area. We’re trying to get more practical technological advice to

JUNE 2012

David Jahnke Hal Leonard Corporation Each year technology changes. Just in terms of the amount of tablets that were sold – 66,000 in 2011 and they’re anticipating 120,000 sold by the end of this year. When you start thinking about those numbers, it changes the dynamic of the conversations. So we had a lot more conversations about the future of digital publishing. Where are we going? How can the publishers help the retailers remain relevant? I love RPMDA because it gives us a format to have those discussions openly. Unlike some other conventions, this one is really for idea-sharing. When we get customers together with the manufacturers and they open up the topics, you can learn a lot from both sides. That really doesn’t happen

Madeleine Crouch RPMDA Print music is facing a lot of the same challenges the recording industry has faced and the book publishing is facing. I think what’s happening with us is moving at a slightly slower pace, but we’re right there at the crossroads. I think the focus has been how to stay relevant as things change. And of course, things have changed throughout the decades, so we can’t panic. The internet sent everyone off into a tizzy ten or fifteen years ago, but now everyone’s dealing with it as though the Internet is their branch store, which it basically is. You need customer service, you need to merchandise it, you need to stock it, you need to make it look good – everything you need in a retail store. I’ve always said that as dealers, our job is to make sure publishers know they can sell more music through a dealer network than any other way. Publishers need to work with dealers and, if you’ve got hoops that you’re making dealers jump through, make sure you’re making everybody else jump through those same hoops.

MMR 29

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1. Cocktail reception before the closing “Hollywood Wear” RPMDA Dinner and Awards. 2. Andrea Pelloquin of Hal Leonard and Sigrun Jantzen of G. Henle Verlag. 3. Myrna Sislen of Middle C Music with Evan and Adam Jones of Bandland. 4. Mick Faulhaber of Ward-Brodt Music receives the President’s Award from Gayle Beacock. 5. Guitarist J. Curtis. 6. The conductor of the RPMDA Singers, Joe Keith of The Music Mart. 7. Cynthia Kelley of Last Resort Music Publishing with Bernard Müeller of Schott Music and Annkatherin Mascus of Breitkopf & Hartel. 8. Becky Lightfoot presents Elissa Palladino of Alfred Music with the Don Eubanks Publisher Rep of the Year Award. 9.The RPMDA Singers. 10. Holly AnzaloneMcGinnis of Alfred, Craig Cornwall of Kendor Music, and Elisa Palladino of Alfred. 11. Gayle Beacock of Beacock Music with Pierre Cotelle of Arpeges-Diffusion and Max Desmurs of Editions Robert Martin. JUNE 2012

Spotlight

‘GoingGreen’ Still Going Strong...

Environmental and Sustainability Issues Come to the MI Forefront

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JUNE 2012

Part I – For Guitar Makers, the Stakes Are Higher In 2008, MMR ran an extensive feature on “the greening of the music industry.” In revisiting the topic four years later, we’ve discovered that many factors – ranging from a faltering economy, cutting edge technology, and finite resources – have upped the ante beyond any feel-good intentions and made the embrace of environmentally friendly practices a serious motivating factor. For guitar makers, the stakes are high – since the original article was published, an armed federal agency stormed Gibson’s manufacturing plant in Nashville twice to confiscate rosewood that they say was taken illegally from Madagascar (though to this day no official charges have been filed). That the century-old Lacey Act, meant to protect animals, has been stretched to include rare woods has caused great controversy. But while everyone we’ve spoken to embraces the goals of the Forest Stewardship Council (FSC), no one is saying it is easy. Four years ago, Gibson, Martin, Taylor, and Fender (who declined to be interviewed for this article) were enthusiastic about their partnership with Greenpeace in the Musicwood Coalition that was going to optimize Alaskan forest Sitka spruce for sustainable management. It

stalled when the Sealaska Corporation they tried to support achieve FSC certification had cut too much wood to qualify, and now that group is defunct. But it’s “Game On” with many fronts. Getting more out of every precious piece of wood, experimenting with alternative woods, or pursuing carbon fiber as Peavey has done with its purchase of Composite Acoustics. Taylor has built a mill in Cameroon for not only their guitars, but also to sell to the competition. The vernacular is expanding. And there’s a revolution afoot, as the leading manufacturers know that no matter what they do, the wood traditionally used for guitars is finite. Linda R. Davis-Wallen of Martin makes it clear: “It’s a lot of work for the amount of guitars we’re building. In 1992 I was sourcing wood for 10,000 guitars a year, and now it’s grown to over 100,000.” Considering the dwindling supply and increasing protection of said wood, it’s a challenge. In addition to exploring recycled materials, Martin has been at the forefront in tone testing and the development of alternatives for acoustic guitar construction, having introduced new models that use domestic woods such as ash, maple, walnut, cherry, and red birch, among

others. In addition, the company is researching and implementing alternatives for some models, including: patented High-Pressure Laminates for the X Series and Little Martin guitars; aluminum tops for the Alternative X models; Stratabond birch laminate for neck blanks; Micarta and Richlite, unique fiber laminates, for fingerboards and bridges; and a shell laminate called Abalam that greatly increases the yield of precious abalone and mother of pearl for decorative inlays. Taylor literally went into the jungle, setting up a mill in Cameroon. Bob Taylor says the process has really opened his eyes. “All your readers hope I just plant a tree, but this experience has really matured me. I know now it takes real dedication to do the right thing.” He shakes his head and continues: “Sustainability is bogus – sorry. That’s the truth. It’s further than we think because you have to get the first 10 steps right,” as in an honest legal system in places not yet known for such things. Then there’s the real problem – the guitarist. Or is that just blaming the victim? Taylor might sound cynical when he says every guitarist is an environmentalist up to the day he or she buys a guitar, and the very next morning they are an

“Let’s face it: You can make a crappy guitar out of Brazilian rosewood, yet we can go to Home Depot, grab some of their wooden pallets, and make a great sounding guitar out of that.”

JUNE 2012

MMR 33

environmentalist again, but the day of that purchase looking at something with Brazilian rosewood, Madagascar ebony, et cetera, they are decidedly not. “They just want it.” “It’s a marvel to have musicians sing about environmental issues on their Brazilian rosewood guitars, but it just shows they don’t want to give up on tradition either,” states Davis-Wallen. She also adds that the adoration of these sacred, rare/endangered wood overlooks that

the craftsmanship is really what matters. “Let’s face it: You can make a crappy guitar out of Brazilian rosewood, yet we can go to Home Depot, grab some of their wooden pallets, and make a great sounding guitar out of that.” But that begs the question, are commerce and growth the problems, or the solution? And does a Laissez-faire approach help or hinder the greater good? Gibson’s CEO Henry Juszkiewicz believes the latter is true. Write a pro-en-

vironment song on that acoustic, sure; but the geo-economic reality is a tiny bit more complex. “As the infrastructure improves and roads go in, there’s more accessibility to virgin forest and some people would even question do we really want to save that resource?” Juszkiewicz asks rhetorically. “I’m on the ‘yes’ part of that equation. But commerce is not the problem, it’s the solution.” This is our planet. We’ve made some poor choices. Here is our path forward.

Marketing Green: Does it Matter to the Player? “That’s the magic question, isn’t it?” replies KMS’s Walden Guitar’s Jon Lee, whose 100-percent FSC certified Medera has a street price of around $1,200. On their website they play up the environmental aspect, declaring that the “guitarist can make purchasing decisions that serve both your musical aspirations and take part in reducing the over consumption of world resources.” “Right now instruments with a positive back story are certainly attractive among early adopters, in this case a core group of people where these kind of choices are a way of life.” Lee, who lives in Portland, mentions that it’s a high among the culture there (jokes about the TV series Portlandia ensued). But there’s always going to be the perception that best guitars “must” come from rare wood. “Using non-traditional wood is a double-edged sword,” says Martin’s Linda Davis-Wallen. “You would hope that we could launch a guitar using it and people would follow. However, players are traditionalist by nature. And if you’re a music dealer, and you have one of each and only one slot empty on the wall, which would you hang? Which do you think will sell quicker?” Getting customers to try something that might look a little different is the challenge, but then when they do and it sounds great you’ve created a convert. The education process is the issue. Some, but not all, understand that rosewood and mahogany may not be around forever. “The consumer is increasingly demanding transparency from brands and manufacturers,” says Gibson CEO Henry Juszkiewicz. “They want to be sure we’re doing the right thing.” He believes choices consumers make traditionally have a lot to do with marketing, and that 34 MMR

the reality from an engineering standpoint is that everyone wants something that sounds better and plays better, and what is used to make that happen becomes part of an education process. So they are working on new technologies to improve the instrument, and the proof that they’ve achieved that will need to be demonstrated to the players. “Of course we also try to use our environmental efforts in our marketing,” says Gabriela König CEO of König & Meyer. “It’s in our brochures and on the Internet. We also feel that the customer takes into account our commitment when he buys a product. We also note that we get more and more inquiries from customers about our environmental efforts.” “I think it’s certainly a selling point that dealers can use,” says Dansr’s Michael Skinner of their Van Doren products. The customers do care and he has proof: When they introduced their taller reed boxes that are actually significantly more environmental friendly, he got a lot calls and emails from concerned players. “Once we explained what we really did, they were like ‘wow!’ So there is clearly an interest. If more dealers knew that we had consumers emailing and asking those questions, I think it could make a difference.” “There are players who have a heightened affinity for ecologically sound products, and I do think that these instruments probably satisfy that part of their purchasing decisions,” says Hartley Peavey. “As with any musical instrument or amplifier, though, many considerations go into choosing the right instrument. It’s a personal thing for most players. We all have our own preferences and motivations for why we love a certain type of instrument.” “Some of the studies show that people don’t rank [green issues] as the most important feature,” says Jim

D’Addario. But he adds that there is something to it being part of the product detail, and thus the corporate culture. “Why does everybody love Apple? There’s a certain culture, image, iconic brand they’ve built that’s in the brain. It becomes about selling the company and the culture, and people getting married to that, as opposed to just price and features. It’s a soft connection, but if you can deliver the corporate message consistently, when people understand how organic our reeds are, how we recycle the wire that falls to the side when making strings, suddenly there’s some kind of culture connection that’s subtle.” When the customer is standing there deciding between two strings, and sees one is more environmentally friend, “that might be the straw that breaks the camel’s back.” “I can get pretty cranky about it,” he states. “And I know I need to cut the customers some slack, but we’re going to educate the customer about this. You’re going to see more wood with stripes in it. We’re going to tell the story of this, put it on a film, show people playing ebony that isn’t black and raving about it.” Bob Taylor: “Makers of products teach buyers of products, so if the consumer is innocent they won’t stay innocent if they hear the news. I was ignorant of the real situation, but as owner of a mill it’s different. You get the real story and it’s not pretty.” Alfred’s Ron Manus believes that when the consumer is looking at two comparable books and looking for a reason to choose one another, that little “100 percent recycled” that appears on publications could be that reason. “I also hope that when a retailer is choosing which books to carry in their store, that they will choose to support environmentally responsible publishing.” JUNE 2012

KHS Walden Guitars

Martin

“There’s a bigger picture here,” adds Mike Robinson of KHS, which makes Walden Guitars. “FSC guitars may result in some sales to those who value the environmentally responsible way of life, and we’re happy when that happens of course. But there’s a drive within the KHS organization to be a responsible global citizen and make efforts in this area beyond just this Walden line. There’s a lot of chatter out there about this but we’re a company that presents a positive example.”

In December of 2011, Martin was audited by primary auditor Samantha St. Pierre and observing auditor Gweneth Langdon – Chain-of-Custody Associates of the Rainforest Alliance, SmartWood Program. The company is still audited annually regarding FSC Chain-of-Custody certification compliance, and has been FSC Chain-of Custody certified from 1997 to 2004 and 2007 to present. Many co-workers across all functional areas are involved in maintaining the Company’s FSC compliance. They recently announced that the company will use FSC Certified Recycled Sitka Spruce in an instrument it will unveil at the 2013 National Association of Music Merchants (NAMM) Trade Show in Anaheim, California. “Certification is very important for everyone’s future,” says Linda R. DavisWallen, who has been part of Martin since 1974, and since 1981 has been trusted with work of sourcing the wood. She says Martin has been involved in sustainability since the early 1990s. “That’s when we started to be concerned, started donating for replanting, and started looking to the FSC. Early on, there wasn’t that much timber being certified let along suitable for us.” They did work with the FSC and got to the 70 percent certified mark. Then in 2004 the goal post moved, and the FSC demanded it be 100 per-

Mike Robinson

Jonathan Lee

Jon Lee knows while it’s difficult, it’s not impossible to make a 100 percent FSC certified instrument. As head luthier of the Walden Guitar line for over a decade, he was able to achieve it with their Madera Series. “It’s not easy,” he sighs, saying he only knows of only a couple of other makers able to do it. Lee says his pursuit of this took a long time, but he knew he wanted to do it: “FSC is the clearest, cleanest system out there. It’s about knowing the origins, the chain of custody and basically everything about the wood from the forest to packing of the final product.” When Walden got serious about this, he says they had two ways to go about it: “We could try to stick as close to traditional guitar woods as possible, or push for the alternative wood route.” They went with the former. These are made of Sitka spruce and Central American mahogany. “The only alternative used in these guitars is the finger board is made with South American Katalox, which is similar to ebony in terms of hardness and tonality.” Lee is very pleased with the Katalox although they had to work with it a little: “Fresh cut Katalox is pink, and while it eventually turns brown it takes a long time, so we dye it.” Walden’s strategy is to prove what they can do with the traditional, and then build guitars that are 100 percent FSC certified with alternative woods. JUNE 2012

cent. They got creative working with traditional and non-traditional woods and became re-certified in 2007. “It was still a hard thing to do,” she sighs. “There’s just not that much timber certified, and most of it is in Canada and places like Poland, and most of that is used in construction.” But the trend toward certification is not just with companies making things out of wood, but the countries which are selling those products. “More countries are getting certified because they realize it’s their future. If they want to continue harvesting they need to be concerned about it.” Today there’s FSC mahogany and Spanish cedar, and they are working on FSC ebony. There’s also FSC “controlled wood” which she describes as being one step below being completely certified. They are able to get rosewood out of Africa for that. Yet despite all they are doing less than one percent of all Martin guitars are 100 percent certified. She says Chris Martin is upbeat about the future of it all. “The seventh generation of the family is coming to work, and nobody wants to see this business go away, so we’re doing everything we can in this area.” Davis-Wallen says the long-range goal is to have every guitar 100 percent certified but “I don’t know how long that will take.”

Martin’s Linda Davis-Wallen flanked by Dave and Tarina Dunwoodie of Graph Tech Guitar Labs MMR 35

Peavey & Composite Acoustics “Composite Acoustics has been on our radar for many years,” says Hartley Peavey of his July 2010 purchase of the all carbon-fiber/guitar maker. “You can’t help but be impressed by the tone and ruggedness of the instruments. I always try to be different from other manufacturers in what I do. Composite Acoustics brought to market a different product that improves on wooden guitars in many ways.” He says it’s been both a success and an interesting learning process, as making these guitars is a much different process than making traditional instruments. They brought the principles from CA to their main plant to make sure production was set up correctly. And while they are using the same proprietary processes, they’ve also made improvements. They upgraded to a new paint process that enables them to use the highest-grade paints and finishes possible. The other changes involve construction. They added a brace under the fretboard where it meets the body; they are offering the GX with an optional slimmed neck profile along with the original; and both the OX and Cargo models now have inlayed logos, and the OX also has an inlayed rosette. “All CA guitars have an improved neck angle, and as a result improved

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playability. The nut dressing has also been improved on all models. But we didn’t change anything in the Hartley Peavey proprietary design and construction process that yields that magic Composite Acoustics tone.” But his intention is not to replace traditional woods, but to provide a better alternative. “We all love our vintage wood acoustics, and they have their place—but that place is usually indoors, preferably in a climate and moisture controlled environment. The beauty of Composite Acoustics guitars is that they not only sound and play amazingly well, but they’re also completely impervious to the elements and are virtually indestructible. You can literally take a CA guitar anywhere, and it’ll always play the same as it did when you first played it, even in the rain.” He’s betting the trend on composite instruments is upward. “Composite Acoustics are 100 percent wood-free—they are made from carbon fiber, a sustainable material that does not contribute to deforestation. But carbon fiber also offers substantial benefits in other areas. It is incredibly lightweight but also dense, strong, and durable. As you know, sound waves propagate best through dense matter. This allows us to make the guitar soundboard very thin and resonant, and project a very rich, dynamic and loud tone. These aren’t really niche products, per se, in that you don’t have to be environmentally aware or active to appreciate them. They’re great instruments first.” Peavey says they are discovering other alternatives, too, like bamboo, which they’ve put in the Cirrus Rudy Sarzo bass. It combines exotic wood selections and a resonant neck-through-body design with studio-quiet active. The bass features chambered bamboo wings and a maple neck with mahogany stringers, graphite reinforcement and dual expanding truss rod.

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Alluding to his recent run-ins with government agents who say Gibson violated the Lacey Act, it’s an understatement when CEO Henry Juszkiewicz says, “It’s probably more important us [to abide] than most because of our situJUNE 2012

ation, though I would say, in general, we’ve always been aggressively pro-conservation, and naturally most of that has been focused on wood.” He cautions against extreme elements in the environmental movement who “use almost smear tactics” that can have a negative effect. He has no doubt that the rainforest is depleting rapidly, but notes that the issue is much more complex than just blaming guitar makers, pointing to those clear-cutting for farmland or condos. Yes, there are some “bad actors in the forestry business” but radical environmental elements don’t reflect the consensus of the green community, Juszkiewicz says. “They are quite dangerous in fact. Their position almost terrorist-like. But their agenda doesn’t address the important issue of how exactly are we going to save the rainforest? The trees are not the problem. Trees are a renewable resource. If you cut them all down on an acre, they will regrow.”

He makes the case that things would be better if the “simple economics” were trusted. If trees were in demand, the harvesters wouldn’t want to cut down all their trees. “You want to be consistent and sustainable, and you want to maximize the amount of output every year and thus create the most profit and protect future profits.” The emphasis needs to be on teaching people how to manage forestry resources to maximize the output, and the motiva-

tion for sustainability and social responsibility will be to “keep the money going, and then I’m incentivized to proHenry Juszkewicz tect that wood. I’m not going let poachers get in there.” He pauses and adds: “Commerce is the answer, not the problem.”

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MMR 37

Another key component is getting the locals involved and profiting from the sale of their wood, as opposed to poachers getting pennies on the dollar. Gibson is working with the indigenous tribes of Honduras and Mexico, getting villages involved in legal forestry. “They can now send their kids to college where before they were living a subsistence lifestyle,” Juszkiewicz says. “That is win-win. Our company gets certified wood, the village has an improvement in the quality of life, and the government doesn’t have to waste resources policing the forest —

the natives are doing it because they care about their livelihood. Finally, he says Gibson is aggressively working with alternative wood. “The question is: Why are we using the wood we are using today? We’re using it because that’s the way it’s always been done. No one has studied and proved rosewood or ebony is absolutely the best material to use for a fingerboard. It’s been used for hundreds of years because at one time they were very cheap.” He then tells the tale of pernambuco, today a rare wood highly sought-after

by violinist for bows. Going back to the 17th century, the wood was actually used as shipping crates, and large piles of it was found discarded in European cities. Makers would go and pick out a piece and make a bow out of it. “Most violinists will tell you it’s the best to use in a bow but no one can prove it.” At Gibson they are looking at all the available wood species to find alternatives. “Since we can’t use what was used yesterday, we are looking at everything with a fresh set of eyes. We’ve gone through a hundred different species to discover what works best, complete with blind consumer tests.” Both alternative wood like bamboo and composites are being used, and a recent Firebird features laminated rosewood that is getting a better tone.

Taylor

Bob Taylor, first row left, Cameroon.

Bob Taylor says this about wood: “It’s hard to get and it doesn’t grow on trees … how I wish it did.” He’s not joking as much as you might suspect. “I wish you could just go pick it off a tree. You have to go through all kinds of things to get it, and when you take it, you kill the tree. That’s the problem. If you buy lumber from traditional sources, you’re contributing to the demise of the rainforest.”

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Taylor developed pioneering partnerships with environmental organizations like GreenWood Global, a non-profit organization that empowers indigenous, forest-based communities to support themselves through sustainable forestry practices. The company’s work with GreenWood in Honduras has led to a successful new paradigm of social forestry, allowing several villages to participate in the sustainable harvesting of mahogany. But it was his recent experience in Africa that has changed him, offering a “reality check” when he thought he had an understanding of the situation. “Sustainability is a word oft used, but it’s a hard word for me to jump to,” he sighs. “It’s hard to achieve, and sometimes I’m excited about it and sometimes I’m bummed. In a lot of places, sustainability needs to come after [the rule of law].” While a supporter of Lacey, he says that a country’s lack of adherence to law and shadowy players in the business makes it something of an enigma. “I would say all of our wood is mostly legal, but it’s really hard to look behind the curtain, especially when that curtain sometimes depends on questionable harvesters.” He’s brutally frank. For example, while he’s confident the Spruce is good and the mahogany is – mostly … “but when we take from Belize? I don’t know if it’s sustainable [there]. It’s all about working within their guidelines, and you could put a lot of experts in a room to argue if it’s truly sustainable or not.” Sustainability is in the eyes of the beholder. “You can cut a tree down, plant three, hold hands and sing “Kumbaya,” but it’ll be another 200 years before someone else can cut it down. Then think about a spruce that was here before Columbus, 450 years, and we just cut it down for guitars.” Something is planted, but in 500 years … “the United States might not even be here then. So we have to look at all differently.” Taylor took out a not-so-proverbial machete and, went into, Cameroon. His idea was to do it right – “squeaky clean legal” and do some good for the locals along the way. “Why don’t we stick our neck out and be a good operator?” he mused. They partnered with a Spanish wood supplier anxious to not repeat the situation that happened in so many other places, including Madagascar – depleting all the resources, leaving only impoverishment. He describes the country as having a lot of ebony, but not many roads. And it JUNE 2012

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was deep and hard to maneuver in many ways. “We made a commitment to do it with no bribes, legitimately getting permits, having real employees with real benefits. And we wanted to cut ebony for everyone. It’s already probably the biggest and only truly legal ebony operation out there. And all this needs to come way before we start talking about sustainability.” When it’s pointed out he doesn’t have to go to all this trouble, he readily agrees. “We have plenty of money and doing fine, it’s true. But my reward for all this is to spend time with Cameroonians and fight with them for all the things that are wrong there … in reality it would be easier to steal the wood. To do it the right way is really hard.” Taylor is operating two mills in two different towns. While the company is employing locals, right now it’s relatively few and “all” they are doing is cutting the wood and shipping it out. They have plans for doing more there but skill-wise, “they are at the bottom and need to go up. There’s hope, but there’s 80 percent unemployment so the poverty there is unbelievable.” Taylor says that if they are pumping in, say, a $100 per worker per month worth into the economy right now, and if they can get C&C machines in there and just make bridges for Taylor, that number can go to $150. That would be good for Cameroon, and that is the transformation they are looking for. Taylor believes much more needs to be done to make a positive change, and the onus is on the manufacturers and the marketers. For example, everyone treasure black ebony for its clean look. Well, typically those illegally looking for that cut down nine trees for everyone they find. That one they drag to the road and make a little money. The other nine? Abandoned. “I was told no one will buy a guitar that’s not black ebony, and last September, I said from now on they will.” He laughs at how audacious that must sound, and makes fun of himself. “Yes, I decided something for the world! And the good news is now there will suddenly be ten times more ebony for guitars. When Bob Taylor shows up to the black ebony party, that party is over,” he says. “They will believe me. I can take it to the world.” The quality, feel, and sound cannot be distinguished; the non-black ebony has some streaks in it – that’s all. So as the education of Bob Taylor continues, look for a legion of lovers of non-black ebony in a future near you. JUNE 2012

Dealer’s Perspective: George Hines of George’s Music Can the enthusiasm for “green” wood go to far? “I know Henry [Juszkiewicz CEO], I know Gibson, and I know they are supportive of the environment, and when they got raided, I got upset,” declares George’s Music George Hines. “Our customers want us all to be good stewards of the environment, and they appreciate our efforts, but I get concerned when the government gets involved.” Hines makes the case that when something as dramatic as armed agents storming a factory in the name of conservation happens, it can have an adverse affect. “People generally want to do what’s good, but when something like this happens, they can get suspicious and distrusting of the whole movement.” That issue aside, he says his 10 stores’ efforts have been aggressive in their conservation and it’s paid off. Scanners, the use of dropboxes, and Google docs have allowed him to have meetings, exchange data, collaborate with employees in ways that don’t require printing or mailing. “We’ve had great things happen in the music industry since MMR first wrote about this in 2008,” says Hines. “Look at the lighting industry and the LED movement – even smaller bands can take a greener approach. And on the retail side, we’re aware that some of that gear is a little more expensive but in the long run it’s the right thing to do.” As a guitarist who sells a lot of guitars, he agrees with some of the manufacturers that the responsibility is on them to come up with alternative solutions. “I think we’re fortunate with people like [Bob] Taylor and [Chris] Martin who really understand the situa-

tion. They make great instruments, and they are going to make guitars out of different materials. I believe in them. I have zero concern that they won’t redefine the new standards, that they won’t make great sounding guitars out of other things. Sure, there are guys like me who have ‘legacy thinking’ and think it’s all about Brazilian rosewood, but the guys who are in their 20s and 30s are more open.”

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5/1/2012 12:53:27 PM

Band & Orchestra

Senseney Sensibility Lori Supinie on Her Approach to Steering This Industry Standby to NAMM’s 2011 Dealer of the Year Award and Beyond At her recent presentation to the members of the Retail Print Music Dealers Association in Los Angeles (RPMDA – see p. 24), Senseney Music president Lori Supinie offered a straightforward set of guidelines for running a successful business that began with this simple instruction: “Be Nice.” Supinie has run Senseney Music, a full-line shop in Wichita, Kansas that covers a market which spreads west to the Colorado boarder, since 2008, when she bought the company from founder and mentor Denny Senseney. She says it’s been a steep learning curve, but it’s hard to tell from the outside – her tenure so far has included an extremely popular run as president of RPMDA

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and a 2011 “Retailer of the Year” award from NAMM, along with membership in NASMD. Throughout, she’s made the transition from her background in finance – she’s a CPA who came aboard at Senseney as an accountant – to her current role managing a whole team of 60 employees. Her philosophy is straightforward and no-nonsense. As she told the ballroom full of publishers

and dealers at the conference, ensuring that a business stays relevant depends on staying passionate, resourceful, consistent, and curious. One would be hard-pressed to argue with the diverse and robust business she’s maintained at Senseney Music. “One of the best pieces of advice I received from Denny was, ‘Hire people whose parents raised them right,’” said Senseney in that presentation. When she spoke with MMR earlier over the phone from Senseney headquarters she laid out the even-tempered approach that’s made Senseney such a steady presence in the retail music world throughout her time with the company, and in its entire 32year history. Supinie is a bassoon player and began taking piano lessons when she was six years old. It’s that music background that led her to Senseney. “I first got to know Denny Senseney when I started playing in the store’s community band, before I had come on board,” she says. “That’s happened with a lot of people in the band, actually – many of them have become employees just like me.” JUNE 2012

It’s Supinie’s relaxed, common sense approach to the business that’s been a hallmark of the company’s success as she works to maintain her predecessor’s momentum while transitioning into a new world of business. “Denny and I have very different styles in how we work with people and manage, so that was a transition,” she says. “It was and still is an adjustment for me to learn how to be a leader rather than an employee. That didn’t come overnight, so it’s a work in progress. That can be scary, but mostly it’s fun. It’s a challenge.” The timing could have been better – Supinie took over right in the middle of the 2008 financial collapse – but she’s focused on just making sure operations are moving along. “I try to keep the financial wheels on the bus and make sure the people I hire do their jobs,” she says. Meanwhile, there have been plenty of new developments to explore in retail, most notably the emergence of social

media and e-commerce and the abilities to expand to new market it can afford. Aside from social media marketing and using technologies like YouTube and QR codes in conjunction with store kiosks, Supinie says she’s been focusing on getting involved with setting the store up with e-commerce capabilities (they’re currently using Tritech’s Active-e system). “We kind of got it up and running and right now it’s kind of at a plateau, so we want to spend some more time on that,” she says. “I’d say that’s probably one of the biggest initiatives that we’ve done.” The company is working expanding their band and orchestra rental business to Kansas City and farther west in the other direction. Moreso than just expanding business geographically, though, Supinie says that the new online systems have enabled Senseney to offer existing customers increased convenience. “We’re certainly looking for ways to expand, but really the idea was to server our existing customers

better,” she says. “I don’t really want to rent an instrument to someone in North Carolina or Texas.” To that end, the new system has enabled customers to rent instruments directly through the website and see those instruments delivered straight to their schools without needing to visit the shop or go to a school-run rental night. And more technology is on the horizon, including the area all print dealers and publishers alike are starting to dip their toes in – digital and tablet sales. “We do digital downloads of sheet music and we know that we’re doing more and more of those and people are looking at it more,” Supinie says. “I don’t think print folios are going to go out anytime soon. But eventually, who knows? “I don’t think anybody knows how this is all going to shake out with print. It’s an opportunity – you can always look at challenges as opportunities or you can hide your head in the sand. Dig-

I try to keep the financial wheels on the bus and make sure the people I hire do their jobs. JUNE 2012

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I don’t think print folios are going to go out anytime soon. But eventually, who knows? It’s an opportunity – you can always look at challenges as opportunities or you can hide your head in the sand. ital delivery of music is definitely something that’s going to happen more and more. So just figuring out how retailers will be part of it again is something we all want to do.” Otherwise, the company has continued to explore traditional means of community outreach typified by classes and recreational music-making groups. “We’ve been all over the place on that,” she says. “We’ve done the rock band camp during the year as well as in the summer (that’s seven years old) and we’re

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going to try a middle school jazz band camp this summer.” “The rock band camp is a lot of fun. The kids are great – some of them come in and don’t know anything and they leave at least being able to do “Smoke on the Water” by the end of the week. And they’re happy!” Senseney also runs a robust band repair and school lessons program (wind and string instruments, pianos, guitars, drums, and voice), including a deal to include four free lessons with beginning band and orchestra instrument rentals.

“There are four Saturdays and we just have 45-minute long group lessons just to supplement what they get in school,” says Supinie. “It’s really helpful – we just hire an experienced teacher to teach those with some helpers. We’ll have anywhere from 25 to 50 trumpets or clarinets here all getting a little better. “ On the manufacturing end of things, Supinie’s not noticing much of a difference in band instrument products. – “a clarinet is still a clarinet and a flute is still a flute” – though she says there has been a greater tendency for manufacturers to reach out directly to customers. Through it all, Supinie has says she’s learned about everything she knows from Denny Senseney. “I get buried in the details and can’t see teh forest for the trees and he always had a 20,000 foot view of the forest,” she says. “One of his favorite things to say was, ‘Are we doing the right thing or are we doing things right?’ We can do things right, but maybe it’s the right thing to do, to always choose what we focus our time and energy on. Is this the right thing to do?” It’s a question every business would do well to ask itself, and an attitude that’s helped Supinie through a chaotic economy onto an admirable command of the business. “There are so many ways you can go in this business, but you’ve only got the mental capacity to make do so many,” she says. “You’ve got to do the things that make you money and that fit with who you are.” JUNE 2012

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Past Masters A Chance Discovery of a Long-Lost Endorsement Leads to the New Hohner John Lennon Signature Series Harmonica

It was early on in John Lennon’s career that he really sunk his teeth into the harmonica (metaphorically speaking, we hope). The Beatles’ early, R&B inspired hits like “Love Me Do” and “I Should Have Known Better” introduced a whole generation of newly minted rock’n’roll fans to the instrument’s lighting-quick runs and soulful, reedy sounds. He ended up putting it away as the group blossomed into their more albumoriented period, but Lennon still remains a figure strongly associated with the classic instrument. Maker of the legendary Marine Band harmonicas (nearly synonymous with the instrument itself), Hohner has recently unveiled its very special John Lennon Signature Series: Harmonica. It’s only the third time the company has released a signature series. The first two were for Bob Dylan and Steven Tyler. This latest one is a handsome-looking instrument

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with beautiful white [things] and the instantly recognizable hand-drawn Lennon self-portrait sketch. MMR spoke over the phone with Hohner director of marketing and sales, Scott Emmerman from his office in California about the product and its place in what’s turned out to be a very successful few years for the company, and how it

correlates with Emmerman’s taking the position with Hohner five years ago. Scott says the idea came to him when he first joined the company and began looking through old endorsement files. “Hohner is 157 years old and we used to make a keyboard called the Clavinet which was used by all the famous keyboard players,” he says. “So when I looked through all the old endorsee files, there were all sorts of names you’d never expect. Sammy Davis Jr. was an endorser, and Liberace, and of course Chick Corea and Herbie Hancock and those kinds of guys. Plus all the harmonica players through the years – Little Walter, Johnny Cash, John Mayall, and virtually every major recording artist who was playing a harmonica at the time.” Then he came to one endorsement that never saw the light of day: The Beatles. “In 1964, Hohner did a deal with The Beatles management to produce a Beatles harmonica. It cost $2.99 and the box had pictures of the four Beatles,” he says. Unfortunately, Emmerman learned that a mistake in the packaging that switched members’ names in relation to their photos forced the company to scrap the entire project. “It was all destroyed and all the harmonicas were sold off to a liquidator so those harmoniJUNE 2012

cas never really had much of a life in this country.” Emmerman saw an opportunity. Why not re-issue the product with the historic tie-in in mind? It would have been a great deal just at that — the Beatles brand has been an ever-renewing well of popularity, especially with the recent re-releases of all of their albums and the massively popular Rock Band video game tie-in. He never got much of a response from the people at Apple headquarters, but he did eventually get a call from the group’s merchandising representation at LiveNation. “They explained to me that The Beatles legal entity is fraught with legal constraints, disputes, and whatnot,” he says. “But they said that they do represent John Lennon and Yoko Ono and that they were interested in doing a Signature harmonica. That’s how it started. I then worked with LiveNation and Yoko Ono to develop the project.”

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“He’s such an icon of the music business and I think his playing of it in those early days really broadened the instrument’s appeal to people who’d maybe never have known what a harmonica sounded like.”

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Beatles songs,” notes EmmerOno, Lennon’s widow, band man. “What’s interesting was mate, and outspoken artist that when they first came to to this day, remained heavily the US, their manager, Brian involved with the process and Epstein, was very concerned had full approval of every step with their image. He wantof the project. ed them to be very squeaky Emmerman says that Lenclean and to appeal to Middle non makes a great candidate America. He thought the harfor the Signature Series treatmonica was more of a blues inment because of his history Scott Emmerman strument and would be too aswith instrument. “He played sociated with black R&B music, so John harp on four or five of their first top ten didn’t play it on that first tour and it kind hits and it was a big part of many early

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of disappeared from their music in general. “You don’t really hear it much after that up until the White Album.” And yet, Lennon’s use of the instrument proved to be influential to a generation of rockers. “He’s such an icon of the music business and I think his playing of it in those early days really broadened the instrument’s appeal to people who’d maybe never have known what a harmonica sounded like. He really brought a lot of new interest to the instrument.” The new Signature Series Model, itself, was designed more as a tribute to the late pioneer, rather than a replica of he played. “Our goal was to honor him with a great contemporary instrument,” says Emmerman, who discovered that Lennon favored a model called the “Echo Vamper,” which was a version of the regular Marine Band only available in Europe. He says the Signature Series is very different: “Much more air-tight with more consistent response with better tone.” The result ended up being the first harmonica in Hohner’s entire history to come emblazoned with a full-color logo. “We used John Lennon’s caricature, that drawing of himself, but in rainbow color on white color plates and see-through acrylic chrome.” The packaging, he says, looks like an Apple product. “It’s like nothing else we’ve ever made.” The harmonica is available now and comes at a time when Hohner is posting great figures. Emmerman says the company, which has jettisoned brands like Sabian and distro deals for Remo, Vic Firth, Vader, ProMark, and others in favor of focusing on core brands, was up about 39 percent over their net income year-over-year from the previous year (in which they were up about the same amount).”It was a really strong year for us,” he says. The company is also preparing for another lurch forward in the ukulele market, which it already seems to have a strong grasp on through its longtime Lanikai and Kohala lines. “We sold 300,000 ukuleles in the U.S. In 2011,” Emmerman says. “That makes us easily the number one brand in North America. Hohner is now working on its new Tuna Uke technology, a system designed to enable a ukulele (always a finicky intonation) to play totally in-tune across the fretboard. JUNE 2012

“We introduced the prototypes at the [Winter NAMM Show] and had a lot of excitement around it,” Emmerman says. He expects the first units to begin shipping this summer and says it should be a solid addition to the company’s steady handling of ukuleles. “We want to make instruments that musicians want to play,” he says. “We’re not really interested in gimmick ukes or jokey kind of quirky stuff. A lot of guitar players nowadays want a uke to add to their repertoire. It has joined the mandolin, the banjo, and the 12-string guitar as another voice in the fretted players toolbox.” Throw in a brand new marketing center designed to test out new POP displays and even stage convention booth displays (they perform dry runs of NAMM setups in the new space as well), and it would seem Hohner has a lot to look forward to throughout the second half of 2012. Emmerman chalks it up to common sense. “We’re just trying to focus on our strengths.”

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MMR 49 5/16/2012

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Survey

DJ & Lighting Market Technological Innovations Continue to Define the Field Advances to technology on all fronts are changing individual and shared realities at a rate that grows exponentially with each passing year and once-standard mainstays in all fields are falling by the wayside. Nowhere is this more apparent than in the realm of DJ and Lighting. Even the nomenclature that defines the field is a relic of a nearly extinct culture: “Disc Jockey”? How many working DJs are spinning vinyl – or any type of disc – in 2012, compared to 2002? Heck, how do current numbers stack up against those from 2010, even? “Lighting” today has more to do with Light Emitting Diodes than it does with any traditional “bulb.” But people still want to hear tunes at clubs and parties, and folks still enjoy colorful splashes of light on the dance-floor and onstage, so the market thrives and evolves, as always. MMR recently polled over 100 purveyors of DJ and Lighting gear to get their feedback on current and emerging trends…

Compared to this time last year, sales of DJ equipment are…

Up: 30.8% Down: 30.8% Level: 38.5% What price points are doing best?

Low: 61.5% Intermediate: 30.8% High-end: 7.7% What trends have you been noticing in DJ gear sales – what types of products are moving, and who’s buying? “Vinyl and CD have been dead for a while, but the physical controller has been showing weakness as well. The high end is flooded with competing models. The $50 controller is sold at Bed Bath & Beyond during the Holidays and sells for $25 afterwards. The now-lowerpriced mid level controller had better be simple to use and have a built-in sound card or it is getting returned. There are a lot of ‘me-too’ products in this area and customers are confused by manufacturers’ multiple offerings. Meanwhile the bundled software may be different de50 MMR

JUNE 2012

pending upon when the item was manufactured. All of this confusion for the customer results in a lot of returns and erodes profits.” Ken Udell Audio-Depot Madison, Wis. “Both low and high end are doing well. DJ controllers are king.” JC Faxas Guitar Center Westlake Village, Calif.

“Intermediate and high-end product sales have dropped considerably for Audio-Depot, but I am not sure that other dealers will have shared the same experience. Audio-Depot over saturated the local market last year with all of the lighting blowouts that we did. In addition, we left ourselves with almost nothing to sell at the mid and higher price points! LED dot lighting will continue to be replaced by LED gobos as this technology evolves. I expect mid and lower-mid priced lighting to be the strongest trend for us moving forward as the dot lights get blown

out and otherwise recycled in the lower end of the market. The key here is to not stock too heavy as LED technology drops in price and fixtures are replaced with brighter, more feature-rich versions.” Ken Udell Audio-Depot Madison, Wis. “Strobes & pinwheel lights are again selling to new & novice DJ’s.” Dave St John Gard’s Music Glendora, Calif.

“We’re losing sales to online dealers with very low pricing.” Jim Andre Bellevue American Music Bellevue, Wash.

Compared to this time last year, Lighting and related equipment sales are…

Up: 40% Down: 28% Level: 32% What price points are doing best?

Low: 61% Intermediate: 37% High-end: 2% What trends have you been noticing in Lighting sales? “When old lights break, people are moving to the new LED lights.” Marc Rabin Audio Design & Instruments Port St. Lucie, Fla. “Everything is LED. Uplighting sales are over.” Bernie Howard Fryman Audiolines.com Lincolnwood, Ill. JUNE 2012

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Product Showcase

New & Notable Cases, Bags, and Accessories Gator G-TOUR DJ Arm With the addition of the new (patentpending) G-TOUR DJ Arm cases, Gator has provided a versatile, all-in-one mobile solution. On the exterior, a traditional road style case provides heavy-duty protection with sleek hardware and heavy duty twist latches. Inside, a thick EVA padding securely holds your DJ equipment with a removable front panel allowing full use while in the case. The unique fully rotational internal arm allows secure mounting of laptops, tablets, or even LCD screens with VESA mount. This case innovation adds a new level of flexibility for the mobile entertainer. Easily cue up laptop based software, touch based tablet apps, or even incorporate video tracks

Arriba’s AC-115 & AC-124 Two soft-shell gear bags from Arriba Cases, the AC-115 and AC-125, have proven to be versatile workhorses, as together they can accommodate more than 75 different American DJ mobile lighting fixtures.

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on the fly. The fully rotational arm lets you decide your ideal setup and with a simple push can quickly be moved aside when it’s time to get back to mixing. Models available to fit Pioneer DDJ-T1 & S1, Numark Mixdeck & NS6, Native Instruments S4, & American Audio VMS4 DJ Controllers; Xone 4D Mixer, as well as a coffin style cases for (2) DJ CD players and 10 or 12” Mixer. All G-TOUR DJ ARM models are offered in the all new Platinum casing with slate grey panels and all black hardware. Separate ‘Arms’ are also available as a stand-alone unit with

desk mount clamp (G-ARM 360-DESKMT) or as an add-on for a dual setup in a single case (G-ARM 360-CASEMT). www.gatorcases.com.

Measuring 9.5” x 9.5” x 13”(241 x 241 x 330 mm), the Arriba AC-115 can fit ADJ’s top-selling Galaxian laser series, as well as the Jelly Fish, Dual Gem LED, Jewel LED, Vio Moon LED, Sunray LED, X-Series and many more. The Arriba AC-125, which measures 13” x 13” x 14”(330 x 330 x 355 mm), can house lights ranging from the 64 LED Pro and PROPAR Series par cans, to classic-design fixtures like the Aggressor TRI LED, to the popular Revo LED moonflower series. Another feature that makes the AC-125 extremely versatile is that comes with an

adjustable padded divider which allows two smaller fixtures, such as the Fog Storm 1200 HD fog machine, to fit within the case. In addition to working with American DJ products, both the AC-115 and AC-125 can be used with lights from other major manufacturers as well. Addtionally, the AC-115 and AC-125 have a convenient feature that allows you to tell immediately what’s inside. Both cases are equipped with large “view windows’ that allow you to quickly identify the fixtures in each bag, so there’s no guesswork. Great for mobile DJs, karaoke rigs and working bands, the AC-115 and AC-125 feature a padded interior with a high-density foam that conforms to the JUNE 2012

fixture inside, holding it securely in place during transport. Constructed of sturdy, attractive high-denier nylon with strong nylon webbing, the bags are extremely lightweight and portable, and come with convenient carry straps. With their extra-wide zipper openings, the Arriba AC-115 and AC-125 are designed to make life on the road easier for mobile entertainers and DJs by allowing quick removal of the gear from the case. Both cases also have secure zipper pockets in front, ideal for storing extra lamps, cables, clamps and other acces-

sories, keeping everything needed in one place and eliminating the need for separate bags just for the accessories. Not only are the Arriba bags ideal for use in transit, they also make great storage cases, keeping fixtures secure and dust-free when not in use. The Arriba AC-115 has an MSRP of $39.95, while the Arriba AC-125 carries an MSRP of $45.95. Looking to protect a lighting fixture, but don’t know which case to buy? Go to the Arriba Cases website and download the helpful Fitting Guide to help deter-

mine which Arriba Case best fits your light www.arribacase.com/Downloads.aspx www.arribacase.com ‘Midnight Series’ Cases from Reunion Blues Reunion Blues is expanding its award-winning RB Continental guitar and bass case line with a striking new all-black design. Dubbed the “Midnight Series,” these new cases still utilize the same drop-tested construction that has made the line so dependable for travel, but also features numerous design refinements incorporating user feedback gathered over the last two years. A thick shock-absorbing Flexoskeleton exterior is featured, lined with reinforced impact panels. Plus, an exterior EVA-reinforced multi-pocket features musician-friendly storage for easy access to accessories without having to open the case. A large zippered accessory pocket is also provided, along with adjustable, hideaway padded back-pack straps, and a Reunion Blues Continental Zero-G palm-contoured handle. Inside, the RB Continental Midnight contains a unique neck brace suspension system which includes a locking strap built on a dense foam block to prevent movement when the case is bumped, or dropped. The interior is crafted with plush, quilted blue velvet lining, a trademark of the entire Reunion Blues RB Continental case line. Design refinements include a second zipper on the front pocket, creating opposing pulls for easier access while reducing wear. A new D-ring for attaching after-market straps has also been incorporated, allowing the owner to “wear” the case lower on the back for easier passage through doorways. The new Midnight Black series is also available for popular percussion products and a growing selection of brass and wind instruments. www.reunionblues.com ProTec Guitar PRO PAC Cases Protec’s upgraded guitar PRO PAC Case line features a shock-resistant honeycomb frame supported with multi-foam layers to provide lightweight protection in a very sleek form. The interior is lined with

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soft non-abrasive nylex and features an adjustable neck pad with a neck-support strap. The headstock, bridge, and end pin areas are reinforced with puncture resistant fabric. The exterior is made of waterproof 1680 denier ballistic nylon and features thickly padded backpack straps

with a sternum strap and a top side grab handle. The largest of the three storage pockets fits sheet music, a laptop, and features a built-in organizer. The other two pockets are designed to fit pedals, cables, and other small accessories. Guitar PRO PACs are available for electric guitar (model CTG234; MSRP $130) and electric bass (model CTG233; MSRP $140 www.protecmusic.com

Legend Series Cases from ProRockGear Legend Series hardshell cases are constructed of a lightweight ultra-sturdy reinforced hardwood shell, wrapped in a superior tolex, tweed, twill and leather outer coverings. The Legend Series arch top case features a defined arch top providing the ultimate custom fit and a contoured design to save weight. All Legend Series hardshell cases feature a form-fitting interior with ultraplush velveteen padded interior lining, gold hardware and stitching, an internal accessory compartment, a deluxe PVC padded handle for easy carrying and a copper ProRockGear logo plate. The Legend Series hardshell case comes in four different models: RGLG330C (Deluxe Classical Guitar Case, Twill), RG-LG355C (Deluxe Western Dreadnaught Guitar Case), RGLG380C (Deluxe Rect. Electric Guitar Case, Brown), RG-LG386C (Deluxe Rect. Electric Bass Guitar Case, Tweed). On the other hand, Legend Series gig bags feature a weather-resistant two-tone rugged nylon exterior and 20mm (600 Denier) of reinforced thick PE foam pro-

tection on the inside. All Legend Series gig bags feature an internal neck support system to safely secures the instrument. Features include two chrome zippered oversized external storage pouches, adjustable padded shoulder harness backpack straps and a comfy-grip handle for easy transport. Also, all Legend Series gig bags come with a high-illuminating ProRock Gear LED gig light. The Legend Series gig bags come in 4 different models: RG-B20C (Classical Guitar bag)RG-B20D (Western Dreadnaught guitar bag), RG-B20E (Electric Guitar bag), and the RG-B20B (Electric Bass bag). www.prorockgear.com Ahead Armor Cases Hardware Sleds Expanding its progressive line of Hardware Sleds, Ahead Armor Cases has introduced new 48˝ and 28˝ models to complement its highly-popular 38˝ rolling hardware case. The 48˝ and 38˝ versions carry a Two-Year warranty and feature an OGIO Engineered, aircraftstandard roller board design that can accommodate up to 300 pounds of drum hardware and accessories. The compact

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28˝ model includes heavy-duty wheels and can handle up to 200 pounds of drum gear. All three Armor Hardware Cases offer the extreme durability and reliability of premium-grade handles, straps and high-density, polyester fabric exteriors and all are recommended for local dates around town as well as major tours across the country. www.BigBangDist.com A&S Iso Cabinets A&S Iso Cabinets can be entirely personalized to each customer’s own custom needs. Potential buyers can choose an exterior laminate, locking casters if desired, and then select “Request a Quote” to request a quote for a A&S Iso Cabinet case. The case is a double-walled with a sprayed in barrier between the walls. It has

a convex wall with egg crate foam on both sides to prevent sound bounce-back to the microphone. A pass through for cable couplers is provided to pass the inbound signal to the speaker and outbound signal from the microphone. The entire case is built in compliance with the ATA Spec 300 Cat 1 to protect all the gear while in transit. The standard A&S Iso Cabinet case (before selecting any options) comes in black ABS & 1/2” birch ply with a 3.5” lid, 4 Colson HD casters, 3/4” casterboard and non-locking latches. The retail prices on A&S Iso Cabs range from $2,500 to $3,000, depending on the size of speaker to be isolated www.ascase.com SKB’s i-Series Keyboard/ Controller Cases SKB continually strives to find a variety of uses for its ever expanding line of the i-Series waterproof, injection molded cases. These case sizes that were originally developed for the military are ideal for transporting a variety of keyboards and controllers. In 2011, SKB introduced the 3i3614-KBD which is perfect for 49-note keyboards and controllers. Adding to this

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The newest addition to the watertight keyboard/controller line-up is the 3i4217-KBD to accommodate some of the wider keyboards/controllers on the market measuring 40” x 15.25” x 5.25”. These cases include hook-and-loop, injection molded corner cleats that can be placed to secure any size keyboard. Lid foam is included to hold product during transport. The cases include stainless steel moldedin hinges, patented “trigger release” latch system (two with TSA locks), comfortable, snap-down rubber over-molded cushion grip handles, automatic ambient pressure equalization valve (MIL-STD-648C), and in-line skate wheels. The 3i-3614-KBD has an estimated US street price of $189.99, the 3i4214-KBD has an estimated US street price of $219.99 and the 3i-5014-KBD has an estimated US street price of $239.99. The new 3i-4217-KBD estimated US street price is still in development. www.skbcases.com 4660 Series from On-Stage Stands On-Stage Stands’ 4660 Series gig bags is now shipping. Three new models join the

GBE4660 Deluxe Electric Guitar Bag to complete this line. The new GBA4660 Deluxe Acoustic Guitar Bag, GBB4660 Bass Guitar Bag, and GBC4660 Deluxe Classical Guitar Bag are each custom-fit to their intended instrument, providing snug protection and handling ease. Lightweight and plush, each customshaped model combines the protection of a thick padded interior with the portability of a canvas gig bag. Manufactured from rugged 600-D nylon exterior material, the bags are padded with ½” compressible foam, protecting instruments gig after gig. All models feature two exterior pockets that provide ample room for patch cables, picks, slides, cleaning kits, string winders and many other accessories. They also feature heavy-duty two-pull zippers, allowing the bag to be zipped/unzipped lengthwise and secured with a luggage lock (not included).

Made for portability, comfort, and style, the bags can be carried like backpacks, over one shoulder, or alongside using the padded carry handles. Displaying the bags on the sales floor isn’t a problem either, thanks to two built-in cloth hooks; simply hang the bag on a display rack or slat wall. All four models include ID tags, perfect for schools, camps, and ensembles. All models list for $44.99 each. MAP price is $26.99 each. www.onstagestands.com TKL’s Vectra Line Expands The Vectra ™ line of sleek, rugged, protective lightweight molded cases, designed and built in TKL’s Oilville, VA facility, has recently expanded to include specially designed form-fit models for a number of iconic guitars. The expansion of the line includes select Graphic Enhanced Collection ™ (GEC™) finishes Koa Burst ™ and Backdraft ™. “Since 1984, providing enduring musician-friendly instrument protection has always been our top priority,” says Tom Dougherty, president of TKL. “As part of our focus on satisfying the needs

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of the player, meticulous attention to detail, from engineering through manufacturing, results in an exacting fit for the instrument. With the expansion of our Vectra ™ series, we have created dedicated models that provide a precision right-handed or left-handed form-fit for some of the top selling electric guitars, such as the Fender Stratocaster®, Fender Telecaster®, Gibson Les Paul®, and the Gibson SG®. Now musicians really have a choice. They can select a Vectra ™ case that perfectly fits their instrument. “ Dougherty concludes “we feel strongly about the quality of our USA built cases, and are confident musicians will continue to respond positively. We are focusing our efforts on getting the word out to musicians, retailers and our distributor

partners, and recognize that this expansion of our Vectra ™ line will create very profitable business opportunities for retailers and distributors alike.” www.tkl.com The Unzip Expander MONO Cases’ new Expander band is intentionally slim, light and compact, designed for carrying a laptop, sketchbook, shades, a magazine, or headphones on trips. Expand the bag by pulling the ring to make extra room. This animal product-free bag features an expandable storage pocket, waterproof external pocket, custom MONO expander ring, fur-lined laptop protection, steel rivet reinforcements, an industrial rubber sole, and double zippers. www.monocase.com Humes & Berg Enduro The Humes & Berg Enduro Hard Shell Drum Case lineup is the ultimate case needed to transport your valuable Drum

and Percussion equipment. The Enduro case line is scratch resistant, water resistant, impact resistant and virtually indestructible. www.humesandberg.com

Rotating Xclip iPad Mounts from AirTurn Xclip iPad mounts now feature a new rotating mount for vertical (portrait) and horizontal (landscape) views. iPad 3 compatible Xclips are also available. All Xclips fit onto any standard microphone stand. Owners of the previous versions of the Xclip iPad mount can now retrofit their Xclips to add rotating capabilities with this rotating adapter. This is the same adapter used in the new versions of the Xclip

cables instrument + speaker

“People spend a fortune on guitars, amps and effects while paying little attention to how they connect them. PRS cables are the only choice for players who really care about their tone” - Davy Knowles, Back Door Slam Paul Reed Smith Guitars and Van Damme Cabling have teamed up to bring a quality cable to PRS’s product offerings. Cables are the lifeline of your tone, and you can trust these tried and trusted cables to carry the signal produced by your guitars and amplifiers without compromise.

Visit www.prsguitars.com/products to learn more about PRS cables. 58 MMR

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for iPad 1/iPad 2/iPad 3. Retail price: $6.95. www.airturn.com Odyssey Premiere Reeds Odyssey Premiere Reeds are crafted from the finest French cane by one of the world’s leading reed manufacturers. Cane is selected by its season and the textures of its fibres, which governs its quality, suppleness and resilience. Only the finest cane is selected and cut for Odyssey Premiere Reeds. While professionals can benefit from the fine balance, rich timbre and lively response of these high quality reeds, educators and students will find them long lasting and, most importantly, consistently playable - reed after reed. Available for Clarinet, Soprano, Alto and Tenor Saxophones in the

most popular strengths, Odyssey Premiere Reeds are also attractively packaged and can easily be displayed. Each pack contains three reeds. www.jhs.co.uk Tech 21 Expands Boost Series Line with 4 New Effect Pedals Tech 21 has added 4 new effects to their Boost Series line of pedals: Boost Distortion, Boost Overdrive, Boost Fuzz, and Bass Boost Fuzz. The boost function delivers up to 21dB of clean boost, which can be used independently from the effect. A true post-boost, it is designed to punch up the tone dialed in rather than smothering it in unwanted distortion. The Boost Distortion’s unique SAG control adds an expressive, tubelike response to every pick stroke. The Boost Overdrive pumps up the midrange and adds sustain; the SPARKLE control adds upper harmonics for an open, snappy sound. The Boost Fuzz celebrates germanium fuzz sounds. This SAG control allows notes to bloom and sing for dynamic, organic performances. The Bass Boost Fuzz ranges from the fat,

gritty sounds of the ‘60s fuzz bass to the subterranean growl of industrial metal. For more focus and edge, the +CLEAN control adds direct bass tone to the mix. Other features include Level, Tone and Drive controls, high-impedance input,

and a silent-switching, custom footswitch actuator. Operable with 9V battery (not included) or optional DC power supply (Tech21 Model #DC2). Retail price: $195.00. www.tech21nyc.com Grover Pro Introduces Innovative Tambourine “Roll-Ring” The new Grover Roll Ring™ is designed to aid concert percussionists with the execution of tambourine thumb rolls. This circular ring helps players easily create the friction needed to produce a smooth, even sounding “thumb” or finger roll. The 1? wide self-adhesive band is specially shaped

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to conform to the outer circular edge of a headed concert tambourine. It has a special non-permanent adhesive backing that makes it super easy to put on and take off in seconds. The Roll Ring is reusable and can be applied and stored numerous times. The Grover Pro Roll Ring is included free with the purchase of all new Grover Pro professional level concert tambourines. Retail price: $15. www.groverpro.com LM Scraps Inspired by the street creations of today’s urban artists, SCRAPS are a collection of eight designer guitar straps for musicians in the modern age. The designs feature stencil and spray-style street art featuring tongue-in-cheek humor and wholly new interpretive renderings of such historical luminaries as Abraham Lincoln (as a punk rocker), Albert Ein-

stein (as a leather jacket-wearing rebel), and Charlie Chaplin (as a battle-ready boxer).

All SCRAPS are uniquely handmade and hand-distressed in the United States on ultra-durable cotton with suede leather ends and antiqued steel buckle adjustment. Retail price: $29.99 each. www.ScrapsMakeNoise.com Providence FDR-1 Flame Drive The Providence® FDR-1 Flame Drive is the first model in Providence’s new “F” Series of pedals, which will replace

their “Free the Tone” line of hand-built effects. The Flame Drive is a versatile pedal that can deliver anything from silky overdrive to overtone-rich distortion. The pedal’s fast attack response tracks the most detailed picking nuances, creating an amp-like distortion that avoids becoming flat or muddy sounding. In addition to standard Drive, Tone and Level controls, the Flame Drive also features a Bass Boost switch for added lowend punch. The Flame Drive features Providence’s “Vitalizer” noiseless switching circuit which consists of a low-impedance output buffer combined with a filtering circuit that mimics the tonality and feel of a 15’ cable plugged directly between the guitar and amp. The Flame Drive also features a Double-Contact Grounding circuit (D.C.G.). With the D.C.G., the sleeve plug connects to the output

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jack to make two points of contact with the pedal’s ground circuit, greatly reducing the risk of intermittent connections and improving overall sound quality. Retail price: $399. www.godlyke.com Levy’s Stitching Design Guitar Straps Levy’s new stitching design guitar straps use premium soft garment leather, foam padding, and suede backing. Pictured is the “Yin & Yang” design, model MG17YY, one of six original stitching designs, available in tan or black. www.levysleathers.com SLM’s UnionStation US-DT05 Tuner The UnionStation US-DT05 clip-on tuner works for guitars, basses, violins, ukuleles, and mandolins – all stringed instruments. It clips on easily and stays on, and swivels to whatever angle the

player needs it, and features a large and easy-to-read LCD screen. The function button adjusts instrument tuning/ type and powers on/off. The US-DT05 comes with a long life battery. Retail price: $19.99. www.usbandsupplies.com

(EJ88S), retailing at $11.10, Concert (EJ88C), also retailing for $11.10, Tenor (EJ88T), with a retail price of $12.55 and Baritone (EJ88B), which will retail for $13.90. D’Addario is also releasing new Titanium Ukulele Strings. Titanium strings have recently been popular with classical guitarists for their bright, projecting tone and ultra-smooth feel. Now ukulele players can increase their volume, clarity and dynamics with Titanium Ukulele Strings. The dense monofilament material with translucent purple hue and smooth feel is similar to traditional nylon. The strings are available for most popular ukulele sizes and tunings such as the Soprano (EJ87S), retailing for $8.20, Concert

D’Addario Ukulele Strings D’Addario recently introduced its new Nyltech and Titanium Ukulele Strings. Nyltech is made with D’Addario exclusive string material that offers a warm, yet punchy, gut-like tone. They’re available for most popular Ukulele sizes and tunings such as the Soprano

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Dean Markley Helix Strings Helix strings are made with a new patent-pending hyper-elliptical winding technique, creating a tighter wrap and more mass, which seals the strings without the need for coating. The new String Series includes the Helix Acoustic, Helix Acoustic Phos and the Helix Electric for guitar and the Helix NPS and Helix SS for Bass. The hyper-elliptical winding process results in an increased number of wraps along the length of the string. This increases the mass of the string, without changing its diameter or material. Dean Markley says that more mass makes a fuller tone; more windings give a smoother feel as well as a brighter, more resonant tone, while additional benefits of the hyper-elliptical windings are a more relaxed feel, less squeak and

sliding noise and the strings last much longer. The Helix Acoustic ($13.95) is a true brass 80% Copper, 20% Zinc alloy for

a well-balanced tone and durability. The Helix Acoustic Phos ($13.95) is a 92% Copper, 8% Zinc alloy for belllike tones and volume. The Helix Electric ($12.95) is an 8% nickel plated steel wrapped over wire hex-core. The Helix NPS ($49.95) utilizes nickel plated steel for a smoother outside feel and a special “Growl” sound. The Helix SS ($49.95) is a stainless steel alloy with a bright, defined tone. www.deanmarkley.com

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(EJ87C), also retailing for $8.20, Tenor (EJ87T), to retail for $8.65 and Baritone (EJ87B), with a retail price of $9.85. www.daddario.com

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Cases & Bags

MONO

Got a Brand New Bag

MONO Cases Reinvents the Soft-Shell Product Category

As most guitarists can tell you, buying a case is typically the last thing a shopper is probably considering when first purchasing an instrument. It’s often thrown in at the end of the deal as a sweetener, with not a lot of consideration for features beyond hard-shell or soft-case. The Bay Area company MONO Cases has been steadily waging battle on that mentality for the last six years. Begun by Daniel Kushner in 2006, the brand set out to change the way people think about cases from all kinds of perspectives. They produced a hybrid gigbag that offered premium protection and sophisticated design characteristics, and 64 MMR

they fearlessly weighed in at a $199 price point – four times the cost of the average gig bag. Consumers loved them. Now, Kushner and his slowly growing team have moved into a new office in Larkspur (California’s Marin County), have amassed a finely curated gallery of artist endorsers that run from Living

Colour guitarist Vernon Reid to ‘90s hardcore metal trailblazer Page Hamilton and Public Enemy producer Hank Shocklee, and are well on their way to building a wide-reaching lifestyle brand. Its fundamental identity, though, lies in its core line of music instrument cases, from guitars to drums to DJ equipment. “We’re all about design, engineering, JUNE 2012

and innovation,” says Kushner. “My feeling for MONO was to be the first lifestyle brand that has its roots in the music industry.” So far, the roots have spread quickly. Eight years ago, Kushner was still at his dream job, working as a product designer for world-famous design firm IDEO. A longtime drummer, he found himself hoping to get back into music and decided to start exploring options for starting his own company. MONO Cases began his garage (“Like every good company in the Bay Area,” he says), where he sketched out ideas for a brand concept – sleek, minimal, and straying from well-worn industry tropes like flames and skulls and howling wolves. It wasn’t until he had that minimal aesthetic in mind that he decided on his entry point into the industry. “I definitely had an idea of the aesthetic and the style of the brand, but I needed to be in a product category where we could really do some damage,” he says. “So I looked for a really staid, overlooked commodity category where we could come in

with something new and be disruptive and different and make an impact in the industry.” He fell on cases and bags as the ideal product for his needs, describing the category at the time as “oversaturated with poor quality and wasn’t profitable and highly competitive in that sort of race to the bottom.” Kushner hit the ground running with the M80 guitar case, a hybrid of a hard shell case and a soft gig bag, that he hoped would change the way people thought about cases. Realizing that professional musicians had been carrying premium guitars around in soft bags for years as a compromise to flying and other travel restrictions, he worked on a way to create a durable case that would have all the portability options of a gig bag with the ability to protect instruments as effectively as a hard shell case. When he unveiled the product at the 2007 NAMM show, it was an immediate smash with consumers, despite the fact that he’d well exceeded his price point goal. “In planning this bag, I thought that we had to be $99,” says Kushner. “If we

Daniel Kushner

could get to $99, we were going to kill it.” After all of his planning, he realized there was no way around the fact that he couldn’t get the price lower than $200. “I remember thinking, ‘That’s it. We’re screwed.’” Consumers didn’t care. As it turned out, musicians were no different than buyers in a number of other industries where premium transportation of expensive goods. They were happy to shell out extra cash for quality protection.

I looked for a really staid, overlooked commodity category where we could come in with something new and be disruptive and different and make an impact in the industry.

MAY 2012

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“Look at the price of a little rolling piece of luggage,” says Kushner. “You can get something for $29.99 from a drug store, or you can get something like Tumi for $400 from Macy’s. $99 is the standard price for a nylon laptop case from the Apple store.” “So it was just that the music industry was just in the dark ages in this category. It had not progressed beyond entry-level quality.” Kushner says it’s taken a few years to get distributors and retailers on board, but that the business is reaching a critical mass and has begun confidently marketing globally. It’s made an impact in the industry that other cases are now edging into products to sell at higher price points, which Kushner counts as an accomplishment to be proud of. In the meantime, they’ve churned out a steady supply of innovations based on direct observations of every day musician behavior, like their new Vertigo line of cases, which are designed to open while standing upright (a feat most guitar players have already made several ill-advised

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attempts at with their own traditional cases). “You train your eye to fixate on interesting and quirky things that people do and then reverse engineer that behavior,” Kushner says. “Those natural workarounds that we figure out are some of the most powerful design insights out there.” On top of that, the company has amassed an utterly unique stable of endorsing artists that Kushner says stems from the staff’s own personal wish lists and the desire to build a team of musicians that represent a hard-working and real-world type of musician that runs from hip-hop pioneers and Late Night with Jimmy Fallon house band The Roots to the underground sludge metal band Totimoshi. “It’s probably not going to be Eminem, but it’s going to be Eminem’s music director, Adam Blackstone,” says Kushner. “He’s not a guy I can name drop at a party because no one knows who that is, but in a musician circle, he’s going to be highly regarded.” The brand’s forays deeper into new music culture – through rock standbys and into DJ gear – have

led to even more products for cases for mobile devices. “So now we’re hanging out with a lot of DJs,” Kushner says. “Talk about people who appreciate nice stuff. Stylistically, from their technology to their apparel to the car they drive to the house they live in – it’s all completely considered. So we’re on the tour bus with artists and we’re backstage and everyone’s got MacBook Pros and iPads and everyone’s traveling every day, so it seemed like a natural extension for us to make an iPad sleeve that will match the robust build and design of your DJ bag or your guitar case.” It’s all pointing toward a broader brand that Kushner hopes to emulate the success of some of his favorite brands that sprung from products designed with the niche consumer in mind that went on to become recognized by a broad range of consumers, like Nike or snowboarding giant Burton. “Burton is a company I’ve always looked up to as a brand,” he says. “When they started out, they were all about bindings and all kinds of technical subculture niche products, all designed really well. Now you go into a Burton store and there are watches, sunglasses, luggage, apparel, and they’re still making snowboards. And every time someone fires up the halfpipe at the Olympics, you still see that logo.” It’s a narrative that Kushner says he’s tried to manage carefully, making sure that everyone knows his company is about innovative and strictly engineered products first and foremost. “We’re not a fashion company when it comes to MI,” he says. “But I think as long as we don’t lose sight of our core, we can go pretty far.”

JUNE 2012

never miss a beat

Q&A Power to the People The Music People Continues to Expand Connecticut-based wholesale distributor The Music People has had a game-changing year, opening several new warehouse spaces and adding several new products. The business, over 30 years old now, owns and manufactures the On-Stage Stands line of support stands and carries over 80 other brands of audio and video equipment, including Shure, EV, Telex, AKG, Tascam, Sennheiser, Crown, Atlas Sound, and AudioTechnica. MMR spoke with TMP founder and president Jim Hennessey about the exciting developments happening this year. MMR: How has the last year been for The Music People? Any new developments or surprises to report? Jim Hennessey: We continued to grow through the last year. We brought new warehouse space in Florence, Kentucky, which gave us a needed location in the middle of the country, saving regional customers time and freight costs. We also opened a facility in China that allowed us to do more quality control there, and to source products from factories that specialize in a particular product category or type of manufacturing. It also gives us a handle on the anticipated increase in product costs due to rising raw material, labor, currency, and import expenses. Additionally, we just we announced a move to a larger facility in Connecticut. Our primary warehouse at our head68 MMR

quarters in Berlin, Conn. is being replaced by a larger building in Cheshire, Conn. The new building is roughly 28,000 square feet and has a better layout with more loading docks.

MMR: Has anything changed about the business over recent years that’s made a significant difference in how the company is running? JH: Accessories sales are up and, though it hasn’t changed how the company is running, it has meant growth. We very quickly went from a company with 40+ employees just a year ago to 55 employees and growing now. As for e-commerce, we are redesigning our websites to be more comprehensive and interactive resources for our customers. We are a strictly a B-to-B entity when it comes

to sales. That said, end-users will find a wealth of product info on our sites, and they will be able to access our customer service staff.

MMR: What kinds of new products should we be sure to keep an eye out for? JH: Accessories, of course. We won “Best in Show” at NAMM this year with our u-mount Tablet Mounting System. It’s compatible with all generations of Apple iPad and the system was a big hit at the show. U-mount lets musicians utilize iPads onstage like never before, and we have a campaign started to get our dealers as excited about u-mount as we are. The u-mount is scheduled to ship in June/July, so keep an eye out for it. We also have new guitar stands, speaker stand products, drum hardware, and JUNE 2012

LED task lighting coming out. We even have some super compact guitar FX pedals on their way.

MMR: What kinds of things came into play when selecting this year’s new products? JH: We have a lot of creative people with diverse backgrounds in the performing, production, and retail sides of the music industry (not to mention the inventive founder himself, Jim Hennessey), so product ideas often come from within. But we also have a lot of trusted, involved customers who request novel products and design tweaks all the time. The u-mount is a good example of a changing market. Soon after the iPad was released, performers and technicians started finding ways to use them. The u-mount fills the roles of both an every-day tablet case and a stage-ready piece of gear. By focusing on accessories, we are always ready to address the needs of the market, no matter how unpredictable the trends get. MMR: Are there any new brands that you’re particularly excited about? JH: We are making a push to highlight the MI products we distribute, and not just our proprietary brands. We are the largest Schaller distributor in the country, but not everybody knows that, so we are going to highlight and expand that partnership this year. We are also happy to be expanding our relationship with Korg; we expect to move a lot of their tuners and metronomes. Likewise, our relationship with Fender is stronger than ever, and we see opportunities there. Of course, new products will be rolling out of On-Stage Stands and our other proprietary brands as well.

position to drop $1,000 on a new instrument. Online, accessories should also be a prevalent, highly visible category, and related accessories should be associated with every big-ticket item. Accessories make up for the thin margins on the bigger items; we don’t see that changing anytime soon. Also, we see our brick and mortar dealers going high-tech in terms of ordering, marketing, and other aspects of the business, so we’ve been upgrading our websites and web presence to support them. End-users are very willing to pur-

chase inexpensive accessories online, especially with brands that they recognize like On-Stage Stands. We need to make that as easy as possible by providing product builds, image banks, customer support, et cetera. Related to that, we see MAP pricing violations and counterfeit products as growing problems in the digital marketplace, problems that we take that very seriously, so we are developing solutions to protect our brands and to ensure our dealers can maintain healthy margins.

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New Products Casio Celviano Matte Black Cabinets Casio America, Inc. now offers the AP-420 and AP-220 models in matte black. The new offerings to the Celviano line of digital pianos provides piano enthusiasts with advanced features, enhanced keyboard touch, authentic tone and traditional upright cabinet styling. The grand piano sound in the Celviano is comprised of four dynamic layers of stereo piano samples. When integrated with Casio’s Linear Morphing System, the Celviano is designed to deliver a realistic sound with seamless transitions and a superior dynamic range. The models also feature a new Tri-Sensor 88note scaled hammer action keyboard providing users with the weight, feel and resistance of a grand piano. Retail price: $899.99 – $1,399. www.casiomusicgear.com PiX Series Lighting from Chauvet Great for use as a standard PAR with the

70 MMR

additional eye candy of pixel mapping effects, PiX™ PAR 24 is for mobile DJs or club installers looking for high-impact visuals on a budget. This pixel mapping PAR can-style wash light is powered by 24 tri-colored LEDs for an intense output of bold effects. Individually controllable tri-colored LEDs project custom effects and create a saturated, seamless wash. Built-in programs and multiple DMX personalities increase design flexibility while on-board 3- and 5-pin DMX connectors increase control options. The series also includes PiXPar 12 wash lights, the linear COLORband Pix and COLORband PiX Mini, and ShowXpress management software for computer or smartphone. www.chauvetlighting.com AIM Gifts Flip-Flops Aim Gifts adds three new designs to its highly successful Flip-Flop Sandal line. Pictured are the Guitar, Keyboard, and Multi-Note themes. these casual styles that offer comfort

and music expression. AIM is an Inc 500 Company and has no minimum order. www.aimgifts.com Tycoon Percussion Supremo Select Series Chiseled Orange Catered to the novice and amateur player, Tycoon’s Supremo Select Series products are constructed of high-quality sustainably harvested Siam Oak wood and feature a new, innovative design of Tycoon’s signature

handcrafted texture. The Supremo Select Series is available in Congas (10” + 11” with double stand available with Randall May AIRLift™ technology), Bongos (7” + 8.5”), and Djembes (10” and 12” Traditional African Roped Cajon). Hand carved Hardwood body with Beech wood front plate. www.tycoonpercussion.com

JUNE 2012

TRX Dark Icons DARK ICONs have a versatility that allows them to be used as Rides, Crashes and Crash-Rides in a variety of musical styles and situations.

In addition, each DARK ICON cymbal includes an innovative series of “piercings” which are small holes around the outer edge of the cymbal. The piercings are intended to be used in conjunction with TRX’s new Removable Rivets and other sound modifiers. The threaded, double-locking Removable Rivets are available in a choice of brass and natural and black aluminum. For additional cymbal effects, steel, bronze and brass TRX Jingles are also available. TRX Dark Icon Cymbals and Hi-Hats or any cymbal with ¼” holes. DARK ICONS are available in 16, 17, 18, 19, 20, 21, 22 and 23”models and 13, 14 and 15”matched Hi-Hats. www.trxcymbals.com Acoustics First Designs Tone Tiles Tone Tiles. Tone Tile™ acoustical panels feature a white soft drywall texture appearance which allows users to install them right out of the box or paint with a matte finish spray paint to complement colors on site. The unique 2’x1’ size of the panels allows useres to create diverse wall tile patterns and mount around existing room obstructions. Optional 2” Stand-Off Mounting Brackets further acoustical control by creating an air gap, increasing absorption and improving low frequency response. The 2” space behind the panels also presents an opportunity for back lighting effects. Employing optional Corner Mounting Clips permits the installer to construct one foot wide or two foot wide custom bass traps in room corners. Retail: 10 ea. 2’ x 1’ Tone Tile™ panels in each box for $350.00 USD. www.ToneTiles.com

equipped with 109 x 10mm ½-watt LEDs – 26 red, 46 green and 37 blue. This works out to a total of 436 LEDs in each system. The difference between the two systems is that the fixtures in the Mega Par Profile System are housed in a sleek black case, while those in the Jelly Par Profile System feature ADJ’s exclusive translucent plastic “Jelly” case. The LED lamps in the Jelly fixtures shine through their clear shells, presenting a glowing aura, with the cases actually appearing to “change colors” so that they become part of the light show themselves. Retail price: $559.95. www.americandj.com

Galaxy Audio Carbon Boom Microphones. The new Carbon Boom Microphone (CBM) Series are designed for use with choirs, orchestral, and theatrical productions. The carbon shaft of the microphone makes them rigid and lightweight, while the element is easily positioned. The CBM series has two element choices – the CBM5 and the CBM3. The CBM5 has a ½” gold plated element and the CBM3 consists of three interchangeable

Meeting the Needs of Students for More Than 30 Years ... Our Best-Selling SV-175 Cremona Violin! Cremona bowed instruments have set the pace for the vibrant student and rental markets for over 30 years. Strict adherence to international sizing requirements, domestic educational set-up standards and continuous quality improvement have made Cremona Violins, Violas, Basses and Cellos proven sales leaders. Our best-selling, ebony fitted SV-175 Cremona Premier Violin Outfit has recently been upgraded to include the J.LaSalle LB-13 Octagonal Bow and the TL-33 deluxe rectangular Travelite case.

Cremona SV-175 Violin Outfit: •All-solid carved, graduated construction •Seven sizes from 4⁄4 to 1⁄16 •Long lasting ebony fittings •Finetuner tailpiece for precise, easy tuning •Rugged TL-33 Travelite case •Well-balanced J.LaSalle LB-13 bow with ebony frog

American DJ Mega Par and Jelly Par Profile Systems Each of these all-in-one systems contains: 4 x high-output RGB LED par cans; a foot controller; tripod lighting stand; stand bag; and soft case for the lights. Each of the par cans is

249

Suggested Retail

SV-175

JUNE 2012

[800] BUY-SAGA www.sagamusic.com Dealer inquiries invited.

MMR 71

New Products elements (Omni, Cardioid, and Super Cardioid). Both the CBM3 and CBM5 also include a 24” stand or a 67” microphone stand. The Carbon Boom Microphone series is also available as a dual microphone unit. www.galaxyaudio.com Hall Crystal Flutes Hall Crystal Flutes now distributes the full line of Clarke Tinwhistles which includes:

the Meg, Sweetone, Celtic, Victorian, and Original whistles, pouches, instructional books and metal kazoos. The line of Clarke whistles seemed a natural fit to distribute along with Hall’s hand-crafted, six-holed glass flutes. The Clarke company has produced high quality whistles since 1843. The Original Tinwhistle, available in “D”or “C,” is still

For Rich Dynamic Sound Pros Play For years Guy Hawkins mouthpieces have been the choice of pros for their rich harmonic sound and unsurpassed playing response. Whether you prefer the handcrafted hard rubber or a forged metal model, the sound will be uniquely yours.

www.jjbabbitt.com

made of tin-plate with a wooden plug in the mouthpiece and retails for $17.98. The Meg Tinwhistle, Clarke’s most economical whistle made of rolled tin and a plastic top, is available in a 36 pack with free display, and they retail for $5.98. www.hallflutes.com Humidpro from Lomax Classic HumidiPro is the first case designed to keep clarinets and oboes at a perfect 45%-55% humidity. The case is airtight, watertight, and uses a patented Humidipak pouch that actually adds or subtracts humidity as needed, preventing and restoring changes in the bore and tone hole dimensions, and preventing serious cracking of the wood. HumidiPro cases are currently available for Bb clarinet, a double case for Bb and A clarinets, and also Oboe. Piccolo, Bass Clarinet, and Oboe/English Horn cases will be available by fall 2012. www.lomaxclassic.com

Supplier Scene New Packaging and P.O.P. Displays from Hohner Newly designed four-color boxes from Hohner, Inc. will feature holographic images of many of the top selling harmonica standards – Marine Band, Special 20, Blues Harp, and the Golden Melody, just to name a few.

Mouthpieces for all clarinets and saxophones

To compliment this latest upgrade, Hohner will also begin to provide two newly designed P.O.P. display units. The BXDW will accommodate 96 of the top-selling units in a hanging wall display. The larger, two sided BXDF floor unit will provide the perfect display for nearly 200 harmonicas, as well as a variety of accessories that are perfect for today’s player. Both of these units will be available at no charge, based upon an initial stocking order that can be placed through any supporting Hohner distributor. www.hohnerusa.com Kala Ukulele Circle at Bertrand’s Music More than sixty enthusiastic beginning musicians of all ages packed Bertrand Music’s

72 MMR jjbGuyHawkins.indd 1

JUNE 2012 11/28/11 8:23:31 PM

Supplier Scene first Ukulele Circle, co-sponsored by Kala Brand Music, at their San Diego location in February. Bertrand’s promoted and staged the event using Kala’s free downloadable dealer guide, “The Ukulele Circle Starter Kit.” The result was a fun strum-and-sing evening that attracted and beginning players and non-musicians alike. The starter kit is a step by step guide to organizing a Ukulele Circle that Kala has created in collaboration with ukulele virtuoso and educator James Hill. It includes songs, chord charts, tips for organizing and leading a circle, and even a poster to help promote the event. www.kalabrand.com

Traps Drums and the Dixson Bass Drum Lift, recently announced the date of this year’s “Are You Dense MusicFest” in Middlebury, Connecticut. It’s the fourth year for the event, which is designed to raise awareness and finances for the non-profit Are You Dense breast cancer organization. This year the MusicFest will be held on August 25,2012 and will feature Vincent Ingala, Leila, and special guest Funkeeboy.

Are You Dense has helped pass inform legislation in Connecticut, Texas and Virginia and thirteen states now have pending legislation along with a national bill to inform women with dense tissue of their higher risk. Cappello also sponsored last year’s festival, which included a performance by jazz legend Marion Meadows. www.AreYouDense.org and www.cappellomusic.com

Supernatural to Promote Up-and-Comers Supernatural Cymbals’ new 2012 ad series, titled “I’m a Natural,” will feature relatively unknown drummers, telling their stories of why they play the drums, the music they love and why they choose Supernaturals. The series will feature drummers of all ages, musical background and genres, from child prodigies to veteran professionals. Supernaturals is actively seeking submissions from interested drummers to be included in the “I’m a Natural” series. www.supernaturalcymbals.com FXpansion USA Launches Camel Audio Distribution FXpansion USA, Inc. will manage the North American dealer channel distribution for Camel Audio’s digital audio and music production software products. Camel Audio creates innovative, professional audio products including Alchemy synthesizer and Sound Libraries plus CamelSpace and CamelPhat multi-effects. The Camel Audio product line is complimentary to the FXpansion line and is a natural

fit for the sales team at FXpansion. The Camel Audio products will be distributed via digital delivery. A complete listing of products available for resale along with dealer pricing is available fromFXpansion. www.camelaudio.com and www.fxpansion.com Cappello Music Co-sponsores Breast Cancer MusicFest Cappello Music Co., Inc. distributor of JUNE 2012

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Classifieds Business Opportunities Accessories

Business Opportunities

Are You Tired of Trying to Climb the Corporate Ladder?

• Band and Orchestra Rentals • New and Like New Educator-Approved Brand Name Instruments • Personalized Rent-To-Own Program • No Franchise Fee or Inventory Investment • No Shipping Costs • High Commissions Paid the 1st of Every Month • Exceptional Service

is a multi-store, family owned and operated full-line retailer based in Metro Atlanta. Ken Stanton Music has over 60 years’ success and customer satisfaction.

Seeking: Certified Band/Orchestra Repair Techs, Print Music Manager, Store Managers, Company-Wide Lesson Coordinator, and Sales Associates in the following departments: Guitars, Pro Audio, Drums and Percussion, and Band/Orchestra. Looking for friendly, customer service oriented, self-motivated, proven closers with good listening skills and 2+ years experience. Availability for flexible scheduling a must. Bi-lingual a plus. We feature: Competitive non-commission based pay, medical/ dental coverage, 401(k) plan, vacation/holiday/sick time, and room for advancement. Complete application online at: www.kenstantonmusic.com By mail:

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

Via email:

Ken Stanton Music Attn: Scott Cameron, General Manager 119 Cobb Parkway North, Suite A Marietta, GA 30062 scottc@kenstanton.com

Instruction

For Sale Full service Musical Instrument business for sale. Established in 1934, this 9400 sq. ft store offers new and used instruments, accessories, rental, and repair. Located in a prime retail location, the store has generated tremendous goodwill in its local area and on an international scale throughout its history. Voted one of the 100 top independent retail music stores nationwide, it is the first stop for sales and rental of musical instruments throughout the San Francisco Bay Area. It has been recognized in national retail publications and organizations. Annual sales average over $1.5 million with an inventory valued at $1 million. A long-term lease is available. We are looking for a serious and financially-qualified buyer . Current owner has been part of the store for 49 years and is retiring. Please contact cosalestore@gmail.com MUSIC STORE FOR SALE Southwestern PA 20 + years business and building owner retiring due to health 724-518-6504 Robotic guitar tuner business for sale. We manufacture the world’s most unique guitar tuner. Web site: ActionTuners.com Email: info@ActionTuners.com Phone: (352) 433-0215

Visit the Classifieds on the Web: www.mmrmagazine.com 74 MMR

Opportunity knocks Owner retiring after 40+ years. Music store and building. Retail sales, repair shop, lessons and rental program. Turn key potential. Located in South New Jersey suburbs Contact Ron 609-458-6303

www.mmrmagazine.com

Gifts

BandGifts.com

Guitar • Horns • Piano • Strings T-shirts, Hats, Stickers, Jewelry, Keychains, Miniatures, Ties, and more.

Merchandise

ACCORDIONS, CONCERTINAS, & BUTTON BOXES new, used, buy, sell, trade, repair, tune, CASTIGLIONE DISTRIBUTING CO. 13300 E 11 MILE WARREN, MI 48089 PH # 1-586-755-6050 WWW.CASTIGLIONEACCORDIONS.COM

UniTec “Road Tuff”

NO –HUMP SOUSAPHONE CASES EZ Roll and Stack Design Indestructible Inter-Lok Construction Also Available in ATA Style The Best Value in the Industry

1.800.782.3296

JUNE 2012

Merchandise

Attn: PIANO DEALERS!

We Want to Give You the Business! We can deliver quality prospects to you, whether your business is Local, National, or International. Piano World is the world’s most popular piano web site. We are where people searching for piano information land first. And we get more traffic in a month than other piano sites see in a year. Invest your advertising dollars wisely, get the details at: www.PianoWorld.com/advertising

PianoWorld.com Home of the world famous Piano Forums

Hunter Music Instrument Inc adds in an accordion line. From button accordion to Piano accordion, from Kid’s to adult, from entry level to professional, from solid color to combo, we have a wide selection for the accordion player.

718-706-0828 www.huntermusical.com

Business Opportunities

equatone@earthlink.net

Liberty Adjustable Clarinet Barrel Precision manufactured from aerospace grade materials, the Liberty Barrel allows you to be in tune under any playing conditions. No more pulling at the joints or clumsy rings. Will save you time, money and frustration. Adjustable in length from approximately 59mm to 69mm. Band Director’s Top Pick RSBerkeley.com | 1.800.974.3909 info@rsberkeley.com JUNE 2012

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Business Opportunities

Merchandise

YAMAHA窶適AWAI

CERTIFIED PRE-OWNED PIANOS Japanese High Quality

GUARANTEED You get what you pay for!

1-800-782-2694

North American Music 11 Holt Drive Stony Point, NY 10980 Fax: (845) 429-6920

76 MMR

FINANCING AVAILABLE

Visit the Classifieds on the Web: www.mmrmagazine.com JUNE 2012

Business Opportunities

Simple & smart. Ever considered offering world class, name brand, School Band & Orchestra Instruments to your customers without having to drum up capital, credit, and inventory?

It all adds up. Rent instruments. Make Money. Be happy. NEMC Turnkey Licensed Affiliate Program. FOR DETAILS

CALL LORNE

1-800-526-4593 (ext) 241

Merchandise

nemc.com

GO TO PAGE

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

Repair Tools

Repair Tools FAST TURN-AROUND ON STOCK REPAIRS NATIONWIDE NAPBIRT member, 29 Years Experience Contact: Dan Rieck, 801-733-4243 dan@utahwoodwindrepair.com JUNE 2012

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Business Opportunities

Repair Tools

Services

BOW REHAIRING

SHIPPING YOUR PIANO

Expert Bow Service

Order forms,Pricing and Shipping label at:

www.bowrehairing.com Violin bows as low as $10.00 per bow in quantity incl. shipping (see website for details.) Large inventory of replacement parts both new and vintage. IRA B. KRAEMER & Co. Wholesale Services Division

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

www.mmrmagazine.com 78 MMR

with Lone Wolf Trucking

is a “grand” idea!

An independent, long-distance Mover specializing in coast-to-coast residential Relocation.

1-800-982-9505

www.lonewolftrucking.com Alamogordo, New Mexico. 88310

ICC MC-256289

JUNE 2012

Business Opportunities

Services

Sales Reps Wanted

Orange USA is hiring experienced Sales Reps. Please send resume to eric.sands@orangeusa.com

Vintage Instruments

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

Help Wanted CHUCK LEVIN’S WASHINGTON MUSIC CENTER www.chucklevins.com BAND & ORCHESTRAL INSTRUMENT SALES Chuck Levin’s Washington Music Center, located in Wheaton, MD is searching for an experienced & knowledgeable band and orchestral instrument sales professional. Join our team and become part of one of the largest and most successful music stores in the country. Qualified candidates must be highly motivated, energetic, and possess excellent people skills. Musicians with two years sales experience preferred. Compensation based on salary plus commission for unlimited earning potential. Excellent benefits including health, dental, life, and 401K. Email resume to employment@chucklevins.com or fax to 301-946-0487. EOE V/D/M/F

Sales Reps Wanted Connolly Music Company, a leading sales, marketing and distribution specialist based in East Northport, NY is looking for a West Coast Regional Sales Manager. This mission-critical role requires new business development as well as management of key existing accounts by a well organized and self-motivated individual capable of managing the entire West region. Job requires west region residency, both on the road and in office outreach – with a minimum of 2-3 weeks travel per month. Position requires ability to meet sales and contact quotas & deadlines, manage sales funnels and inventory, excellent communication & presentation skills, and a proven track record of success in solution selling. Music industry sales experience is a must, and bowed instrument & accessory sales experience is preferred. If you are interested in joining our team, please send a cover letter and resume to jobs@connollymusic.com JUNE 2012

Wanted To Buy

Wanted USED TUBAS ANY CONDITION-CASH PAID THE TUBA EXCHANGE 1825 CHAPEL HILL RD. DURHAM, NC 27707 1-800-869-8822 LUC@TUBAEXCHANGE.COM

WE BUY, SELL, TRADE and ship worldwide. ONLINE APPRAISAL SERVICE GRUHN GUITARS, 400 Broadway, Nashville, TN 37203

(615) 256-2033

fax (615) 255-2021

www.guitars.com MMR 79

Ad Index COMPANY NAME

E-MAIL/WEB ADDRESS

PAGE

www.acousticsfirst.com www.allparts.com www.Amatis.us www.americandj.com audiofly.com

54 66 26 30 51 7 67

J.J. Babbitt Co. Inc. Band World Music Inc

www.jjbabbitt.com www.ChateauUSAMusic.com

72 70

www.ascase.com

www.casio.com www.connollymusic.com www.cympad.com

11 39 62

C Casio America, Inc Connolly & Co. Cympad

D D’Addario & Co.

www.daddario.com

www.fitaud.com www.floydrose.com

44 48

www.moondogmfg.com www.galaxyaudio.com www.gatorcases.com www.georgels.com www.graphtech.com

62 58 56 26 60

F Fitness Audio LLC Floyd Rose Marketing

www.hohnerusa.com www.houseoftroy.com www.howardcore.com www.humes-berg.com www.huntermusical.com

15 60 38 63 37

K Kala Brand Music Co. Ken Stanton Music.Inc Korg USA Inc. Kyser Musical Products Inc.

Meisel Accesories LLC Mel Bay Publications Inc. MONO Cases LLC Music & Arts Center

www.meiselaccessories.com www.melbay.com www.monocase.com www.musicarts.com

25 5 57 59

N NAMM National Educational Music Co. New Sensor Corp.

www.namm.com www.nemc.com www.newsensor.com

22-23 69 17

O Odyssey Innovative Designs Optek Music Systems

www.odysseygear.com www.fretlight.com

21 19

www.pickpunch.com www.prestigeguitars.com www.prsguitars.com

8 14 58

www.remo.com www.sagamusic.com www.sagamusic.com www.sagamusic.com www.samsontech.com www.shsint.net www.shubb.com www.skbcases.com

41 71 40 13 3 49 30 53

P Pick Punch Prestige Guitars Ltd PRS Guitars (Paul Reed Smith)

Remo Inc. Saga Musical Instruments Saga Musical Instruments Saga Musical Instruments Samson Technologies Corp. SHS International Shubb SKB Corp.os

H Hohner, Inc. House of Troy Howard Core Company LLC Humes & Berg Mfg.Co. Inc. Hunter Music Instrument Inc.

PAGE

R/S

G Gable PIano SErvice Galaxy AudioService Gator Cases George L’s Graph Tech Guitar Labs

E-MAIL/WEB ADDRESS

A & S Case Co. Al Cass Acoustics First Corp. Allparts Music Corp Amati’s Fine Instruments American DJ Audiofly

COMPANY NAME

www.kalabrand.com

Telefunken USA The Music People Times Square Lighting TKL Products Corp.

www.t-funk.com www.onstagestands.com www.tslight.com www.tkl.com

36 cov2 12 1

U/V U.S. Band & Orchestra Supplies/St. Lowww.StLouisMusic.com Visual Sound www.visualsound.net

61 cov 4

W www.KorgUSA.com www.kysermusical.com

www.lavacable.com www.lrbaggs.com

45 55

W.D. Music Products Inc. Wittner GmbH & Co. KG

www.wdmusic.com www.wdbiz.com www.wittner-gmbh.de

31 47

L Lava Cable LR Baggs

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JUNE 2012

Save The Date!

Jazz Education Network 4th Annual Conference Networking the jazz arts community... local to global!

Atlanta, Georgia January 2-5, 2013 The Jazz Education Network

is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. For complete membership information/beneďŹ ts please visit us at: