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April/May 2013 • Volume XXXIV Number 3

contents Features

The Learning Curve

22 Profiting From Print &

Educational Media In 2013

By Stacey Thompson Armed with a new axe, sax, or six-piece kit, it’s easy for a future maestro to feel overwhelmed skimming through method books; however, stores with a wide assortment of well-organized stock and knowledgeable staffers can help greenhorns pick out educational media for the instant sale and, hopefully, many others down the road.


125 Years Of Yamaha

26 Celebrating The Past &

Present Of The MI Mammoth

By Rick De Vries There are few companies in any industry to surpass a century of operations, let alone the musical products market; however, with an approach to business that has spanned decades and continents, it’s clear that Yamaha Corporation of Japan and its satellite operations are poised to carry the banner of music-making well into the future.


Departments 9 From The Floor Optimizing Acoustics In Your Music Lesson Studios, Pt.1 By Peter Janis 10 News Details Emerging For MIAC 2013; Radial Unveils New R&D Facility, Techni+Contact Named Canadian Distributor For Aviom; Eastwood Looking For World’s Ugliest Guitar; Godin Named Exclusive Distributor For Kejam … and more news inside! 16 Supplier Spotlight Bosco Violin Supply 18 Faces Matt Carter

16 20 MIAC News 32 Business Matters Time-Saving Technology By Donovan Bankhead 34 Product News Godin 5th Avenue Kingpin Acoustic Guitar; Peavey Escort 3000 Portable PA System; Ampeg PF-800 Portaflex Bass Head; Sabian Premium Leather Cymbal Straps; Roland HPi-50 Digital Piano … and more products inside!

39 42 44 46

Advertisers’ Index Events Classifieds Endorser Update

Cover Design by Lana Pesant Contents Photo: SABIAN Founder Bob Zildjian (left) with CMT Editor Andrew King at Bob’s home in Meductic, NB. Bob passed away Thursday, March 28, 2013 at his home in Brunswick, ME after a lengthy bout with cancer. He was always a class act and will be missed by his countless friends in the industry, including all at CMT. Cheers, Bob.

EDITOR Andrew King ASSISTANT EDITOR Michael Raine EDITORIAL ASSISTANTS Travis Miles Alexandra Stavroullakis CONTRIBUTING WRITERS Rick de Vries, Stacey Thompson ART DIRECTOR Lana Pesant CONSUMER SERVICES DIRECTOR Maureen Jack PUBLISHER Jim Norris BUSINESS SERVICES REPRESENTATIVE Ryan David BUSINESS MANAGER Liz Black COMPUTER SERVICES COORDINATOR Henri Chen ADMINISTRATION ASSISTANT Heather Duncanson ADVERTISERS’ INDEX For more information on products advertised in Canadian Music Trade, please see page 39 or visit Send all press releases and news to: Canadian Music Trade is published bi-monthly by Norris-Whitney Communications Inc. All rights reserved. Contents may not be reprinted without written permission from the publisher. Subscription rates: Canada - $10.00 per year, outside Canada - $16.00 per year. Single copies $4.00. Canadian residents add 5% GST, HST (13%) to be added where applicable. To change your subscription address, please send your new address with your old address to Subscription Dept., Canadian Music Trade, at least six weeks before moving. Unsolicited manuscripts, photos and artwork are welcome but Canadian Music Trade takes no responsibility for the return of such items. Printed in Canada. PUBLICATIONS MAIL AGREEMENT NO.0040069300, RETURN UNDELIVERABLE CANADIAN ADDRESSES TO CIRCULATION DEPT., 23 HANNOVER DR., #7, ST.CATHARINES, ON L2W 1A3, 905-641-3471,


23 Hannover Dr., #7, St.Catharines, ON L2W 1A3 905-641-3471, FAX 888-665-1307,,


4600 Witmer Industrial Estates, #6, Niagara Falls, NY 14305



Optimizing Acoustics In Your

FROM THE FLOOR... Music Lesson Studios Pt. 1

By Peter Janis


eaching is difficult at the best of times. But nowhere is the acoustic space more important than in a music teaching studio – especially one existing within a retail environment. Teachers spend countless hours inside small cubicles where they are subjected to “varying degrees of musical talent” all day long and somehow expected to provide a “smile plus a fresh and enthusiastic lesson” each and every time. Most music teaching studios share the same set of problems. Because they tend to be clustered down hallways in music schools or retail stores, they are usually small spaces that suffer from poor acoustics as echo ricochets off the walls. The acoustics are further eroded by the room geometry, which causes the resonant frequencies to either combine or cancel each other out depending on the sitting position. These rooms wear on the nerves, will cause certain instruments to sound shrill or out of tune, and result in ear fatigue, forcing the brain to work extra hard to compensate. And that’s not even taking into account the noise outside of the studio. Then of course there is the distraction from the drumming next door pounding through the walls, making it impossible for the classical guitar student to concentrate – or, worse yet, for shoppers to browse without burden. All too often, music studio room construction follows typical home or office designs whereby the walls are not intended to cope with high sound levels. Only after the rooms are built do these problems surface and then after-market solutions need to be implemented. Sound from the instruments excites the room and reflects off the hard surfaces. Distributing absorption panels on the wall surfaces will reduce sound within the room, making it more comfortable.

Acoustic Treatment

Think of firing up your lawnmower in your garage. What happens? It becomes unbearably loud as the engine roars, quickly overwhelming the room’s ability to cope. Go outside, and the noise seems to be much less irritating. But if the engine is just as loud as before, what happened? Simply put, you have eliminated the reflective boundaries. The sound is being absorbed by “open space” instead of reflecting back at you. A music practice room behaves exactly the same way. Left unchecked, the sound in the room will exceed the room’s ability to absorb it and the energy quickly overwhelms the space. It becomes loud and uncomfortable. The solution is easy: Treat the wall surfaces with absorptive acoustic panels. These effectively absorb sound energy in the room and make it a more comfortable place to work. Because there is less energy left in the room to resonate, the walls do not have to work quite as hard. Selecting the right acoustic panel for the task begins

by considering what frequencies you are attempting to control. A major error that many lesson program managers make is that they will install some low-density foam that will have no effect on the problem frequencies. The above diagram shows some of the common instruments that are being taught and their relative frequency range. For instance, a drum kit has a very wide frequency range when you factor in the bass drum, snare, and cymbals. It follows that absorbing a broad frequency range will require a greater investment than if you are merely trying to control the sound of a flute, violin, or acoustic guitar. A common urethane panel is unable to absorb much energy below 300 Hz, which means that it will only be practical for instruments that play in the upper registers. Controlling the sound of a drum kit or an electric bass guitar requires extra attention due to the greater low frequency content. This can be done using thicker 3-in. panels or adding bass traps like a tri-corner trap. Both means are effective at attenuating low frequencies, which cause modal distortion, and can easily be added at a later point if more bass control is required. It is also important to note that too much acoustic treatment can cause a new problem. The sound of the instrument needs to develop within the space. A completely dead room may work well with a drum kit, but it can completely ruin the sound of a violin or classical guitar. These instruments need some natural ambiance. For instruments that need natural ambiance, a good rule of thumb is to apply 15 to 30 per cent wall treatment. This generally eliminates flutter echo while still retaining enough room ambiance to make the space comfortable. In Part 2, we’ll discuss ideas for panel placement in the lesson studio environment. Peter Janis is the President of Radial Engineering Ltd., the Port Coquitlam, BC-based manufacturer of music and audio equipment, as well as Primacoustic, a division of Radial devoted to acoustic control products. Visit and for more information.




The Goodfellas, featuring Josh Trager of Sam Roberts Band, rock the CMT Late Night Party.

Excitement Building For MIAC 2013

The Music Industries Association of Canada (MIAC) has announced the preliminary details for the upcoming12th annual MIAC Show, held in conjunction with The PAL Show for the production technologies sector. The show will take place Sept. 8-9, 2013, at the International Centre in Toronto. Exhibits will feature the latest in MI products and services from a number of suppliers to the Canadian industry. In addition, both days will offer a broad range of educational seminars as well as networking events, industry approved training programs, show specials, and live demonstrations. “We are extremely excited about the 2013 MIAC Show,” comments Dale Kroke, Chairman of the Board, MIAC. “Our recent survey generated a lot of great feedback Show Location about what both exhibitors and attendees are looking for in a show and we are workInternational Centre ing hard to make this our best yet. Working with our new show management partner, 6900 Airport Rd., Matrix North Events, and with Norris-Whitney Communications [publisher of CMT] Mississauga, ON, L4V 1E8 handling seminars, marketing, and social events, we are going to be focused and in 800-567-1199, FAX 905-677-3089 touch with what members want like never before.” “I always attend the MIAC show and I find it very worthwhile,” adds Jeff Long,, VP of Sales and Marketing for Long & McQuade and a MIAC board member. “There are always some informative seminars and seeing the products is great; however, Official Hotel what I really find valuable is the opportunity to interact with others from our industry. Toronto Airport Marriott There is no better place to feel the pulse of the Canadian music industry than the 901 Dixon Rd. MIAC show.” Toronto, ON, M9W 1J5 For more information as it becomes available, contact MIAC: 416-490-1871, 416-674-8292 416-490-0369,,

The Toronto Airport Marriott is offering special rates for MIAC/PAL Show attendees.



JamHub Names ADI As New Canadian Distributor

Musikmesse & Prolight + Sound 2013 Experience Record Combined Attendance

The Musikmesse and Prolight+Sound trade fairs, held in conjunction in Frankfurt, Germany from April 10-13, 2013, welcomed a combined 113,000 visitors from 142 countries – an all-time high. In 2012, Musikmesse and Prolight + Sound saw a combined 109,481 visitors from 120 countries. “This visitor response has far surpassed our own expectations and that of the exhibitors,” says Detlef Braun, Managing Director of Messe Frankfurt GmbH. “This is a fantastic result for these two innovative and very market-active industry sectors at their leading shows here in Frankfurt am Main.” The visitor growth was divided equally over the trade and public days, according to organizers. Accordingly, the increase was also equally distributed in terms of national and international visitors. “Especially noteworthy is the fact that with over 42,300 overseas visitors, the increase of international visitors is comparable to the increase in national visitors,” explains Braun. The next Musikmesse and Prolight + Sound will take place in Frankfurt am Main from March 12-15, 2014. For more information, go to


Photo: Messe Frankfurt

JamHub Corp. has announced the appointment of Audio Distributors International (ADI) as its official distributor for the Canadian market. ADI will fulfill the role of official distributor for all of Canada, serving the MI dealer, pro dealer, and music education communities with the goal of leveraging JamHub’s core mission of helping more people make music, according to the company. “We believe that ADI is the best possible partner for us, with a unique client roster that puts them in a great place to make our line of JamHub studios and studio accessories a success in their country,” says Steve Skillings, President of JamHub Corp. For more information, contact ADI: 866-449-8177, FAX 450-449-8180,,



Summer NAMM Moving To New Digs

This year, Summer NAMM, which runs July 11-13, 2013, is moving to Nashville, TN’s new, state-of-the-art Music City Center. Organizers say the new and improved space will be filled with live music, thousands of buyers, and product debuts from both established and emerging brands. In addition, NAMM is designing a full slate of professional development opportunities tailored for retailers, including a return of the popular Retail Boot Camp on July 10. Registration for Summer NAMM begins in May. Additionally, entries are being accepted until April 30 for NAMM’s 2013 Top 100 Dealer Awards, which spotlight the music instrument and products industry’s best, brightest, and most proactive retailers. The Top 100 Dealers will be announced at the end of May and the seven “Best Of” category winners along with the “Dealer of the Year” will be announced at an awards show held during Summer NAMM. Judges look for large and small retailers with inventive, visionary approaches, proactive business practices, and standout performance as they review the Top 100. For more information on Summer NAMM as it becomes available or to submit an entry for the Top 100 Dealer Awards, go to

2013 Canadian DJ Show Largest & Most Diverse Yet Radial’s Studio Eh

Radial Unveils New R&D Facility

Radial Engineering has announced that it has moved its R&D department to a larger area in the facility in order to accommodate its expanding operations. The new department is divided into three sections. The first houses the engineering team where circuit design, PCB layout, and metal drafting occur. The second is a meeting room where the R&D team gathers to vet out new designs, part requirements, and development schedules. The third is the new test studio, dubbed “Studio Eh” in honour of Radial’s Canadian heritage. Radial GM Mike Hill comments: “We grew to the point where we felt it was time to take over the last 5,000 sq. ft. in our building that was previously leased out. The extra warehouse space not only helps us manage inventory overflow, but this area now houses cable prep, trade show prep, the workbench, and old files.” For more information, contact Radial Engineering: 604-9421001, FAX 604-942-1010,,



The 2013 Canadian DJ Show, presented by Pioneer DJ, recently ended its run from April 13-14. With the show’s new, larger location came more attendees and features. “We had much more going on during this year’s show; adding all of that content, we were hoping for a larger turnout – and we definitely got it,” CDJ Show Co-Founder Ryan Schroeyens tells CMT, adding that many of the 20 educational seminars were filled to over-capacity and that he, like many, believe this year’s event was best in the CDJ Show’s six-year history. Schroeyens says one major highlight was the one-on-one DJ battle featuring 2012 DMC World Supremacy and Canadian Champion DJ Vekked and 2004 DMC Canadian Champion and JUNO Award-winner DJ Brace. Schroeyens adds that the diverse demographic of attendees was also a happy surprise. “There were quite a few children at the show, and I really applaud the parents for doing that because it was one of the things that kept me out of trouble as a kid,” he says, adding that the CDJ Show sponsored tickets for the Scarborough, ON-based 4Life Foundation that helps underprivileged children by teaching them to DJ. The show also included an exhibit hall featuring 30 exhibitors displaying over 100 brands of DJ, lighting, and sound gear. For more information, go to

Ray Williams, President of Music Marketing & Greg Gronowski, Director of Sales & Marketing at Hammond USA.

Music Marketing Takes Over Canadian Distribution For Hammond

Music Marketing has announced that it is now the Canadian distributor for Hammond products. Hammond recently revamped its product line to include new portable stage keyboards while maintaining the trademark B3 organs and Leslie speakers in its catalog. Music Marketing will warehouse Hammond product at its facility in Toronto and offer it to Canadian resellers in Canadian dollars. For more information, contact Music Marketing Inc. 416-789-7100, FAX 416-789-1667,,

Godin’s Accessories Sales Manager Simon Godin.

Godin Named Exclusive Distributor For Kejam

Montreal-based Godin Guitars has announced that it will now be the exclusive North American distributor for Kejam Percussion instruments and accessories. “I’m very happy to announce that we are distributing Kejam percussion products,” says Godin’s Accessories Sales Manager, Simon Godin. “When I first met Kejam President Serge Dagenais, I immediately felt the passion he had for his products. Just like Robert Godin, he has an incredible enthusiasm for what he creates. When he asked us to distribute Kejam, it didn’t take us too long to think about, as Kejam is a Canadian company and we’re very confident in the product.” A fellow Quebec-based company, Kejam specializes in the production of percussion instruments like cajons, djembes, and bongos, along with affiliated accessories. For more information, contact Godin Guitars: 514-457-7977, info@godinguitars. com,




Go Figure

CMT recently polled MI store owners and managers across Canada to gather information as well as their thoughts and attitudes towards the current state of the print music market from coast-to-coast; here are our findings: Does your store currently offer print/educational media titles to customers? Yes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56.52% No. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28.26% No Answer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15.22% If you answered “No” to the previous question, what informs your decision to not sell these products in your local market? “Too complicated. Normally these products are only by special order.” “Too much available for free on the Internet.” “Not enough space. Other items are easier and quicker to sell and more profitable per square foot.” ‘Too much internet competition.”

Increased substantially. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% Increased slightly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.17% Remained consistent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15.22% Decreased slightly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19.57% Decreased substantially . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.39% No Answer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30.43% Which of the following groups of customers is the largest purchaser of print/educational media products in your area? Music students. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.83% Music teachers (public and private). . . . . . . . . . . . . . . . . . . . . 10.87% Houses of worship/choirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.17% No Answer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23.91% For which of the following groups of instruments do you sell the most print/educational media?

“Still very pertinent & viable!”

Guitar/bass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.09% Piano/keyboards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30.43% Brass/woodwinds/strings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.17% Drums/percussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% Vocals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% Other. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% No Answer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23.91%

“Unit sales remain fairly steady, but retail prices have fallen, meaning we have to sell more just to earn the same or less profit.”

For which genre of music do you sell the most print/educational media?

“It’s finally a good time to be a tree.”

Rock/Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.39%

“More and more print music dollars are being spent online.... not sure what the future for print music holds. Fortunately, it is only a small percentage of our business, but it is an important part that enhances instrument sales.”

Top 40 pop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15.22% Classical. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.7% Jazz/blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.17% Other. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.04% No Answer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23.91%

SPEAKING OUT What are your thoughts on the future health of the print/ educational media market?

“The internet has taken revenues away from the local music vendor as most companies sell direct online. I’ve lost two major suppliers as they have closed their doors due to the online selling.” “The Internet/YouTube has taken away what customers it will. If the print music industry has survived until now, it should continue to do so. Music lessons seem to be declining but the public’s distaste with incomplete/incorrect information found on the Internet/YouTube should offset that decline. Flat is the new up.”


(If you answered “Yes” to Question 1) Over the last 3 years, has revenue from your print/educational media offerings:


In which of the following groups of educational media products do you see the most potential for growth in the coming 1-2 years? Method books. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19.57% Scores/songbooks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.7% Play-along CDs/DVDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.7% Digital media (streaming video, digital sheet music, etc.). . 19.57% Other. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.17% No Answer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21.74%

Gary Girouard, National Sales & Marketing Manager at Kurzweil Music.

Techni+Contact Canada’s Natalie Scalise, Regional Sales Manager, Quebec, Ottawa, Maritimes; Julie Legault, VP Operations; & Jean-Pierre Xenopoulos, Director of Sales.

Techni+Contact Named Canadian Distributor For Aviom

Techni+Contact Canada has announced its appointment as exclusive Canadian distributor for Aviom products. The arrangement is currently in effect. Best known for its Pro16 monitor mixing system, Aviom offers a full line of audio networking products, powered by A-Net, including the new Pro64 Series system. “Together with Techni+Contact Canada’s sales expertise, wide dealer network, and commitment to providing comprehensive support and quality services to dealers across Canada, we are very confident in the growth of both companies’ business,” say Techni+Contact’s VP of Operations Julie Legault and Director of Sales Jean-Pierre Xenopoulos in a joint statement. “Through this appointment, we look forward to a long and successful partnership with Aviom, whereby our two companies can further continue to offer the highest standard in monitor mixers and expertise in the pro audio market.” For more information, contact Techni+Contact Canada: 800-361-9451, FAX 800268-5243,,

Young Chang New Canadian Distributor Of Kurzweil Home Products

Kurzweil Music, a division of Young Chang and Hyundai Development Company, has announced a new distribution arrangement for its home products in Canada. Already in effect, Young Chang North America has taken over the distribution for all Kurzweil home products, including several piano models. Young Chang North America has established a Canadian office and warehouse in Toronto that will be managed by Jane Kwak. New district sales managers were also announced: Martin Richmond for the Western Region (British Columbia, Alberta, Saskatchewan, and Manitoba); Lori Clutter for the Central Region (Ontario); and Robert Langlois for the Eastern Region (Quebec and the Maritimes). For more information, contact Young Chang North America: 905-763-8331,




Bosco Violin Supply

By Rick De Vries


n 1976, Bosco Violin Supply introduced an innovative product that would be embraced by string players across the country. As a company that has since expanded to specialize in the distribution of many bowed instruments and accessories, however, Bosco is not merely a one-trick pony. The business, founded and operated by John Boskovic, was originally called Boskovic & Co. MFG/LTD and based in the metropolitan Toronto area. The company had a dual focus: bowed instrument maintenance and, through the company’s own unique product design, providing durable and long-lasting bags to various school boards in its home region. At the time, very few options were available for quality violin cases, says Isaac Boskovic, John’s son who now operates the business. And so, after observing excessive failure with the common bags and cases in use, Boskovic & Co. developed its own bag using DuPont Cordura, YKK Canada zippers, and automotive-grade binding. Branded “Duralite,” the product quickly proved itself as successful and soon became the company’s principal offering. Boskovic senior, with his business in-tow, moved to Mount Elgin, ON in 1986 so that he could work from home while raising his family in a rural area. In the mid-’90s, the trade name of Bosco Violin Supply was adopted to more accurately describe the company’s focus on wholesale distribution. In 2010, the company was handed down to the next generation, with Isaac stepping into his father’s position and leading the firm forward. “We aim to innovate in practical ways, and it goes all the way back to some of the products that launched us,” comments Isaac on the company’s current operations. “Duralite bags and cases, for example, changed standards and expectations in school music programs and we have some projects developing new tools that will improve common violin repairs as well.” As a distributor, Bosco supplies violin and music stores, dealers, and luthiers across the country with product and accessories. Consistency, quality, and reliability, along with market relevance, are hallmarks of Bosco’s trade. “Our business philosophy has always been to identify needs in the market and fill those gaps with a quality product at a fair price,” Isaac says. “While this may not appear to be a particularly aggressive approach, it has built us a solid foundation of long-term relationships with our dealers, and has also given us moderate but solid growth, even through the economic uncertainties of the last few years.” Within the bowed instrument market, Bosco has one of the most comprehensive catalogs of offerings in Canada, covering everything from student instruments to some very high-end makes and models. Behind it all is experience and expertise gained over 37 years in the business. “We generally avoid the very cheap stuff where the quality drops below a critical mass necessary for good music to be produced,” says Boskovic. “We also strive to keep improving quality, maintain fair and competitive pricing, and provide reliable and timely delivery of orders.” He adds that 80 per cent of orders are shipped the same day they are placed.



ABOVE: (L to R) Christina Boskovic (Secretary), Isaac Boskovic (President), Leif Luscombe (VP) & John Boskovic (Founder). LEFT: stock room in Mount Elgin, ON. BELOW: BVS’ warehouse in Mount Elgin, ON.

When more students have access to instruments that sound good and play well, Boskovic believes that fewer become frustrated and are then more likely to become lifelong music makers. He feels his business’s focus on quality over quantity is paying off in that regard, and is optimistic regarding a broadening base of music lovers. “We have found that the best promotion a product can get is being proven in the real world,” he says. “Eastman instruments are a great example of a product line that has proved and promoted itself over the last two decades, and continues to do so.” The product has to fill a need, Boskovic re-iterates, adding that Bosco does not try to sell people things they have no use for. “While we offer a good range of choices, excessive redundancy can waste resources.” Bosco Violin Supply remains strictly focused in the area of bowed instruments, but is broadening its supply line within that market to include more products from European sources, a category that has faded from the market over the last 20 years. Recently, Bosco established exclusive distribution in Canada for Klaus Heffler Instruments from Germany. Throughout nearly four decades of business in what’s largely a traditional industry, the company has certainly been able to keep with the times. “We have advanced with technology,” Isaac says. “We now have a useful interface on our website for dealers to place, manage, and submit orders, but if you call us, we will pick up the phone and enjoy a conversation.” Yet despite its consistent growth, Bosco Violin Supply still maintains that small family business ethos upon which the company was founded. “In the violin business, we have some of best clients in the world,” says Boskovic in summation. “It is a small industry where honesty is expected, and very rarely breached. Highly valuable instruments are frequently consigned with no security other than good faith and honour.” This tradition, he says, has stood for centuries – and it’s one his company strives to uphold. Rick De Vries is a former Editorial Assistant with Canadian Music Trade.



tudying journalism at the post-secondary level has certainly paid off for Matt Carter, Director of Marketing and Artist Relations for Fredericton, NBbased manufacturer Los Cabos Drumsticks. Carter attended St. Thomas University, also in Fredericton, and says it was living close to the music venues in the heart of the New Brunswick capital that sparked the longtime drummer’s interest in the music industry – or at least the contemporary music industry. “My drumming background is in pipe-band drumming,” says Carter. “I’ve played in pipe bands since 1984, since I was a little kid. I went all over the place doing that and I still teach and judge a lot in the pipe band world when I’m not at work.” In fact, Carter currently performs bouzouki and bodhran in a Celtic duo with a fiddler. Three years ago, then working at Tony’s Music Box in Fredericton, Carter says he was looking for a career change – something rooted in music but that would ultimately incorporate more of what he studied in university. “I knew Larry and Gill [Guay, Los Cabos’ founders] through Tony’s. We had sold the Los Cabos products there since the very beginning,” he begins. “I just approached them one time and asked, “Do you have anyone who works on getting the name of the company out there through contacting media and through press releases and that kind of thing?’ They were just at that stage, I guess, as the business was growing and they thought it was something they should look into. So that’s kind of how that went down.” On a day-to-day basis, Carter says he tries to keep in contact with the artists who endorse Los Cabos products. He says he picks a few of them every day and tries to connect, hoping to find out what’s going on in their lives and careers – where they’re touring or what they’re working on. “Artists seem to have a lot on their plate, so some are better than others at keeping us in touch with what’s going on in terms of their careers, where they’re playing,



Matt Carter By Rick De Vries

and what projects they’re involved in,” he opines. “The ones that feed the information directly are great, but then sometimes, with others, you’ve got to remind them that you’re interested. I think in a lot of situations they don’t realize that the companies they work with are actually interested in what they’ve got on the go.” There are several members of the Los Cabos artist family that Carter talks to regularly about what they’re listening to and what influences them. He says it’s fun that way, building friendships and connections. “It’s neat to hear what other players tune into when they’re listening to a piece of music or what sparks their creativity.” As a music fan, Carter explains he often goes through phases, sometimes listening exclusively to jazz or hip-hop for an extended period. “It depends on the time of year,” he says, noting there is a lot more aggressive music on his playlist now. “I’m just sick of winter,” he jokes. “I want it to warm up and be spring.” Elaborating on a genre close to him, Carter continues: “I’ve been a fan of heavy metal music since I was a kid and I still listen to a lot of hardcore music and a lot of heavier punk stuff that I listened to when I was in high school.” He lists Canadian acts like SNFU or Victoria, BC-based progressive punk act Nomeansno as those who made an early impression on him when touring the east coast years back. There was a six-year span where Carter says he organized all of the all-ages shows for the punk bands that came through the area like D.O.A., The Real McKenzies, and Good Riddance, many of whom he now considers friends. Carter is an avid vinyl collector as well, currently trying to track down copies of all the albums he liked when he was younger. He says he’s a fan of the recent resurgence of wax, with a lot of current bands embracing the format for releases and record companies doing interesting things with limited edition sets and picture discs. “It’s kind of an addiction of mine,” he admits. Outside of music, Carter has been quite taken with photography of late. “I do a lot of that now actually – more than music at this point in time,” he reveals. “It’s a lot of fun.” He values a creative outlet that’s slightly different from what one does on a day-to-day basis to pay the bills. Over the next few months, Carter says he will be judging a few contests in the pipe band circuit across Canada as well as wrapping up his private teaching gig before summer. Behind the camera, he’s got some photo shoots lined up with some local bands. For Carter, swinging drumsticks and snapping photos seemingly go hand-in-hand, allowing him the opportunity to be creative and share his output with others. Rick De Vries is a former Editorial Assistant with Canadian Music Trade.

Bob Zildjian: 1923-2013

Canadian Music Trade regrets to report that Robert Zildjian, the Founder and Chairman of Meductic, NB-based SABIAN Cymbals, passed away the morning of Thursday, March 28, 2013, after a lengthy bout with cancer. He was 89 years old and is survived by his wife, Willi; his children, Sally, Bill, and Andy; and his eight grandchildren. Bob was born in Boston, MA in 1923, and destined for the music industry from birth. A descendant of 10 generations of Armenian cymbal makers and the son of Avedis Zildjian, founder of the American cymbal company bearing his name, Robert was working in the family business at a very young age. Aside from a term of service in the U.S. Army during World War II, which took him to Europe as an infantryman, and the post-secondary schooling upon his return, Bob spent many years working in his father’s business, occupying many posts within the company. Bob began in the family business as a sweeper at the Zildjian Company during the summer. “My father paid me $2 a week, but he put $1.50 into a savings account in my name and only gave me fifty cents,” Bob recalled in an early interview. After a stint as a paperboy where he could keep all his own money, Bob

returned to the company at the age of 14, along with his brother Armand, to apprentice and learn the secret manufacturing process. Bob quickly became an indispensible part of the company, working as an accountant, advertising executive, as well as in artist relations and sales. After his father’s passing in 1979, Bob took control of the Meductic, NB-based Azco plant, previously a subsidiary of Zildjian, and launched SABIAN. The moniker is a combination of the first two letters from each of his children’s names. In 1982, the first SABIAN cymbal came off the production line, and the subsequent years found Bob and his team building the SABIAN brand around the globe. “I’d like to be the best cymbal company in the world,” Bob said in an early SABIAN interview. “I’m not that worried about being the biggest. But if we are the biggest, that’s good too. But being the best is primary…that’s my motivation.” Always a class act, Bob had an unbelievably sharp wit and always shared his signature smile. We at CMT extend our best wishes to Bob’s family, friends, and peers in the industry during this difficult time. Cheers Bob.




MIAC & The PAL Show 2013: A Chance To Come Together


s many of you may have already seen, the Music Industries Association of Canada (MIAC) has announced that the 2013 MIAC and PAL shows will be held on September 8-9, 2013 at the International Centre in Toronto. The 2013 shows offer a great opportunity to generate excitement and earn a positive return for exhibitors and attendees alike. The many respondents to our recent member survey showed just how important the association is to our Canadian industry, and the importance of a national trade show as a part of that. We received fantastic feedback from exhibitors and attendees alike as to what they found most important in their show experience. Working with our new production and marketing partners, we look forward to putting those thoughts and ideas into practice and making this show the best yet! While some might debate the continued value of a trade show as a place to see new products, I would suggest that, more than ever, it is important to have a place and time where we can “come together” as the Canadian industry. We each spend our days focused on the business at hand, whether that’s managing a store,

sourcing new product, creating marketing campaigns, or hitting the road to get new orders. To borrow from a well-known adage, as we all get buried in our own duties, it’s easy to lose sight of the greater “forest” by being enmeshed in too many “trees.” A trade show is perhaps the only time where we can rise above the day-to-day for a while; where we can connect and interact with others who share the same passion for this industry, all while reminding ourselves of what it is about this business that keeps us going. Whether these connections are made at one of our social events, or at the Learning Lunches, or business and technical seminars, there is something for everyone at the MIAC and PAL shows. There’s also a lot of great product on display, along with the chance to see, feel, try, and hear it in person, not just on a page or screen. Whether you are a long-time industry veteran, a new retailer, a recording studio engineer, or any of the myriad roles in our industry’s vast scope, the 2013 MIAC and PAL shows will be a place for you to come together and connect with your peers and carry away new knowledge, approaches, and ideas about your business. On behalf of the board of directors and all involved with this year’s initiative, we look forward to seeing you in September! By Dale Kroke, Chairman of the Board, MIAC




MIAC et PAL 2013: La chance de se rassembler


omme plusieurs d’entre vous le savent peut-être déjà, l’Association Canadienne des Industries de la Musique a annoncé que les Expositions MIAC et PAL 2013 auront lieu les 8 et 9 septembre au Centre International de Toronto. Les Expositions 2013 offrent une excellente occasion de susciter l’enthousiasme et d’apporter un rendement positif aussi bien pour les exposants que pour les participants. Les nombreux répondants à notre sondage auprès des membres ont démontré à quel point l’Association est importante pour notre industrie canadienne et l’exposition commerciale nationale en est une part importante. Nous avons reçu des commentaires fantastiques de la part des exposants et des participants sur ce qu’ils ont trouvé le plus important dans leur expérience à l’Exposition. En collaboration avec nos nouveaux partenaires en production et en marketing, nous sommes impatients de mettre ces concepts et ces idées en pratique et de faire de cette Exposition la meilleure qui soit! Alors que certains pourraient débattre de la valeur actuelle d’une exposition en tant qu’endroit pour voir de nouveaux produits, je dirais que plus que jamais, il est important d’avoir un lieu et un temps où l’on peut «se rassembler» en tant qu’industrie canadienne. Chacun d’entre nous passons nos journées axées sur les affaires en cours, que ce soit pour la gestion d’un magasin, l’approvisionnement de

nouveaux produits, la création de campagnes de marketing ou pour prendre la route afin d’obtenir de nouvelles commandes. Dans notre travail de tous les jours, il est facile de perdre de vue l’ensemble de l’industrie (une grande « forêt ») en étant empêtré dans de trop nombreux « arbres ». Une exposition est peutêtre le seul moment où nous pouvons nous élever au-dessus de nos activités quotidiennes pendant un certain temps, nous connecter et interagir avec d’autres qui partagent la même passion pour cette industrie et ainsi nous rappeler ce qui nous motive à continuer. Que ces connexions soient faites à l’un de nos événements sociaux, lors de nos ateliers éducatifs ou lors des séminaires d’affaires ou techniques, il y a quelque chose pour tout le monde à l’Exposition. Il y a aussi l’opportunité de voir plusieurs bons et nouveaux produits, avec la possibilité de les regarder, de les toucher, de les essayer et de les entendre en personne et non pas seulement sur ​​un écran ou sur un site web. Que vous soyez un vétéran de l’industrie de longue date, un nouveau détaillant, un installateur du pro audio, ou encore l’un des multiples représentants de cette vaste communauté qu’est notre industrie, l’Exposition MIAC et PAL 2013 sera un endroit pour vous rassembler, faire du réseautage et acquérir de nouvelles connaissances, approches et idées pour votre entreprise. Au plaisir de vous rencontrer en septembre! Par Dale Kroke, président du conseil, MIAC CANADIAN MUSIC TRADE


By Stacey Thompson

When a new musician first enters the wondrous world that is a music store, picking out a new instrument is usually the easy part. Most, if they don’t already have the exact model in mind after hours of scouring the Internet or interviewing peers, will likely have a general idea of what they’re after and what they can spend. Armed with a new axe, sax, or six-piece kit, it’s the accessories that will prove to be a bit of a challenge for the inexperienced musician – particularly those that will ultimately influence those imperative first steps into music making. As the future maestro steps up to the stacks or shelves of print and educational media titles, it’s easy for one to feel overwhelmed; however, stores with a wide assortment of well-organized stock and knowledgeable staffers have guided greenhorns both young and old through the process of picking out educational media to get them on their way. Those print department principals are there to guide musicians of any level through the endless array of titles, formats, and even files – all while keeping in-tune with the changing times, incoming products, and the needs of their local community – students, teachers, directors, and all.


echnology has a strong foothold in many a market, and that

includes print and educational media. While many initially predicted technology – specifically, the Internet – as being a nail in the coffin for this market, print managers aren’t turning their nose to this, but instead are embracing the idea that print and technology can go hand-in-hand to enhance the learning experience. 22 • CANADIAN MUSIC TRADE

“What I have found in the last few years if that we are doing a lot more downloading in the store,” says Dianne Swanson, Co-Owner of Cobb Swanson Music in Regina, SK. “I’ve noticed there are a lot more sites out there that offer legal downloads of titles. I’ve connected to about three of them, and there isn’t a day that goes by that we won’t download music for a customer.” Elliot Polsky, a Buyer and Manager at Prussin Music in Vancouver, is experiencing the trend through communication with his regular customers. “Right now, we are seeing a real shift towards what you could call ‘360 integration’ with digital learning materials. You are seeing more and more books coming out that incorporate the use of recordings, videos, and other instructional tools. Multimedia instruction is growing and delivering an experience we’ve never really seen before.” Lynn McRuer, one of the Owners of Music Plus in Kitchener, ON, has followed this trend since its outset and agrees that digital and online material is growing in scope, but that the integrity of these resources is easily compromised by unreliable content creators and may leave learners wanting. “DVDs are gradually, I think, being replaced by online sources;

Navigating The Curve At The

2013 RPMDA Convention

The 2013 RPMDA Convention will be held May 1-4 at the Hyatt Regency Hotel in downtown Columbus, OH. The annual event enables print and educational media dealers to explore products and discuss services with a diverse group of publishers and suppliers. “We are focused on the future of the print music industry,” says Carol Wilbur, President of RPMDA, about the association – and that extends to this year’s convention. Wilbur explains this year’s event will feature initiatives like a two-session seminar, “Your Digital Future,” given by Richard Gore and Steven Gore of Hartland Music, that will help retailers navigate these changing times. People are worried and want to know if there will be a place for print music in a changing world; this seminar, she says, will give the tools for survival. “This year we are going to offer a parallel track,” she says of other timely undertakings. “We are going to speak about in-store lesson programs and studios” – things many stores have initiated though have yet to perfect. These sessions are going to outline how to start in-store lesson programs and how to maximize profits. Small business marketing firm Constant Contact will be hosting backto-back seminars on social media and how it can be used effectively to appeal to any desired market. Other topics to be explored include communication – learning how to speak to the newer generations; and inventory control – keeping things organized and running smoothly. The familiar Best Ideas session will also return with host Kevin Cranley from Willis Music. The RPMDA Convention is well known for fostering relationships and providing ample networking opportunities for its attendees; however, it’s also about arming retailers with the tools to help them strengthen their own operations and, by extension, the educational media industry as a whole. For more information on the association and convention, visit www.

not that they are necessarily the best sources. People are assuming free is good, though I think when you get things for free, sometimes, you get what you pay for.”


ethod books are still a top seller at many stores and still a trusted means for students and parents to progress in their musical education. “Definitely no decline in interest for methods,” states Sheilah Craven, Manager of Ottawa’s The Leading Note, with confidence. “They are still selling very strongly. I don’t think that the digital stuff has had much effect on that. People still want a good, trusted book for the kids to learn from.” “Sales profiles of print music have remained consistent for the last several years,” adds Bob Cole, a Senior Print Buyer for Long and McQuade in Vancouver. “Perennial sellers such as piano methods, band methods, and core classical repertoire continue to be reliable sales performers.” Branching away from what one might call a standard instrument can be risky. Luckily, pop culture has a hand in helping young people gain new interest in music. Special interest items, as they are called, like ukuleles and banjos are becoming hot products, appealing to youth thanks to the recent resurgence of folk stylings.

“One strong special interest area is instruction and songbooks for ukulele,” says Cole. “It was a trend that we started to see really take off a couple of years ago and still shows no sign of slowing down. I am not sure what sparked the popularity of the eclectic folk instrument, but our cash registers are very grateful for the enthusiastic following.” Polsky is seeing a longstanding trend with publishers in response to the proliferation of young players wanting to learn how to play songs performed by their favourite artists right off the bat, as opposed to starting with simple standards – less “Hot Cross Buns” and more Hot Chelle Rae. “One trend that I really see, embrace, and like is a lot of publishers are arranging current and pop music titles,” he says. “They are arranging them better for younger kids. Kids don’t really want to play ‘Pop Goes The Weasel’-type songs anymore.” Polsky adds that kids are more interested in songs they are experiencing through movies and on the radio, and that the publishers have capitalized on this trend by arranging popular music for beginners to help them learn. And on a similar note, it’s not just the popular music from radio or film that’s appealing to young learners; publishers are beginning to release print titles based on video game scores – something that’s still very new, says Swanson. “Video game music has certainly caught their attention,” she says of the major publishers. “Alfred Publishing has done a good job of bringing up some of that and going with it.” Swanson says when she first received titles based on video games, she was admittedly unfamiliar with the medium and unsure if the items would sell; however, her younger customers provided quick assurance.


igital learning tools like tablets and cell phones are now being integrated into the

educational process and, subsequently, interfacing with traditional media. Polsky notes that what first caught his attention were books with peripheral digital components like exercises and tests, which he feels are very powerful and versatile. He adds that local piano teachers are seeing the value in these products and driving the sales of this type of technology in a big way. CANADIAN MUSIC TRADE • 23

“They are actually coming in and requesting this stuff. Students are becoming much more task-oriented in a sense, but they want to learn popular music by their favourite artists and using the tools they already know. Teachers are shifting and recognizing this, and adjusting their buying habits accordingly.” Educational titles, whether accompanied by a digital component or not, are not going to sell successfully without a keen awareness of what the local market longs for. With such a wide array of products and titles available, one has to wonder how a successful store’s stock can be so well organized and curated. Having history as a tool is a key asset.

“The key to a successful music department is developing high performance inventory, and history tends to be a pretty good teacher,” says Cole. “It’s important to be aware of how core libraries are performing so that you can keep stock levels at a healthy ratio. You never want to be over stocked with a sluggish seller that is trending down.” “Most of our purchases are based on past sales,” adds Craven, “but we do often try to get new editions in to encourage customers to browse again and to bring people into the store and see the new products.” But how does one decide which titles will attract attention and which will collect dust?


Dianne Swanson of Regina’s Cobb Swanson Music.

Elliot Polsky of Vancouver’s Prussin Music.

Sheilah Craven of The Leading Note in Ottawa. 24 • CANADIAN MUSIC TRADE

we make sure that we always have the standards – method books, classroom resources that have been used for many years and continue to be used,” says Greg Fisher, Manager of St. John’s Music in Calgary. “For current pop PVG books, we usually rely on best-seller lists and make use of consignment programs offered by publishers. This way we can easily stay current” – and do so with less risk. Polsky says there is an “element of voodoo” involved in staying on top of what his market wants. Keeping tabs on the public can be a tricky thing; however, he has one “old fashioned” tool that he can always pull out. “Good old fashion talking to people is really one of the key things,” he says – “just staying in touch with people, finding out what interests them, what they are looking for, what they are hoping to see, what they are using, and what their students are asking for. You have to talk to people and see what it is that they are interested in, and that is what we try to do.” Speaking to customers and engaging in their lives and interests does not just mean ideas for stocking the shelves; it means making connections and relationships with customers and the communities of which they’re a part. “The most powerful tool that keeps customers coming back is our staff,” says Christie Smith, who coordinates events, advertising, and sponsorships for Long and McQuade in Vancouver. “Meaningful partnerships between the staff and customers are responsible for the highest percentage of our return business. Personal attention, efforts to connect with the customer and to learn their needs are the key elements in securing this.” Smith, also the VP and Treasurer of the Retail Print Music Dealers Association (RPMDA), says that Long and McQuade employs a very complete system devoted to customer service that is set up in their stores, explaining that they host workshops for musicians and students to foster those previously-mentioned partnerships. “We also support our community in many ways with sponsorships, advertisements, attending community events, giving presentations in schools, and participating in music educator conferences. We try to remember that success comes from respecting the ‘circle of life.’ We foster positive partnerships with out suppliers who in turn provide us with useful tools to help us meet our customers’ needs,” she adds. Swanson takes customer care a step further by being a strong supporter of local music in her community. “A lot of the teachers perform in choirs, at small group events, or private recitals,” she says. “I take the information they give to me and I post that on my Facebook page. I highly encourage my Facebook likers to go to these concerts, and I also go to the concerts. I think when they see me there or I can chat with them afterwards, I think that creates loyalty. They know I support them.” On behalf of The Leading Note, Craven adds: “We sell tickets for performances by local choirs and other performers as a voluntary service for the community that supports us. We also maintain a list of local

Bob Cole & Christie Smith of Long & McQuade Vancouver.

Lynn McRuer of Music Plus in Kitchener, ON. teachers, choirs, and orchestras on our website, which is widely used and appreciated by our community.” McRuer has similar tools to reach out to her community and to those outside of it. “We do regular summer workshop series,” she says. “We are constantly at trade shows, whether it’s a Summer Institute of Church Music or Ontario Music Educators event. We travel to those places and make sure we’re visible. For us, people have such a wide variety of choices that it is the connections you make; I mean face-toface ones and not just the online ones.”


ur panel of professionals maintains that educational media sales are strong and still have the potential to drive impressive profits. But in an increasingly technical world, we cannot dismiss the possible changes facing the industry. While some believe the shift to digital is still in its infancy, others are concerned what it could do to their business.

“We deal exclusively in print,” says Craven, “so we do need a product to sell, and we are worried that with these tablets, especially iPads, it’s more of a direct market sale to the end consumer. So, it really cuts out a store like ours.” To combat this, Craven and her colleagues are exploring options to deliver digital products to their customers. “This is the one million dollar question, isn’t it?” asks Smith rhetorically about how stores can embrace and profit from the digital shift. “We are all grappling for enlightened answers to this new reality. Presently, most consumers do not yet own the right kind of hardware that would make this a real threat to our current business model. Choral music may be the closest product group to begin using this new technology. There is no doubt that it won’t be long before the right equipment is made easily accessible. When that happens, things will definitely change.” Fisher says he hasn’t seen much of an impact as of yet, but there is anticipation about technology moving its way in very soon. “We are seeing more and more manufacturers developing new products that are designed to be used with tablets. So it’s on the way,” he says. “I think it’s very much in its infancy still,” says Polsky. “I am also an active performer, so I observe what goes on around me when I am playing gigs with people. I don’t use a tablet myself, but quite a few of my professional associates do now use them. I think that they are going to be as entrenched as any other technology that has been successful in the music industry.” Polsky adds that there will always be people who want the hard copy – the “tactile experience” – and those who want the digital copy for the “convenience factor.” He says those who want to have the option of having 10,000 songs at the ready can have it. “I think it is actually going to be a help to the whole print music sector,” he says. “I think for the next little while, it’s going to boost sales and some interest.”


his industry comes down to the personal connections that sellers can make with the people who come into their store. Keeping the selections organized and staffers informed about the products allows the experienced musician and the first time newbie to feel comfortable. Loyalty comes from community – interfacing with those who bring you business. Most importantly, though, it’s about facing challenges headon and exploring ways that a potential bust can be a profitable boon. There will be hints of doubt and fear pushing forward into a changing world, but embracing it will be the key to staying successful. n

Stacey Thompson is a writer with Canadian Music Trade. CANADIAN MUSIC TRADE • 25

Celebrating The Past & Present Of The MI Mammoth By Rick De Vries

It all began with a reed organ in 1887.

Torakusu Yamaha’s journey with his first organ, circa 1887, captured in bas-relief.

directions that couldn’t have possibly been part of its founder’s plan. In 1955, then CEO Torakusu Yamaha, a watchmaker Genichi Kawakami expanded the business by trade, built his own organ based on a into the motorized vehicle market and released blueprint of one he had been asked to repair Yamaha’s first motorcycle, the YA-1, known as at a primary school in Hamamatsu, Shizuoka the Akatombo, or “Red Dragonfly,” in honour Prefecture, Japan; this was the seed that of the insect’s colour, agility, and form. would eventually sprout the internationally The growth continued with ongoing recognized brand bearing his name. expansion into the sporting equipment and As the story goes, Torakusu carried his lifestyle-related product industries while the prototype over the mountains of Hakone, company simultaneously increased offerings slung over his shoulder on a carrying pole, and in its existing markets; namely, musical delivered it to the Music Institute – known instruments. today as the Tokyo University of the Arts – on Now, Yamaha Motor Co. Ltd. operates a journey forever immortalized in bas-relief. as a company under the Yamaha brand in Though his efforts were widely scorned Torakusu Yamaha, Company Founder common with Yamaha Corporation, while at the time, Torakusu Yamaha remained other companies in the group include Yamaha undaunted and eventually succeeded in Fine Technologies, Yamaha Resort, Yamaha Music Entertainment perfecting his prototype – and simultaneously launching his legacy. Holdings, and others. Over the next 80 years, Yamaha would continue to grow in 26 • CANADIAN MUSIC TRADE

Yamaha Corporation Today

Though Yamaha remains headquartered in Japan, the company’s international reach has informed the decision to initiate satellite operations within individual markets. The Yamaha Group employs more than 20,000 people around the globe and boasted total revenues of nearly $3.8 billion USD in 2012. Masaya Furuta, the GM, Business Planning Division, Musical Instruments and Audio Products Sales and Marketing Group for Yamaha Corporation of Japan (YCJ), explains that because Yamaha has such a wide range of offerings, how the company launches specific products into the market differs from network to network. Basically, he says, commercialization and formulation of sales plans for market launches are based on the content of discussions among the product managers of Yamaha subsidiaries around the world as well as product marketing and development divisions at Yamaha corporate headquarters; however, for sales campaigns and promotional activities, the main initiatives are taken by Yamaha sales companies in the local markets. “There are some products with local content, such as folk musical instruments and those we sell only in certain markets,” says Furuta. “Particularly noteworthy is the fact that we offer models of digital keyboards in the mass market price range that have panel displays in Chinese, Japanese, and other languages to make our products easy to use in the non-English speaking world.” These products have limited market coverage, however, and the volume of sales is lower than that of products sold into the worldwide market, so they account for only a small percentage of overall sales. “At Yamaha, we listen to the voices of our customers,” says Furuta. “We compile their opinions and views, analyze them, and then create prototypes. Also, one of Yamaha’s strengths is the fact that

ABOVE: Yamaha’s current Board of Directors. (L-R) Mr. Hiroo Okabe, Director & Managing Executive Officer; Mr. Mitsuru Umemura, President & Representative Director; & Mr. Motoki Takahashi, Director & Managing Executive Officer.

we ourselves can use our overseas subsidiaries and branches scattered around the world to capture customers’ opinions directly.” To move ahead with product development and commercialization, he says, assessment meetings, such as consumer blind tests, are convened and people are invited to participate in preliminary evaluation sessions at trade shows. According to its corporate website, Yamaha has endeavored to manufacture products and offer services that provide guaranteed satisfaction to the diverse needs and desires of consumers worldwide. These products are celebrated for quality in acoustics, design, technology, craftsmanship, and of course, customer-oriented services. They are highly

regarded by a vast number of professional musicians, institutions, and consumers. This is part of a company-wide commitment to care for end users through a variety of means and reflected in all of the company’s undertakings. Its mission statement is as true today as it was 125 years ago and has earned the company global recognition as the largest manufacturer of musical instruments.

“Creating ‘Kando’ Together” “Kando” is a Japanese word used to describe the sensation of profound excitement and gratification derived from experiencing supreme quality and performance. “Creating ‘Kando’ Together” has long been the core of Yamaha’s corporate philosphy – and continues to be just as important to operations now as it was 125 years ago.

Torakusu Yamaha’s first-ever organ, circa 1887. First Yamaha upright piano, circa 1900.

Yamaha Canada Music

Established in 1969 as a satellite division of Yamaha in Winnipeg, MB – also where the Canadian division of the Yamaha Music Education program took root – Yamaha Canada Music (YCM) relocated to its current headquarters in Scarborough, ON in 1976. As a wholly owned subsidiary of YCJ, all of YCM’s offerings outside of those from distributed brands like Paiste Cymbals and MXL Electronics come directly from the parent company and are then disseminated to dealers across Canada. “For the most part, YCJ produces products and models that are consistent for the North American market,” explains Rob Barg, Corporate VP with YCM. “We do highlight and focus on items which we feel will have a market penetration potential in Canada, based upon unique features, durability, and price competitiveness.” The past five years have seen dramatic changes to the global and North American economies, and the music business in particular, Barg says, opining that, “Yamaha has not been immune to these realities, and I would suggest that our key to success has been our consistent approach to the market, whereby our dealers can be confident that Yamaha Canada is a trusted and valued supplier and partner during challenging times.” Another recent trend the company has had to combat is the fading interest of the general public in entry-level music products like guitars and keyboards as cell phone and tablet technologies have captured the attention of a growing number of consumers. “‘Home-run’ entry products have not

been as common lately as in the past,” says Barg, elaborating, “so we have moved the focus to ‘up-market’ products where we can offer the customer a more fulfilling experience.” The introduction of AvantGrand pianos, which were designed to marry Yamaha’s strengths in the acoustic and digital piano markets, comes to mind as an example, as do products from the company’s Silent Series, which are continually developing to include more user opportunities for consumers. Larry Mansbridge, VP of the Music Group at YCM, chimes in, noting that YCM is often competing for the customer’s attention with other industries and products on top of competitors in the MI market. “We learn a lot about changing trends in customer tastes and business tactics from outside of our industry. The music industry is, on one hand, a very traditional and slowly developing

1959 – Electric organ (Electone) production begins

1958 – Sporting goods production begins (archery)

1955 – E stablishes Yamaha Motor Ltd. based on the success of the first motCo. orcycle.

1954 – Initial foray into small engin es & vehicles/water­­craft with the production of the YA-1 (motorcycle)

1954 – First hi-fi pla yer produced 1954 – Est ablishes Ya maha Music Sch ool, holding first pilot classes

1941 – Productio n of acoustic gu itars begins 1922 – First ve nture into

audio equipm ent (crank phonograph)

go into prod uction

s established

1914 – F irst Ya maha harmon icas

iture busin es

1903 – Furn

1900 – P roductio n o f u p right pian 1897 – N os begins ip p o n G akki Co. (now Ya maha Co rp o Japan) is ration of establish 1887 – T ed orakusu Yamah a b u il d s his first reed org an 28 • CANADIAN MUSIC TRADE

ABOVE LEFT: Larry Mansbridge, VP, Music Group, Yamaha Canada Music. ABOVE: Yamaha Canada Music President Kenichi Matsushiro LEFT: Rob Barg, Corporate VP, Yamaha Canada Music.

ABOVE: Yamaha Canada Music’s main office in Scarborough, ON, just outside of Toronto. RIGHT: Yamaha’s current Japanese headquarters.

industry, and on the other hand, high-tech and fast paced. As a result, multiple strategic approaches to the market are required to resonate with our customers.” Speaking to its market research, Barg says YCM uses many of the Statistics Canada reports available to them, such as changing demographics, birth and immigration rates, and disposable incomes. “Yamaha shares sales and product information between its subsidiaries around the world on a regular basis, giving each market some insight as to which new Yamaha products might be the next big success,” he says. In the past, innovations in digital technology drove a lot of this growth, where today, our challenge is to offer customers solutions for their musical enjoyment and expression, and to not focus as much on the latest tech specs.” On a global level, Yamaha invests quite heavily in its presence at major trade events like Musikmesse, Music China, and the NAMM Show. “NAMM is a very unique situation for us, and the U.S and Canada comprise one of the largest markets for Yamaha products in the world, hence there is a huge Yamaha presence at this show,” says Barg of the North American event in

particular, pointing out that many YCJ product designers, developers, and marketing staff also attend the show, which offers a great opportunity to interface with colleagues from other areas. The NAMM Show is a critical activity as it is also the first new product launch event of the year with the opportunity for major media exposure. As more and more Canadian dealers attend the show, Barg says YCM brings a larger contingent of staff. “We are able to meet with dealers and top management to get a firsthand review of business and product trends,” he says, explaining that YCM also takes the opportunity to thank customers for

their business at the annual YCM NAMM Reception. Having a strong presence at trade events, music festivals, and other highprofile events builds the brand’s image as a contributor and supporter of music education, as well as the arts in general, and helps to keep the brand in the forefront of people’s minds. “Our support can be at the genesis of an event,” Mansbridge offers. “In some cases, it may even be essential.” And despite the company’s size and the resources at its disposal, YCM is still very much engaged in street-level marketing and interaction. Mansbridge says there are two approaches to Yamaha’s in-store initiatives that are informed by the type of products being showcased; one pertains to low-tech, “emotion-based” products and the other to high-tech, feature-rich products with a steeper learning curve. “We tend to do artist clinics in the emotion-based categories like drums as we launch new products,” he explains. “The need for high-tech training is endless, as the product cycle is much shorter. In this area, we are constantly touring with our Product Managers to ensure our dealers have a good understanding of our products.” In addition to interfacing with retailers and, by extension, the general public, Yamaha also values its mutually beneficial relationships with high-profile performers. “Artist engagement serves our product development [process] as well as end-user influence,” Mansbridge says. “It’s not the be-all, end-all issue that it was in the past, but it is definitely an important part of a complete marketing package.” With the level of care and attention paid to customer needs as well as the kinds of relationships the company fosters with dealers and performing artists, it makes sense that internal relations and communications make for a positive, healthy, and stimulating work environment. YCM has a relatively low staff turnover, and management is vocally appreciative of its dedicated and



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Yamaha Music Foundation “Music education has been a foundation of Yamaha’s success for many years,” says Yamaha Canada Music Corporate VP Rob Barg. “Yamaha has been involved in developing advanced music teaching systems since the 1950s, and formally introduced these in Canada in 1966, when the first teacher training seminar was held in Winnipeg. We believe strongly that we have a responsibility to offer quality music education to our customers, helping to develop active music makers by giving them the tools to enjoy the creative possibilities of our products.” In 1954, Yamaha originally initiated a series of classes under the banner of the Yamaha Organ School. In 1959, the name of these classed was changed to the Yamaha Music School and, in 1966, Yamaha formally established the Yamaha Music Foundation with the purpose of promoting music education and popularization. The foundation, headquartered in Tokyo and overseen by current President Mitsuru Umemura, has more than 230 employees and schools in nations across the world. “Through the expansion of our music education business, we are working to communicate to people the joys of performing on musical instruments and create as many music lovers as we can,” says Furuta about another of the company’s important initiatives. “As a result, we believe this will enable us to develop new markets for musical instruments.” Furuta adds that the programs and curricula of the Yamaha Music Schools around the world are developed by the Yamaha Music Foundation and consistent from city to city, nation to nation, with teachers all benefitting from the same training and preparation. Additionally, Barg says YCM actively partners with many institutions, schools, and colleges with the aim of helping them offer stronger programs through the aid of Yamaha products and services. “It is our belief that music education advocacy is not an optional ‘nice to do,’ but a fundamental ‘must do’ concern for the health of our industry,” says Larry Mansbridge, VP of the Music Group at YCM. “Members of this industry are all well aware of the proven benefits of music education in early childhood cognitive development.” Mansbridge points out that a good deal of the company’s advocacy is aimed at the government in order to ensure that funding for music education is a fundamental concern to all. “The fact that many in our industry make no contribution to advocacy activities such as the Coalition for Music Education does not deter us,” he adds; furthermore, the development of Yamaha Music Schools and musical instrument sales continues today on a global scale.

ABOVE: (L-R) Jim Welter, Manager, Piano Department, Yamaha Canada Music; (seated) Peter Simon, President, Royal Conservatory of Music (RCM); James Anagnoson, Dean, Glenn Gould School, RCM; Ken Hiraoka, former President, Yamaha Canada Music; & Rob Barg, Corporate VP, Yamaha Canada Music, at the RCM’s Koerner Hall.

Steve Butterworth, GM, Music Instruments Sales & Marketing Division, Yamaha Canada Music (left) & Ken Hiraoka, past President, Yamaha Canada Music (right) present Dr. Jose Abreu, Founder of El Sistema, with instruments for young Canadian musicians when Abreu was presented the 8th Glenn Gould Prize.

hardworking staff, Barg says. The company aims to be a fair and consistent one, with a long-term outlook to growing the business. This outlook is a key component in its activities of creating future music customers through both education and advocacy efforts, whereby YCM can sow the seeds for future musicians and, subsequently, Yamaha consumers. “We take the value that music brings to people’s lives very seriously,” he insists, and goes on to say that although day-to-day and month-to-month business is critically important, especially during these

challenging times, a long-term approach to creating future music lovers and consumers is the company’s number one responsibility to the communities it serves across Canada.

125 Years Of Excellence

Reflecting on such a long history of innovations within the music industry, Yamaha has built a brand that is both easily recognizable and highly regarded. As the 125th anniversary is a global celebration, with each subsidiary having the autonomy to celebrate in its own unique way with promotions and

Photo: Rob Shanahan

ABOVE: Yamaha Canada Music staff photo. LEFT: David Foster performs at Yamaha’s 125th Anniversary Dealer Concert, held during the 2013 NAMM Show.

There are few companies in any industry that surpass a century of business, let alone in the musical products market; however, with an approach to business that has spanned decades and continents, it’s clear that Yamaha Corporation of Japan and its satellite operations are poised to carry the banner of music-making well into the future. n

initiatives as business circumstances dictate. Barg says that YCM decided to keep the focus primarily on saying “thank you” to its customers by offering “125 Rebate Programs,” which have run or are currently running in various product categories and he anticipates that the company will be continuing these types of offerings as the year progresses. “We are presenting two regional Junior Original Concerts (JOCs) in Canada this year, on April 28 at the Vancouver Playhouse in Vancouver and on May 12 at the Glenn Gould Studio Theatre in Toronto,” he shares. The two concerts will feature Yamaha Music Education students from across Canada who will be performing their own unique compositions in various musical styles. “We also distributed to many of our partners a 125th commemorative set of 125 wood blocks,” says Barg, explaining that each set is an original souvenir from Yamaha which is made out of wood material from actual products like grand pianos and marimbas

Lobby of Yamaha Music School in Toronto.

made at the Yamaha factory in Japan. Though the 125th anniversary celebration does not officially end until September 30, 2013, Barg says there are other activities planned both for Yamaha Canada as well as its parent company, in addition to the two concerts, which will be announced later in the year.

Rick De Vries is a former Editorial Assistant with Canadian Music Trade. CANADIAN MUSIC TRADE • 31

BUSINESS MATTERS By Donovan Bankhead

Time-Saving Technology Online Tools That Make You More Organized & Productive Do you find yourself saying, “I have too many things to do to worry about being productive”? The good news is managing your time is easier than you think. A few simple online tools will help you stay on track, even with a sea of responsibilities. Specifically, my favorite tools are Gmail, Boomerang, Google Calendar, and Google Drive (formerly Google Docs). These will change your day-today operations and impact your bottom line.


Much of what I will say here may apply to other email systems, but in my opinion, Gmail’s tools make everything so much easier. The first rule of thumb is that we must reduce the amount of email in our primary inbox. Many people have hundreds or even thousands of emails in their inboxes. This creates clutter and distraction, and too many opportunities for things to be lost in the pile. I would recommend you Google the topic “inbox zero” and study this concept. In a nutshell, you create labels or folders to help sort your mail. Then, using Gmail’s built-in filters, you can have new incoming email automatically sorted into these folders. That way, when you get that promotional email from your favourite shoe store or your sister emails you her favorite cat pictures, it doesn’t clutter your primary inbox, which should be your place for important items that require immediate attention only. If you have hundreds or more emails in your inbox, another idea is to create an email “DMZ” folder. This is basically another inbox. (I call mine “!nbox,” so it shows at the top of my folder list.) By moving all inbox emails to this folder, I get the benefits of a fresh start with all new incoming emails.


This simple browser add-on for Gmail is my secret weapon and has drastically improved my ability to follow through. Essentially, it lets you schedule messages to pop back into your inbox at some predetermined time or date. This is great for messages that you need to act on at some point in the future but not right now. It also lets you schedule these “boomerangs” for messages you are sending. You can even select to have messages only return to your inbox if they didn’t receive a reply. Boomerang can also be used to schedule messages that you compose now but want sent at some future time. You can even make these messages recur – great for those birthday greetings or staff meeting reminders. For more info on Boomerang for Gmail, go to Boomer32

CANADIAN MUSIC TRADE The company has a video effectively demonstrating these features.

Google Calendar

I like to create multiple calendars based on various aspects of my work life and business life. I have personal calendars, a calendar for my kids’ activities, a calendar for my wife’s activities, a private work calendar, and multiple calendars for various aspects of our business – one for office personnel, one for sales and promotions, one for floor staff, and so on. The beauty of Google Calendars is you can see multiple calendars in a single screen. When I have a time-sensitive, important, or recurring task, I schedule it on the appropriate calendar. (If it’s a recurring task, I set the recurrence schedule when creating the event.) I then select the option to have the Calendar email me at a custom time period before the event.

Google Drive

Google Drive is a great tool for sharing documents, spreadsheets, presentations, and other files among your team. You can adjust the privacy tools as needed. It can be set so that only you can view it, or you can make documents accessible to certain people or everyone on staff. More than anything else, it will literally help keep you and your people on the same page. Using these tools has helped me increase my productivity while restoring what’s left of my sanity. I hope they do the same for you. Donovan Bankhead is the VP at Springfield Music, located in Springfield, MO. Over the last 10 years he has developed Springfield Music into a chain of full-line music stores located in Springfield, Joplin, Kansas City, and St. Louis that are now among the Top 100 music stores in the U.S. In addition to the music business, he is also a husband, father of two, and a bass guitar and trumpet player.

CMT ’s Picks

Here are five cost-effective internet and mobile tools as chosen by CMT that can help business owners and managers be more efficient, productive, and organized.


Dropbox is a file hosting service that offers cloud storage, file synchronization, and file sharing. Businesses can install Dropbox on multiple computers and devices, allowing employees to easily and quickly share documents amongst each other or between home and office computers. There is a free version, but more advanced versions of Dropbox, which contain more storage space, run on a monthly subscription basis.


MyFax is a cloud-based Internet fax service that allows users to send and receive faxes through email. It can integrate with Microsoft Office, Outlook, QuickBooks, Google Drive, and other common programs used by businesses. Users pick out a fax number so those sending a fax to the user don’t notice any difference between sending a fax via MyFax or to a traditional fax machine. MyFax operates on a monthly subscription basis with the price point determined by the number faxes that can be sent and received per month.


Shoeboxed describes itself as an online filing cabinet for all documents, including receipts, business cards, and bills. Users send Shoeboxed their paper clutter – either through Shoeboxed’s pre-paid envelopes, the online and desktop uploaders, email, or mobile app – and the service turns it into organized, understandable, and easily accessible online documents. Each user has an online account for all of his or her information and documents and all user data is secured using SSL encryption and backed up on multiple servers, according to the company. There is a minimal free version of the service, with upgraded versions operating on a monthly subscription basis.

Wave Apps

Wave is a Toronto-based company that makes cloud-based, integrated software and tools specifically for small businesses of nine employees or fewer. Wave’s tools include invoicing, accounting, payroll, payments, and personal finance software. The applications can be connected with bank accounts, PayPal, or other sources of data to minimize manual data entry. They can also generate business reports like balance sheets, sales tax reports, and others. All applications are available online and are free, regardless of how much they are used or for how long.


OpenOffice is essentially a free version of Microsoft Office, which includes features very similar to Microsoft Office’s standard applications of Word, Excel, Powerpoint, and others. OpenOffice includes a word processor (Writer), spreadsheet (Calc), presentation application (Impress), drawing application (Draw), formula editor (Math), and database management application (Base). It works on the OS X, Windows, and Linux operating systems and allows users to create and save documents that are compatible with Microsoft Office applications.








Protection Racket Bubble Man Print Stick & Cymbal Bags Protection Racket has released its limited edition Bubble Man Print stick and cymbal bags. The bags are made in a special edition fabric with a “Bubble Man Print” of the Protection Racket logo and are available in deluxe stick, standard stick, super-size stick, three-pair standard stick, three-pair deluxe stick, standard cymbal, and deluxe cymbal sizes. These cases are designed to be sturdy enough for the road while also being durable, secure, and functional. The cases come fitted with quick release clips, strong zips, and poppers for the kit’s safety and protection. For more information, contact B&J Music Limited: 905-896-3001, FAX 905-896-4554, bjmusic@,

attaches to the flip-top lid of the PF-115HE or PF-210HE cabs and is well suited for the ported PF-410HLF and PF-115LF extension cabs. For more information, contact AudioOne Corporation: 888-276-9372, FAX 888-298-1133, sales@, 3

Ampeg PF-800 Portaflex Bass Head 2

Ampeg has added a new flagship bass head to the Portaflex Series; the Ampeg PF-800. The PF-800 delivers the performance of Ampeg’s Portaflex Series bass heads in a compact 800-watt design. The Ampeg PF-800 has classic hi/lo boosts and five-position midrange control designed for a wide array of tones and onboard compression delivering tight, clean tone at higher volumes. It




Rob Papen EDM Synth Bundle

Rob Papen has released the three-instrument, limited-edition EDM Synth Bundle of plug-ins. The EDM Synth Bundle is a flexible bundle of plug-ins for EDM (electronic dance music) producers and DJs. As such, it comprises Predator – a “phat-sounding” soft synth that combines presets and features to create a basic go-to synth for contemporary music production. Second, there is Punch – a software instrument that delivers synthesized drums for contemporary music producers. Then there is Blade, a flexible virtual instrument with an able arpeggiator and an array of pitch, modulation, and effects parameters. For more information, contact Rob Papen:,

Aviom A360 Personal Mixer

Aviom has introduced its latest personal mixer, the A360.

The A360 features a 36-channel mix engine which can be used to mix up to 17 mono or stereo channels plus mono or stereo ambience. For each of the A360’s standard mix channels, users can adjust volume, tone, and reverb. The A360 also includes a Stereo Placement pan-spread control that allows the width of a stereo channel’s image to be controlled independent of its left-right placement in the stereo field. This approach improves spatial perception as well as sonic clarity of the mix. The seventeenth channel on the A360, the Dual Profile Channel, allows users quick access to two independent combinations of channel volume, tone, reverb, and stereo placement for a favourite channel. This Dual Profile Channel may be set to mirror one of the 16 standard mix channels, or this channel can be used for additional mix content. In addition, ambience can be added to the mix either using the onboard ambient microphone or by using network channels. Designed for users whose primary focus is performing, not mixing, the A360’s features are designed to be instantly available with no menu navigation. For more information, contact Techni+Contact Canada: 514-695-4883,,

Yamaha Disklavier E3 & E3PRO Series Digital/ Acoustic Grand Pianos

Yamaha Disklavier DC7X E3PRO Piano

Yamaha has unveiled the Disklavier E3 and E3PRO Series performance reproducing digital/acoustic grand pianos. These models combine the qualities of traditional Yamaha acoustic pianos with digital piano features that enable the instruments to play themselves – with exact keystrokes and pedal movements – in accompaniment to performance content streamed over the Internet or stored in its internal memory. The E3/E3PRO Series models feature Yamaha’s RemoteLive technology that enables pianists to perform live in one location and have their keystrokes and pedal movements transmitted live to other networked Disklavier pianos anywhere in the world. Perfectly synchronized video can also be integrated into performances shared over the Internet or recorded locally. These models also provide access to a wide range of previously recorded content through downloads from Internet Direct Connection (IDC) and DisklavierRadio that delivers uninterrupted streams of music from more than 25 different channels. A free iOS Disklavier Controller app also enables operation of many of the models’ basic functions to be operated from an iPhone, iPad, or iPod Touch. Users can also control the Disklavier E3 piano’s features via remotes and the electro-luminescent display panels on the instruments. For more information, contact Yamaha Canada Music Limited: 416-298-1311, FAX 416-292-0732,

Godin 5th Avenue Kingpin Acoustic Guitar

Godin has released the 5th Avenue Kingpin acoustic guitar, which is styled after the classic archtops of the 1950s. Designed with more projection and volume in the low/ mids than traditional archtop acoustic guitars, the Kingpin’s specs include the new Godin Kingpin P90 single-coil pickup, Canadian wild cherry archtop back and sides with an adjustable bridge, classic f-holes, contoured high-gloss headstock, floating pickguard, and cream binding. It has a custom polished finish and comes in black, natural, and cognac burst. A left-handed cognac burst model is also available. For more information, contact Godin Guitars: 514-457-7977,,

Intellitouch Freedom One Wireless Pedal Tuner

OnBoard Research Corporation has unveiled the Intellitouch Freedom One, a digital wireless system for guitar and bass that provides a digital wireless link between a guitar and a pedal tuner, eliminating the cable normally attached to a guitar. The Freedom One has two components: a compact wireless transmitter that plugs directly into a standard 1/4-in. output jack on a guitar or bass, and a pedal tuner with a 1/4-in. output that connects to an amplifier or to other effects pedals. When using the new Intellitouch Freedom One, the user is able to roam away from their pedal board while playing. The Freedom One’s pedal has a built-in tuner with a large backlit display that changes from red to green when in tune. The tuner is automatic, chromatic, and displays the measured musical note on a large LCD screen. For more information, contact Charlie Argall Music: 877-488-1645,,




Peavey Escort 3000 Portable PA System

Peavey Electronics has introduced its Escort 3000 products, an expansion of its Escort portable PA series. The Escort series is designed to integrate the entire PA system into one complete, easy-to-use, easy-to-transport package, making it suitable for schools, churches, DJs, and small music groups. The new Escort 3000 takes the features and quality of the original and combines it with new features such as digital multi-effects, a USB MP3 player, Peavey’s Midmorph technology, and its patented FLS (Feedback Locating System). The carrying case provides storage for everything needed for sound, including room for optional accessories such as microphones and cables. For more information, contact Peavey Electronics: 601-483-5365,

Sabian Premium Leather Cymbal Straps

Sabian has announced the release of its Premium Leather Cymbal Straps. These straps are made from top grain leather and are considerably thicker than the company’s previous cymbal strap offerings. The ends are tapered to fit through the cymbal and have been branded on both sides for percussionists who prefer to play with the rough side out. For more information, contact Coast Music: 514-457-2555,

Roland HPi-50 Digital Piano

Roland has announced the addition of the HPi-50 to its digital piano family. The HPi-50 is the successor to the HPi-6F and HPi-7F digital pianos. The HPi-50 features Roland’s SuperNATURAL piano sound, a PHA-III keyboard, Progressive Damper Action Pedal, and an improved Acoustic Projection System. The 10.1-in. high-resolution graphic colour LCD screen is built into the music rest where the DigiScore digital sheet music and interactive skill-building games are displayed. New on the HPi-50 is Medal Collection which challenges pianists to play a song, which is scored gold, silver, or bronze according to the level of performance. The HPi-50 has a compact wood cabinet design and comes in a simulated rosewood finish. For more information, contact Roland Canada Limited: 604-270-6626, FAX 604-270-6552, www.



PRODUCT NEWS Washburn Time Traveler PS2012R in Cardinal Red

Time Traveler Series Washburn PS2012R

Washburn Guitars has released the PS2012R, the first guitar in the limited edition Time Traveler series, which was designed in conjunction with Kiss guitarist Paul Stanley. The PS2012R features a mahogany body with a carved raised centre and a three-ply aged white/black/white pickguard with aged Starfire logo. A mahogany set neck sports a bound ebony fingerboard with 22 jumbo frets and custom pearl/abalone split block inlays. The reverse headstock has a similarly shaped trussrod cover with aged Starfire logo. A bone nut adds sustain and helps prevent string binding. It has aged nickel Grover 18:1 tuners and the Buzz Feiten Tuning System. An aged nickel Tone Pros tune-o-matic bridge is combined with a custom aged tailpiece machined from solid aluminum. Each guitar is designed to feel, look, and play as if it were worn and broken in. The Aged Nitro Cellulose finish is available in four colours. For more information, contact Erikson Music: 514457-2555, FAX 514-457-0055,,



LickLibrary Learn to Play ZZ Top Vol. 2 DVD Set

LickLibrary has released Learn to Play ZZ Top Vol. 2, which follows the release of the band’s album La Futura. This double DVD set contains over two hours of guitar lessons featuring five classic ZZ Top tracks. Guitar teacher Danny Gil walks users through each track, note for note. He shows how to get the offbeat shuffle in “Jesus Just Left Chicago,” explains the synth-lined glide and riff of “Legs,” and demonstrates how to get Billy Gibbons’ guitar tone with “Waitin’ For The Bus.” Also featured in this guitar lesson DVD are “Cheap Sunglasses,” which captures many of the sounds and beats that ZZ Top are famous for, as well as “Beer Drinkers And Hell Raisers.” This DVD teaches users the secrets of achieving ZZ Top’s unique sound and guitar techniques to play the songs including minor and major pentatonic scales, double stops, hybrid and alternate picking styles, unison bends, pull offs, and pinch harmonics. For more information, contact LickLibrary: +44 0 1708 757 337, FAX +44 0 1708 757 528,





















To view the online digital version of Canadian Music Trade, please go to




Graph Tech Ratio Tuned Machine Heads

Graph Tech has launched its Ratio Tuned Machine Heads. By matching the machine head gear ratios to the specific strings, the Ratio Tuned Machine Heads are designed so that all strings respond equally to any tuning adjustment. They have gear ratios ranging from 12:1 to 39:1 so that users get a consistent pitch change across all strings. Ratio machine heads fit most major acoustic and electric models in both 3+3 and 6-in-line headstock configurations. Players can choose from a number of button styles, including classic, contemporary, contemporary mini, or vintage. They all come with triple-plated finishes including chrome, gold, black, or nickel. As well, Ratio gears are made from hardened steel to ensure long-lasting precision tuning. For more information, contact Coast Music: 514-457-2555, FAX 514-457-0055, info@coastmusic. ca,



Radial StageBug SB-2 Passive Direct Box For Bass & Keyboards Radial Engineering is now shipping the StageBug SB-2 Passive, a compact direct box for bass and keyboards designed for the traveling musician. Measuring less than 2-in. wide and 3.5-in. deep, the StageBug SB-2 has a 1/4-in. instrument input and thru-put to feed the onstage amp. This connects to the custom made Eclipse ET-DB3 transformer, which performs the impedance matching and balances the signal. When using extra high output instruments, a -15dB pad can be inserted into the signal path. This enables the StageBug SB-2 to be used with active basses and digital pianos. A built-in auto-summing function enables stereo keyboards to be mixed mono in order to simplify set-ups and save channels on a mixing desk by connecting to the two 1/4-in. jacks. The StageBug SB-2 balanced output features an XLR wired to the AES standard, enabling it to drive cables 100 m without noise. For more information, contact Radial Engineering Limited: 604-942-1001, FAX 604-942-1010,,

Korg Kaossilator Pro+ Phrase Synthesizer/Loop Recorder

Korg has released the Kaossilator Pro+ phrase synthesizer/loop recorder, an updated version of the previous Kaossilator and Kaossilator Pro, which has new sound programs and drum sounds. The Kaossilator Pro+ has a total of 250 sound programs (including drum program) that cover a wide range of styles, including 62 new programs. Its loop recording function is designed to allow for intuitive performance and recording and four infinitely stackable loop banks. The scale/ key settings are meant to make it easy for users to perform without wrong notes and the Note Range function lets users specify the horizontal pitch range of the touchpad. Additionally, there is a Gate Arpeggiator function which makes it easy to control phrases with the slider For more information, contact Korg Canada: 514457-2555, FAX 514-457-0055,

Alfred Basic Mandolin Method 1 Instruction Guide Stanton SCS.4DJ Digital DJ System With Version 4.0 SC-IX Operating System

Stanton has introduced Version 4.0 of the SC-IX operating system for its SCS.4DJ Complete Digital DJ System. The SCS.4DJ is a fully integrated solution with processors designed to remove the need for an external computer when performing, making it a complete digital DJ system. This approach means DJs can plug in a storage device and mix using the built-in decks, mixer, and high-resolution colour display. New features include Song Preview Path, which adds the ability to preview a song directly from the song browser. There is gain functionality for each deck that allows for user-adjustable gain control, which is stored with each track. The VU Meter Source gives users a visual representation of Master Output or decks A & B and increased pitch range options add +/- 8 per cent and +/- 15 per cent to existing options. Additionally, BeatGrid editing allows users to edit a track’s beat grid in real time, with both “Tap Tempo” and “Dial-In-BPM” functionality, for increased sync and loop accuracy and stability. For more information, contact Erikson Audio: 514-457-2555, FAX 514-457-0055,

Alfred Music Publishing has released Basic Mandolin Method 1, an instruction guide for beginning mandolin players. It can be used with a teacher or alone and incorporates photos and diagrams, familiar tunes, and a play-along CD. Alfred’s Basic Mandolin Method 1 covers the basics, including how to hold a mandolin, tuning a mandolin, rightand left-hand techniques, reading music, chords, strumming patterns, how to read TAB, and more. Songs include “Aura Lee,” “Tom Dooley,” “Over the Rainbow,” “Buffalo Gals,” and others. The included CD contains full-length recordings of every exercise and song in the book. As well, this book is printed on 100 per cent recycled paper. For more information, contact Alfred Music Publishing: 818-891-5999, FAX 818-830-6259,,



EVENTS 2013 RPMDA Convention Columbus, OH May 1-4, 2013 972-233-9107 ext. 204, FAX 972-490-4219,


Hollywood, CA May 5-8, 2013 323-782-0770,

Music Biz 2013

Los Angeles, CA May 6-9, 2013 856-596-2221, FAX 856-596-3268

Montreal International Music Competition 2013: Violin

Montreal, QC May 6-17, 2013 514-845-4108, FAX 514-845-8241,

Canadian Association For Music Therapy “Expanding Horizons” Conference

Saskatoon, SK May 9-11, 2013,

VIMBC 2013 & The Great Canadian Song Race II Comox Valley, BC May 15-20, 2013

NAMM Musikmesse Russia

Moscow, Russia May 16-19, 2013 760-438-8001, FAX 760-438-7327

Toronto International Music Summit Toronto, ON May 25-26, 2013 647-977-1790

Pro AV Golf Tournament

Caledon, ON May 28, 2013 905-641-3471, FAX 905-641-1648,


Access a complete list of events involving Music, Musical Instruments, Professional Audio, Lighting, & Production at

The American Musical Instrument Society Annual Meeting Williamsburg, VA May 30-June 1, 2013 201-656-0107

Muhtadi International Drumming Festival

Guitar Workshop Plus Toronto

Toronto, ON Session One: July 14-19, 2013 Session Two: July 21-26, 2013 905-567-8000, FAX 905-785-2831,

2013 Vancouver Folk Music Festival

Toronto, ON June 8-9, 2013 416-848-3838,

Vancouver, BC July 19-21, 2013 604-602-9798, FAX 604-602-9790,

NXNE 2013

36th Annual NPM National Convention

Toronto, ON June 10-16, 2013 416-863-6963, FAX 416-863-0828,

2013 Ottawa Jazz Festival

Ottawa, ON June 20-July 1, 2013 613-241-2633, 888-226-4495,

MI Retail Conference & Expo 2013

Northamptonshire, U.K. June 26, 2013 +44 1 992 535 646,

Stickman Drum Experience

Black Strap Lake, SK June 27-July 1, 2013,

Halifax Jazz Festival

Halifax, NS July 6-13, 2013 902-492-2225, FAX 902-425-7946,

56th Annual PTG Convention & Institute Chicago, IL July 10-14, 2013 913-432-9975, FAX 913-432-9986,

Summer NAMM 2013

Nashville, TN July 11-13, 2013 760-438-8001, FAX 760-438-7327,

Washington, D.C. July 29–August 2, 2013 240-247-3000, FAX 240-247-3001,

2013 Canmore Folk Festival

Canmore, AB August 3-5, 2013 403-678-2524, 

National Flute Association Convention 2013

New Orleans, LA August 8-11, 2013 661-299-6680, FAX 661-299-6681,

Guitar Workshop Plus Vancouver Vancouver, BC August 11-16, 2013 905-567-8000, FAX 905-785-2831,

MIAC 2013

Toronto, ON September 8-9, 2013 416-490-1871, FAX 866-524-0037,

The PAL Show 2013

Toronto, ON September 8-9, 2013 416-490-1871, FAX 866-524-0037,

2013 AOSA Professional Development Conference

Denver, CO November 13-16, 2013 440-543-5366,

CLASSIFIEDS E D U CAT IO N Training For The Musical Trades Guitar Building and Repair Live Sound Recording Tube Amps C.N.C. Training Courses and Workshops Summit School of Guitar Building 6114 W. Island Hwy. Qualicum Beach, BC V9K 2E2 1-888-901-9903

E MP LOYM E N T Exclusive Canadian Distributor for Aileen Musical Instruments and Winzz Guitars as you might have seen at NAMM 2013 seeking reps across Canada, above average commission structure. Please email resume to: Dealer inquiries welcome, get ready to save today! Quebec Based Pro Audio Sales Representative Required: Contact Distribution Ltd., an established Canadian distributor of professional audio products, is currently seeking a self-motivated bilingual sales representative to cover a territory that includes the province of Quebec, the National Capital Region, and the Maritime Provinces. We represent a number of high-end manufacturers whose products include microphones, consoles, DSP processors, routing systems and loudspeakers. The primary responsibility of this position will be management of the territory with the goal of maximizing sales and developing and maintaining business relationships. An extensive knowledge of sound reinforcement for the touring, recording, and installation markets as well as an understanding of the upper level DJ market are the required advanced technical skill sets for this full-time position. Previous sales experience dealing with 44


Only 60¢ a word, Contact: Maureen Jack 905-641-1512 • FAX: 888-665-1307 • system contractors and integrators, dealers, end-users, and consultants is essential. Applicants must hold a valid driver’s license and reliable vehicle and be able to travel throughout the territory, as well as a valid passport for travel to U.S. tradeshows. To apply for this position, please forward your resume in confidence to: Montreal-based manufacturer representation and distributor looking for a bilingual sales associate. Position is commissionbased with a monthly min. draw. The candidate must be available to travel for manufacturer training and trade shows. Please send resume to: Sales Engineer Join Roland Systems Group Canada and share your enthusiasm for innovative A/V products and systems in live performance, broadcast, and post production applications. Candidates will have 5 years’ experience with A/V systems and services or equivalent. Related qualifications and experience in A/V retail, rental, systems design or support highly valued. Assets could include bi-lingual (French or Spanish), technical knowledge, or sales and presentation skills. Providing demonstrations, presentations, support, and training to customers and prospects; the successful candidate will travel nationally and bring special focus to assigned territories, categories or applications. Please contact jdevries@ Montreal-based manufacturer representation and distributor is seeking a bilingual customer service representative. The candidate must be available to travel for manufacturer training and trade shows. Please send resume to: Intellimix Corp. is looking for Sales Representatives for our Eurocom,

Contractor-Install product line. We are seeking sales reps for Quebec, Ontario, and Western Canada. Candidates must have a strong background and experience in the Contractor Market. Non-Captive reps are preferred with Eurocom as an additional product line for prospective candidates. Please send resume to: stevek@

OP P OR TUNITIES The E-COMMERCE wave is here and ready for exponential growth in Canada. Are you ready?  We have fully managed solutions starting at $499 that can get you going in a matter of days. For more information contact us at: sales@

P ROD UCTS NEED SPEAKERS? EMINENCE - B&C - PIONEER PHILIPS - MOTOROLA & tons more! Speakers, crossovers, cabinet hardware, wire, and connectors. Upgrade and/or build your own pro sound or guitar rig and save. WE STOCK SPEAKERS and related accessories for musical instrument, professional sound, home stereo, home theatre, commercial sound, and everything else in between. Visit us on the web and download our catalogues and price lists today. Dealer inquiries welcome. Q-COMPONENTS 638 Colby Dr., Waterloo, ON N2V 1A2 Toll free: 1-800-363-6336 ACCORDIONS, CONCERTINAS, BUTTON BOXES. NEW, USED. Buy, Sell, Trade, Repair, Tune, Exchange. 586-755-6050. Web Site: www.

ENDORSER UPDATE Cuban percussionist, educator, and clinician Alex Acuña is now using Sabian cymbals. At the age of 18, Acuña began his career playing in Cuban bandleader Perez Prado’s band in 1964. By 1974, he was playing with the likes of Elvis Presley and Diana Ross and, shortly after, joined seminal jazz-fusion band Weather Report. Since then, the list of artists he’s supported has grown to include U2, Paul McCartney, Santana, and Herbie Hancock. “Alex Acuña is a great spirit in the drumming community. His resume is deep, his talent is legendary, and it’s widely known that he is one of the nicest people on earth. We’re thrilled to have him choose to play Sabian cymbals,” comments Sabian Artist Relations Manager Chris Stankee. Pierre St-Jean & Eric Jarrin of Heaven’s Cry

When reformed Montreal-based progressive rock band Heaven’s Cry went on tour to support its latest album, Wheel of Impermanence, they were looking to travel light without any band back-line. To do that, they used Radial’s Tonebone Plexitube tube distortion pedal. “It’s the only thing we tried out that delivered the same qualities of a high-gain tube amp cranked up in a tiny metal box,” comments guitarist Eric Jarrin. “No more huge stack of amps to carry around on every stage we step foot on. And trust me, we are very picky about guitar tone and the Plexitube delivers. We just got back from Europe using the Plexitube and it is our main live guitar accessory now. No amps on stage – just the Plexitube going into a speaker simulator DI with in-ear monitoring.”

Bassist Glenn Hughes is now endorsing Orange Amplification bass amps. From his early days with Trapeze, the British rock bassist and vocalist went on to join one of the biggest bands of the ‘70s, Deep Purple, where his bass playing and vocals were the anchor for classic albums including Burn, Stormbringer and Come Taste The Band. He is currently lead vocalist and bass player in the rock supergroup Black Country Communion and still records and tours as a solo artist as well as with other projects such as The Rock & Roll All Stars. Commenting on the Orange AD200B MK3 head and OBC810 8 x 10in. cab, Hughes says: “I plugged into that Orange amp and it was as though it had been designed for me. It was the Glenn Hughes sound... It was the sound I had with Trapeze in ‘69 and the sound I had with Deep Purple.”

Cameroon-born jazz bassist Richard Bona has joined the Markbass roster of endorsing artists. “I searched for it, and I found it. It’s my sound and tone,” says Bona of his amp. “In the end, it all comes down to bass sound. It’s all in Markbass!” Bona is known for his distinctive and unique style, a mix of jazz, afro-beat, bossa nova, pop music, and funk. He has released seven albums, the most recent being 2013’s Bonafied, and has played with and supported a number of legendary acts, including Herbie Hancock, Quincy Jones, Harry Belafonte, Bobby McFerrin, and Harry Connick Jr.


Canadian Music Trade April/May 2013