Mi Pro Issue 106 March 2009

INCORPORATING

CARLSBRO ARBITER LIMS MUSIKMESSE MIDEM LARIVÉE FABER

SECTOR SPOTLIGHTELECTRONIC DRUM KITS

� TRADITIONAL � HI-TECH � ROCK � CLASSICAL � EDUCATION � PRINTED MUSIC ISSUE 106 � MARCH 2009 � WWW.MI-PRO.CO.UK

Mel Bay UK signs its first artist as the company goes globalRodn

ey B

rani

gan:

Mel

Bay

art

ist

1 Mipro106_final 20/2/09 17:42 Page 1

To find out more about the MG range contact:Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK11DQ or visit the official Marshall website: www.marshallamps.com

Innovation, functionality and tone – just a few words that help sum up the brand new range of solid-state MG amplifiers from Marshall.Combining years of experience in analogue amplification with cutting-edge digital technology has resulted in the creation of an

all-encompassing amplifier series, ideal for the beginner and gigging pro alike. Specially voiced digital effects, intuitive footswitchingtechnology and four adjustable and storable channels are just a few of the features to be found in the new MG range.

From a punchy 10 Watt combo through to an effects-laden, soul-pounding 100 Watt head, this series has it all.

Project2:Layout 1 19/2/09 13:57 Page 1

Mel Bay in the UK has signed its first artist, taking the Americanpublisher’s overseas growth another step towards its goal ofestablishing itself as a global player

MI Pro’s unique collection of news and interviews concerning thebusiness and work being done on MI’s front line

10 Years soundly insuring

the UK Music Industry

t: 0121-327-1977 f: 0121-327-5139 [email protected] / www.covernotes.co.uk Authorised & Regulated by the Financial Services Authority

NEWS 6Carlsbro in administration, Arbiter closes,LIMS announces extensive marketingcampaign

DRUM NEWS 15Mikedolbear.com announces UltimateDrummer Weekend, Bill Bruford retires

DISTRIBUTION 10Where the Arbiter lines have landed,profile on Ashton Music UK

MUSIKMESSE 17Organiser bullish after successful showsin other industries

MIDEM REPORT 22Record companies look for new revenuestreams in digital age

LARRIVÉE 33How Sound Technology looks to pushCanadian guitar brand into the top slot

FABER MUSIC 41A new warehouse picking system takesthe print distributor into the 21st century

DAVE BURRLUCK 46Our intrepid reporter begins to doubt thebenefits of his vocation

THE DOCK OF THE BAY 25

RETAIL

NEWS 49Little Feat Festival, JG Windows buys Gatesheadstore, New drum shop in Hemel

INDIE PROFILE 52Strings in Ryde on the Isle of Wight

LOCATION REPORT 54Special edition from Amsterdam

BACKLINE 57 BASS & GUITAR 59DRUMS 60 RECORDING 62

PRODUCTS

SIGN UP FOR THE MI PRO NEWSFLASH SERVICE AT WWW.MI-PRO.CO.UK miPRO MARCH 2009 3

49 52

6

15

COVER STORY

ISSUE 106 MARCH 2009 IN THIS ISSUE

54

17

SECTOR SPOTLIGHT • GUITARS 35While turnover is never going to hit the same heights as electricguitars in the mid-priced sector, high-end guitars certainly promise alot of margin – and a lot of variety, too

ELECTRONIC DRUMS 29Few would argue that E-drums have been the growth product sectorof the past five years, but can you earn good money from it?

3 mip106_final 20/2/09 17:10 Page 1


MEMBER

The last hurrah

There was an article in The Guardian recently, oneretailer pointed out to me, that looked at thegenerally successful month January had been on the

High Street. Good news, it said, but then added a word ofcaution as it pointed out that the signs were that thosespending were among the most cash-strapped and wereusing January to get the best deals possible in a kind of‘last hurrah’ before austerity began to kick in.

Sure enough, as January drew to a close, so did a namethat had graced the MI business – and not just in the UK,let it be said – for over 50 years.

Page seven of this month’s mag covers the few detailsthat are in the public domain regarding the closure ofArbiter, a company that almost single handedlyestablished what we now consider the staples of the rockn roll business in this country.

Whatever the full story is and whatever opinionspeople have as to why this happened, no-one can denythat it is a sad day when a name so closely associatedwith our industry for half a century becomes no more.

Two weeks later, another established British name,Carlsbro, was forced to go into administration. The latestnews regarding this sad tale can be seen on page six andagain, whatever feelings people are harbouring, it is anunpleasant fact that this historic British brand haseffectively lost its link with its heritage and been thecause of everyday people losing their jobs at a time whenemployment and income have become the most valuableof possessions.

It has taken some time to hit home, but the recessionis surely, finally, upon us, which leaves everyone in MI in aposition where he or she must fight or fail.

Or does it? Economists have been talking about ‘sevenyear cycles’ of growth and collapse in the macro-economy and however deep this recession is said to be,the signs are that the banks are moving (or rather, beingdragged kicking and screaming) towards stabilising thelending culture for small businesses again.

Could it be that the treasuries and banks of the worldhave succeeded in shielding the majority from the kind ofdisaster that gripped us in the early 1930s?

It seems possible, although no-one will ever be able toview their own survival when looking back at this periodand not feel for the businesses that have not survived.

Arbiter is gone, but Carlsbro will most likely be backwith us again before too long – in what guise, we do notknow – but spare a thought for those that will alwayslook upon these names with no little pain.

Andy [email protected]

Those spending themost in January werestrapped for cash andusing the sales to get

the best dealspossible in a kind of

‘last hurrah’.


EDITORIAL

MANAGING EDITOR

ANDY BARRETT

[email protected]

EDITOR AT LARGE

GARY COOPER

[email protected]

ASSOCIATE EDITOR

ROB POWER

[email protected]

STAFF WRITER

ROB HUGHES

[email protected]

ADVERTISING MANAGER

DARRELL CARTER

[email protected]

PRODUCTION MANAGER

HELEN FRENCH

[email protected]

PRODUCTION EXECUTIVE

ROSIE MCKEOWN

[email protected]

DESIGNER

REBECCA ALMOND

[email protected]

DESIGN ASSISTANT

CLAIRE BROCKLESBY

[email protected]

CIRCULATION

PAUL LITTLE

[email protected]

CONSULTANT

GRAHAM BUTTERWORTH

[email protected]

PUBLISHER

DAVE ROBERTS

[email protected]

MANAGING DIRECTOR

STUART DINSEY

[email protected]

MI PRO CONTACTS

LATEST NEWS STRAIGHT TO YOUR MOBILEBookmark us in your phone:

MOBILE.MI-PRO.CO.UK

5 mip106_final 20/2/09 16:42 Page 1

Sound Control victim gets new gearA DISABLED army veteran, TimGrinold, has been given an ampand cab by Marshall and a guitarby Ibanez after having lost hisoriginal instruments as a result ofthe Sound Control closure inApril last year.

Grinold, disabled after servingwith the British Army in Iraq,decided that picking up theguitar again would help hisrecovery. “Instead of sitting therein my front room, moping abouthow useless I felt, I turned myattention back to playing theguitar,” he said. “I saved up frommy war pension until I was ableto afford an Ibanez JS1000, aMarshall JCM800 and a Marshallextension cabinet.”

Grinold’s house was burgledsoon after, but his insurancecompany paid-up. Only fordisaster to strike once again.

“I was advised to return toSound Control, as the companywould be able to supply all thereplacement items. I did as I wastold and placed my order withSound Control in Birmingham, asthis is where I bought theoriginal items from. I was askedto pay £1,599, in order forSound Control to be able to

place these items on a specialorder for me.

“A week later, I received atelephone call from SoundControl in Birmingham, advisingme that although my goods hadnow arrived in their store, I wouldbe unable to take possession of

them, because the firm had justgone into receivership.

“I spent hours on thetelephone talking to SoundControl and the administrators,Deloitte & Touche, but I gotnowhere with either of them.”

Grinold was finally sent aletter several weeks later,informing him that he had losteverything he’d ordered at SoundControl, as there wereinsufficient funds available torepay the unsecured creditors.

Following the intervention of aneighbour, Paul Marshallpersonally looked into the matterand arranged for a brand newMarshall head and cab to besupplied free of charge.

Then Headstock stepped intoo, as marketing managerSimon Fraser-Clark explained:“Tim came down to Headstock,had a guided tour and got to seewhat goes on behind the scenesof a MI distribution company.

“Tim is a very genuine personwho has been dealt a raw deal inlife and as such is was ahumbling experience to meethim and a real pleasure to be able to offer him somegenuine help.”

This help included areplacement Ibanez, presented byJames Laney.

“I am so grateful to you all, foreverything you have been able todo for me,” said Grinold. “In aworld that seems to be fuelledon so much hate, war andhypocrisy, you have shown thatthere are still people in thisworld who actually do still give a damn.” MARSHALL: 01908 375411.HEADSTOCK: 0121 508 6666

NEWS

UK suppliers Headstock and Marshall step in to aid disabled veteran after losing instruments he ordered

6 miPRO MARCH 2009 SIGN UP FOR THE MI PRO NEWSFLASH SERVICE AT WWW.MI-PRO.CO.UK

ANDREW BISHOP informed MIPro on February 13th thatCarlsbro had been put intoadministration, saying that theprivately funded company hadnowhere left to turn.

Bishop and Adrian Brookes,boss of the recently appointeddistributor, Litestructures, hadbeen at the NAMM show inJanuary looking to generatebusiness for the brand.

“There are lots of reasons forthe closure,” said Bishop.“Primarily it was down tonothing materialising from thebank, leaving me with noworking capital. I have nowhereelse to turn and I have beenforced to put the company intoadministration.”

It is believed that Litestructuresis in the bidding for the brand asMI Pro goes to press.

Immediately after theannouncement on the MI Prowebsite, former employees of thecompany and a freelance exportagent decided to go on therecord to question the series ofevents that led to the closure.

Former Carlsbro logisticsmanager Graham North claimedthat he and six other membersof staff had been trying to obtainwages and clarification for manyweeks prior to the closure, whilean export specialist said that hehad been owed some £8,000 forwork delivered and invoicedmany months ago.

North was bitter at the wayworkers had been treated. "Wewere paid by Litestructures inDecember. When it got toJanuary we asked Andrew Bishophow we were going to be paid.All we got was evasion.”

Meanwhile export consultantDave Martin was scathing abouthis treatment. “I’m owed severalthousand pounds in commissionfor orders that I took to Carlsbro.At the LIMS show Andrew Bishoppromised I would receive every

penny. Ever since I have beenchasing him for it. It’s not thecredit crunch that’s the problem,it was years of mistakes."

Confusion increased whenAndrew Bishop sent out an emailto prospective distributors andcustomers, inviting them to meetwith him on the Carlsbro standat Musikmesse.

The Carslbro administrator,Charles Escott of PFK in Leeds,told MI Pro that Bishop had noright to be doing business underthe Carlsbro Electronics moniker,but accepted it was a mistake.

“I am dealing with eightinterested parties in the Carlsbro

case,” commented Escott and heencouraged all genuinelyinterested parties to contact himand express that interest.

Escott went on to explainexactly what was for sale as faras Carlsbro is concerned.

“Carlsbro had the majority ofits manufacturing overseas andall it had in the UK was stock inthe warehouse, spares and theleasehold offices, so it exists as adesign and brand name, ratherthan as a manufacturer. Themajor elements for sale are thename, the trademarks and theproduct designs.”PKF: 0113 228 0000

Carlsbro in administration Amp manufacturer finally concedes, but former employees and agents express anger at ‘not being paid their dues’

“Primarily it wasdown to the credit

crunch and thefact that nothing

materialised fromthe bank.”

“In a world thatseems fuelled by

hate, war andhypocrisy, thereare still people

who give a damn.”

James Laney (right)presented Tim Grinold with

the sought-after Ibanez

6,7 mip106_final 20/2/09 15:47 Page 1

NEWS

Arbiter closes its doors


THE ARBITER GROUP closed onJanuary 30th, following reportsthat staff had received lettersnotifying them that they hadbeen made redundant frommanaging director, AndrewLandesberg.

Rumours surrounding thecompany had been circulatingsince the NAMM show inCalifornia earlier in January andmany reports had been given toMI Pro of Landesberg meetingwith banks and administrators tofind a way of keeping thecompany going, but in the endall other options were exhausted.

The news followed in quicksuccession from Sabian (January29th) handing exclusive UKdistribution rights for its cymbalbrand to Westside and also Remoannouncing shared UKdistribution with EMD two daysbefore that.

Other Arbiter brands havesince moved to various other UKdistributors, including Vic Firthsticks and mallets (to Korg UK),Schecter Guitars (also toWestside) and Moog (to SourceDistribution). Full details of thesearrangements can be seen onthe distribution news page (page 10).

The software developer Native Instruments is stillworking on its new UK

arrangements, but in themeantime has set up a specialUK dealer email address [email protected] Instruments’ futurearrangements for UK trade saleswill be announced in due course.

Landesberg was reported tobe ‘very disappointed with thisoutcome’ but it seems that therewere no further options for thecompany to take.

This leaves the Arbiter bosswith his six Reverb retail outlets,to which he and, it is believed,several Arbiter staff havetransferred.

The Reverb set-up, aspromised by Landesberg whenthe chain was established,following the demise of SoundControl, maintained a completelyseparate existence, which meansit is unaffected by the closure of Arbiter.

End of an era as prestigious name shuts after exhausting all options

Blondie drummer looks at game benefitsClem Burke launches initiative to find health positives from interactive music games such as Activision’s Guitar Hero

BLONDIE DRUMMER Clem Burkeis teaming up with researchers tolaunch a new initiative which willinvestigate the potential healthand mental benefits of playingdrumming-based interactivecomputer games.

The research project, launchedat the University of Chichester, isa collaboration between theClem Burke Drumming Project(CBDP) and Activision (thepublisher of Guitar Hero WorldTour) and will explore whateffects popular games can haveon various conditions.Investigations will also centre onwhether interactive video gamescan release stress and improveproductivity in the workplace.

The Clem Burke DrummingProject is a unique collaborationbetween Clem Burke, theUniversity of Chichester andUniversity of Gloucestershire andwas set up in July 2008. Burke isflying into the UK for this eventand will be performing live at theUniversity of Chichester to launchthis new research initiative.

Dr Marcus Smith, principallecturer in exercise physiology atthe University of Chichester,

explained: “We are interested infinding out how interactive videogames, such as Guitar Hero, canimprove the health and mentalwell-being of people.

“Despite a global recession,sales of interactive video gamesremain high.

As researchers we areinterested in understanding whysuch games are so appealing andhow they may be used toinvestigate specific researchquestions. We are particularlyinterested in examining theeffects of playing Guitar Heroon child and adult obesity,autism, stroke patients,disengaged communities, andhealth and mental well-being inthe workplace.”

Ian McClellan, senior brandmanager at Activision, said: “Wehope this collaboration will showthe benefits of drumming, eitheron Guitar Hero’s drum kitcontroller or a full kit, and provea physiological route betweenthe two. We fully expect some ofthe next generation of drummersto have graduated from GuitarHero and hope this research

project encourages morevideogamers to progress to thereal instruments.”

Dr Steve Draper, the co-founder of the CBDP and aprincipal lecturer in exercisephysiology at the University ofGloucestershire, concluded: “Ourresearch has shown thataccomplished pop and rockdrummers do expend a large

amount of energy during practiceand performance, the difficultymay be in how quickly thenecessary skills and co-ordination may be acquired toallow someone to work at thislevel. Drumming video gamesmay provide an enjoyable andeffective means to acquire thecomplex motor skills required toplay on any drum kit.”

Strong brand forStrings & ThingsHerculese added to company’s portfolioTHE INNOVATIVE Herculesinstrument stands are nowavailable in the UK throughStrings & Things. Herculeshas established its brand inthe market through providingsupport solutions that addressthe specific needs andproblems faced by today'sactive musician.

The stands aremanufactured at an ISO9001certified facility locatedin Tianjin, China andincludes the recentlylaunched i-Stand, acompact, gigbag friendlyguitar stand thatfolds into a smooth,round, lightweightdisc that will not

cause damage to anythingaround it through sharpedges.All the ranges of

lightweight, foldableinstrument stands hold aswathe of patents.

Other news from Strings& Things is that the newMusic Man Sterling range ofguitars and basses is nowavailable. There are fiveseries within the Sterlingrange, including the Ax, Silo

and JP guitars and theSB and Ray series

basses, all with thedistinctive Music Man look. STRINGS & THINGS:

01273 440442

Clem Burke will helpexamine how musicgames can improvepeople’s health

“We are interestedin examining theeffects of playing

Guitar Hero onobesity, autism and

stroke patients.”

6,7 mip106_final 20/2/09 15:47 Page 2

DAVID PHILLIPS, the LIMS 2009marketing manager, hasnegotiated a promotion withStuff magazine, which will see astand for the publication at theshow featuring, Phillips told MIPro, “some of the most state-of-the-art, coolest and excitingproducts that the music worldhas to offer”.

A major component of thisstand will be products submittedto the magazine, which will then,together with the LIMSmanagement and the MIA, drawup a shortlist of all the productsthat will be featured.

On top of this, the publicationwill run a series of columns,entitled My Gadget Life, eachmonth, which will consist ofmusic celebrities beinginterviewed about the gadgets

and equipment that feature intheir lives. If MI Pro readers haveany endorsers or celebritycontacts they would like to putforward, as well as anyinnovative products for

consideration, they shouldcontact Phillips as soon aspossible so that he can put thenames forward to Stuff.

The magazine will alsoproduce a special show preview(June 09 issue, on sale in earlyMay) covering the most excitingproducts at the show, particularly

if they are being shown for thefirst time or it’s their debut inthe UK. Over the next six toeight weeks, Phillips again asksexhibitors to forward any

suggestions for inclusion in thisfeature to him. “Only the mostnewsworthy products will befeatured and the deadline is 27thMarch,” he explained.

Finally, Stuff has agreed to runa full-page competitionconnected to the show, againcalling for contributions fromexhibitorsto be put forward.

High profile competitions havealso been agreed with Qmagazine, Metal Hammer andKerrang, with more to come.

Stuff has a database of some50,000 people in the UK and hasoffered to send out an emailcompetition to these people, aswell, so further prizes will beneeded from suppliers andmanufacturers to feature in thismail shot. Phillips can becontacted on 01604 762361.

LIMS links with Stuff magazine

NEWS


The Stuff standwill feature thecoolest, most

exciting productsthe music world

has to offer.

Inaugural MPG awardshonours hit makersTHE MUSIC Producers’ Guildheld its first ever awardsceremony on February 12th atthe Café de Paris in London’sWest End, with the great andthe good from the UK’s musicproduction industry all at handto share in what everyoneconcerned hopes will be anincreasingly important event.

Commenting on the shindig,Mike Howlett, the chairman ofthe MPG, said: “We hope thatthis event will become anintegral part of the musicindustry calendar for manyyears to come. In launchingthese awards our aim hasalways been to bring aboutgreater awareness, both withinthe music industry and amongthe wider public, of the skillsand talent involved in makinggreat records. Audioprofessionals are positioned atthe very heart of the musicindustry – we make thecontent that is the industry’sproduct – and it is importantthat we are acknowledged asvital and key contributors.”

It was an impressivebeginning with names as close

to household as producers canget, attending as nominees,winners or simply to enjoy theoccasion, including MarcusDravs, James Towler and CalvinHarris, as well as the charttopping bombshell, Duffy (whopicked up three Brit awards aweek later), who presented herproducer, Bernard Butler, withthe Producer of the Year award(coupled with the reinstatedBrit of the same name).

Of note for many was theJoe Meek Award for Innovation,which went to Brian Eno, whoalso proved that musicproducers can be more thancapable of public speaking, ashe outlined exactly what aproducer is and how recordedmusic has changed the verynature of music itsel,f as muchas the introduction of thesymphony orchestra had in the18th century.

Guild hoping event will become integral part of industry calendar

Music for Youthregional festivals beginFirst pop event kicks off local performances

THE MUSIC for Youth nationwidespring series of 65 regionalfestivals opened on February14th with the aim being toprovide 45,000 young musicianswith the opportunity to furthertheir experience throughperformance.

The opening event was alsothe first ever Rock, Pop & UrbanFestival of Music for Youth, whichis being run in collaboration withThe Institute of ContemporaryMusic Performance and was heldat the Luminaire, Kilburn with 16bands from across London andthe South East performing.

“By expanding the RegionalFestivals to incorporate specificRock, Pop & Urban MusicFestivals, we offer free and openaccess opportunities for the

maximum number of bandsregardless of ability or standard,”commented Lincoln Abbotts, thechief executive at MfY.

At the end of each day thebands will leave the Luminaireand head down the road to TheInstitute of Contemporary MusicPerformance, where they willattend performance workshops.Alongside two festivals in Londonthe other Rock, Pop & UrbanFestivals will be held in Stockton-on-Tees, Birmingham and Cardiff.

The traditional series offestivals, run in collaborationwith the ABRSM, began onFebruary 23rd at Morley College,Lambeth. The festivals will runthrough to April 5th. There willbe 65 festivals in all. MFY: 020 8870 9624

Organiser calls for product innovation nominations from exhibitors • Links revealed with other major consumer mags

Duffy congratulates herproducer, Bernard Butler,as she presents his award

8 mip106_final 20/2/09 14:47 Page 1

DBT 17/2/09 17:25 Page 1

SCHECTER GUITARShas agreed apartnership withWestsideDistribution for the

exclusive supply ofits guitars and basses

for the UnitedKingdom and Ireland.

“We feel we havefound the perfect

match in Westside,”commented Ryan

Martin, thedirector ofinternationalsales forSchecter. “Wenow have acompany thatunderstandsthe growth

potential forSchecter in the

UK and has the

ability to bring that potential tofruition for us.”

Schecter had been importedfor the last eight years bySound Control and thencontinued with Arbiter afterReverb acquired the sixremaining stores of theerstwhile MI retail giant.

At this point in time itbecame apparent to Schecterthat, with the demise of Arbiter,a more detailed distributionarrangement was needed andthat Westside fitted the bill andwas in the right place at theright time.

Schecter’s statementconcluded by saying that thecompany looked forward to along and prosperous partnershipwith Jonny X, Phil Hay and theteam at Westside. WESTSIDE DISTRIBUTION:0141 248 4812

THE UK DISTRIBUTOR forMapex and Paiste drums andcymbals, Korg UK, has beenappointed exclusive UKdistributor for Vic Firth, widelyrecognised as the world'slargest manufacturer ofdrumsticks and mallets.

“We are very proud to havebeen chosen by Vic Firth torepresent this important brandin the UK,” commented RobCastle, MD of Korg UK.

“This will complement ourMapex and Paiste businessperfectly and we will workhard to offer our dealers agreat service. We are ready totake orders now as stock hasbeen available since the weekof the February 9th.”

Sales and marketing directorof the stick maker, Mark Dyke,stated: “Vic Firth has a longhistory of supplying the UKmarket with the highestquality sticks and mallets

available. Dealers have come toexpect our products to beimmediately available asrequired to service our mutualcustomers in the country.

“With Korg’s strong focus ondrum and percussion products,as well as education initiatives,we believe this newpartnership will combine ourprogrammes, where the sum ofour joint projects will be morevaluable to the artists as wecontinue to help percussionistsof all levels to enjoy makingtheir music.” KORG UK: 01908 857100

Vic Firth joinsKorg’s UK portfolioUK supplier adds significant drumstick andmallet brand to its drum department

FOLLOWING THE demise of theArbiter Group, there has been arush of distributionannouncements as brandshandled by the former supplierrushed to find new third partyhandlers in the UK.

Of these, Remo, the drumhead and percussionmanufacturer was among thefirst, announcing, much likeSabian a few months ago, thedistribution would be sharedbefore the North London supplierwent bust.

Remo appointed EMD as itsco-distributor on January 28th,two days before Arbiter closed.

In a letter to LeonardoBaldocci (EMD’s CEO), BrockKaericher, the president of Remo,appointed EMD and went on toexplain his reasons.

“Building upon our long-standing relationship, involvingdistribution in various countriesin Europe, we look forward toEMD bringing its logistical andmarketing expertise to theforefront in presenting Remo

products to the UKmarket,” he wrote.

“I am certain thisdistribution agreementwill prove beneficial toEMD, Remo, the UKdealer network and,most importantly, theend consumer whowishes to make music.”

EMD has beenhandling the Remo headsand percussion in Franceand the Benelux regionexclusively since 1997.

Kaericher concluded bysaying that he lookedforward to moving on apositive path with regardto Remo distribution inthe British Isles.

At the time, aspokesperson for Remotold MI Pro that the dealwas not exclusive andthe situation with variousRemo sub-distributorswas still beingconsidered. EMD:01293 862612

Remo to EMD for the UK

SOURCE DISTRIBUTION hasannounced its appointment asthe new distributor for the Moogbrand for the territories of theUK and Ireland. Effectiveimmediately, Source will supplyall Moog products to the market.

Moog has become one of themost iconic names in musicbecause of Bob Moog’s synthesisinnovations, which began withhim constructing a Thereminwith his father back in the1950s. Always a pioneer, Moog iscredited in particular withrevolutionising the sound of 60sand 70s rock.

Commenting on theappointment, Source’s director ofdistributed brands, Howard Jones,said: “We’ve always greatlyadmired Moog and areabsolutely thrilled to be workingwith the Moog team.

“For Source, this is animportant step in ourdevelopment, as the Moog rangeof products represents our first100 per cent, out-and-outmusical instrument line, but onethat dovetails perfectly with ourexisting pro audio brands.”SOURCE DISTRIBUTION:020 8962 5080

First 100 per cent musical instrument line forestablished pro audio wholesale company

DISTRIBUTION • NEWS


Schecter developsstrategies with WestsideSecond former Arbiter line for Glasgow supplier

Source picks upMoog after Arbiter

Brussels distributor now secures British market for drum head andpercussion brand after 12 years handling the line across Europe

10 mip16_final 20/2/09 14:55 Page 1

Date the business was established:July 2007 (as Ashton Music UK)

Number of employees: 89

Is business up or down comparedto this time last year? We had a very successful year lastyear and the business sawsignificant growth as more andmore retailers recognised thatAshton presented them with thepotential for maximum profits,through quality products thatdelivered unprecedented value formoney for their customers.

This also allowed us to expandour business into a more generaldistribution company with theaddition of Mariner Guitars andSparrow Guitars, and their initialsuccess has also helped increase ourbusiness, especially in areas of themarket where we were previouslyunrepresented with Ashton.

Which are your best selling lines?Due to the huge variety, value andquality at Ashton we have a numberof best sellers. But our acousticguitars, classical and electric starterpacks always sell through. Plus ourAWM wireless systems are anotherbig favourite with retailers andconsumers alike.

Apart from your products, whatare your strengths as a distributor?We have a small, but vibrant anddedicated team that is passionateabout what it does and together wehave managed to put the Ashtonname firmly on the UK MI map in avery short space of time.

We pride ourselves on developinggood relationships with each of ourretail partners, working with thembeyond the point of sale to help

support and grow their businesses,especially when they have issues orthings go wrong. The core Ashtonteam has many years of industryexperience both in distribution andretail and so we pride ourselves inhaving empathy with our partners.

Do you think it’s been aparticularly tough year forretailers?Without a doubt, but it is also atime of opportunity and theretailers who are proactive andprepare to embrace change whileworking closely with theirdistributors to enhance theiroffering will prevail.

Too many retailers are focusedsolely on price at the expense of aworkable profit, quality environmentand customer experience and whileprice is obviously important, itshouldn’t be the sole purpose ofyour business.

Is the internet the biggestchallenge facing the industrytoday?Whether we like it or not theinternet is here to stay and in realityit has enhanced and improved theway we do business. Yes, thedownside is that it gives everyone achance to price match and discountand has no doubt been the cause ofsome of the industry casualties wehave seen. However, lessons are

being learned all the time and Ienvisage this becoming less of aproblem in future.

The upside is that it improvescommunication and opens upeveryone’s business to biggermarkets and potential customers –you just have to invest the time tomake it work for your business.

In a perfect world, what productlines would you add to yourportfolio?We seemed to have found a niche inworking with new exciting brandslike Ashton, Sparrow and Mariner toestablish them as industry favouritesthat will make a difference to boththe retailer and the consumer.

We now see ourselves as an all-round distributor with aninfrastructure that can handleadditional non-conflicting brandsand to this end we always have aneye open for new partners andopportunities, although the chanceto work with an established brandwould be nice.

What are your aims for the next12 months?To build on the success andpartnerships we have alreadyestablished, whilst increasing ourexisting portfolio of brands toensure that Ashton becomes afirmly established distributor in theUK MI sector.


PROFILE • DISTRIBUTION

Address: Ashton Music, Unit 19, Kings Cliffe Industrial Estate,Wansford, Peterborough Phone: 01780 781630Email: [email protected]: Jon Gold, John Moore, Dawn Richards, James Dove

Ashton Music is going from strength tostrength at the moment, as MI Pro found outwhen it put some questions to the company...

CONTACT DETAILS

11 Mipro106_final 20/2/09 14:42 Page 1

Piano Pie served in Brighton

PIANO NEWS

New music group presents work by living composers from the Sussex region for St Valentine’s Day celebrations

EPTA adds to youths awardsEstonia’s birthday giftfor Euro ParliamentTHE REPUBLIC of Estoniapresented an Estonia brandpiano to the EuropeanParliament on the occasion ofthe republic's 90th anniversary,according to the country’sbroadcasting company, LETA.

The gift represents the endof a series of musical presents,devised within the frameworkof top-level Estonian musicalgroups performing newEstonian works across fiveEuropean Union countries.

The presentation was madeto the President of theEuropean Parliament, Hans-Gert Pöttering, by Estonia’sminister of culture, Laine Jänes.Jänes stated that the piano wasa good symbol for enhancing

the image of the Estonian statein Europe, not least because itis the only country that haspianos named after itself.

Estonia has presentedmusical instruments to Finland,Sweden, Iceland, Britain andDenmark, as all of thesecountries have a special part inRepublic of Estonia becomingindependent.

Celebrations of the 90thanniversary also includedawarding guitarist Robert Frippwith the Order of the Cross ofTerra Mariana (IVth Grade) forhis contribution to buildingcultural bridges with thecountry. The award waspresented by AmbassadorMargus Laidre.

12 miPRO MARCH 2009 WWW.MI-PRO.CO.UK

THE EUROPEAN PianoTeachers Association (EPTA)has added a new trophy to theannual Ripon Young Musiciansof the Year competition,awarding the most deservingpianist at the event.

The EPTA is a European bodythat supports piano teachersthrough running workshopsand lectures and other servicesand this award has beenpresented by the association’sNorth Yorkshire chapter.

“We wanted to show oursupport for the Ripon YoungMusicians of the Yearcompetition and for youngpianists in particular, “ saidBronwen Brindley, a member ofEPTA’s managementcommittee in the UK. “We

hope that the new cup willencourage participants both toenter the competition and totake their piano playing on toeven higher levels.”

The Ripon Young Musiciansof the Year competition wasstarted eight years ago by alocal musician, DavidWinpenny. “We are delightedand encouraged by the supportthat the EPTA has given to theyoung musicians of the Ripon

area by donating this cup,” hesaid. “We are looking forwardto seeing which of our pianistswill be awarded it.”

The 2009 Ripon YoungMusicians of the Yearcompetition takes place onSaturday, April 25th, at HolyTrinity Church. in Ripon and thenew award will be presented bylocal musician, John Thorne.EPTA YOUNG ARTISTS: 0161 427 6706

THE SHOPPING area, The Lanes,in Brighton was treated to aseries of piano recitals onFebruary 14th, organised by NewMusic Brighton, a collective ofliving composers and musiciansbased in Sussex, the ShorehamHerald reported.

The ‘coffee and cakeperformance’ at the FriendsMeeting House in Ship Streetsaw Adam Swayne, a localconcert pianist, performed solopieces by Patrick Harrex (PianoPie), Julia Broughton (SonataAcross Four Elements), Barry Mill(Three Pieces for Piano), JohnAlexander (is will be was) andJonathan Clark (Sonatina forPiano) among others.

The St Valentine’s Dayperformance was well receivedby the audience, which includedpassing shoppers buying ticketson impulse and settling in tolisten to the entire show. It wasthe first time New MusicBrighton had put on a show forsome time, although the groupdoes tend to present works fouror five times per year, includingrecitals at the prestigiousBrighton Festival Fringe.

The typical New MusicBrighton programme consistsmainly of first performances ofnew works, as with this concert,although the group has a policyof also including repeatperformances and, very

occasionally, including works byother contemporary composers.

New Music Brighton hasestablished itself as a significantforce in new music in the Sussexarea, including close workingrelationships with a number ofother organisations, includingBrighton & Hove Music andPerforming Arts Service and theBrighton Early Music Festival.

The group has recentlyreleased its first CD of itsmembers’ music.

The Valentine’s Day concertended with an unusual encore,where Swayne performed theChopin Nocturne in Eb,(referenced in Harrex’s Piano Pie).Clearly the food of love.

THE PIANO WAREHOUSE hasannounced the launch of a newWeber upright, the Millennium.

The instrument is describedas having a new, minimalist,traditional styling, and has a116-centimetre frame, a spruce soundboard, vacuumprocessed cast iron plate,Japanese hammers and twinwheeled rubber castors for easeof movement.

The new pianois available fromthe PianoWarehouse,effectiveimmediately, in ablack polishedfinish only andwill retail at£2,885. PIANOWAREHOUSE:020 7267 9229

New Weber upright shipping

12 Mipro106_final 20/2/09 14:23 Page 1

Piano Warehouse 17/2/09 17:31 Page 1


MIKEDOLBEAR.COM, inassociation with Vic Firthdrumsticks and mallets andDrummer magazine, hasannounced the Ultimate DrumWeekend, a course of tuitionand practice tailored foradvanced drummers.

Despite the course’s moniker,the event will take place fromMonday to Friday, July 27th to31st 2009, and will feature topdrum clinicians, including SteveSmith, Ralph Salmins and CraigBlundell, supported by variousspecial guest teachers includingJason Bowld, Vic Firth, GeoffNichols and Mike Dolbear.

The week will feature

interactive workshops, seminars,advice clinics, Q&A sessions andopportunities to observeprofessionals in action and eventhe opportunity of ‘sitting-in’.Seminars will include worlddrumming, electronic drumming,the session drummer, tuning andbusiness skills, all aimed attaking the drummer’s playing tothe next level.

Places are limited and theweek is strictly for the seriousteacher/player over the age of16. Workshops and classes willrun from 10am to 5pm everyday with a maximum of 15students per class, amounting toover seven hours of tuition with

each residential teacher.There will also be informal

evening events, including clinicsand a jam night. The venue issituated close to the M1 andM25 and accommodation isavailable at the venue in a topclass hotel with leisure facilitiesor at alternative hotels nearby.Each student will receive a VicFirth goodie bag and a coursecertificate.

The website advises prospectsto book early to guarantee aspace, due to limited numbersavailable. For booking details, goto mikedolbeardrumschool.com or email [email protected].

WWW.MI-PRO.CO.UK miPRO MARCH 2009 15

Drum website launches intensive course for advanced drummers with interactive workshops and advice clinics

Bruford retires AFTER A 41-year career withYes, King Crimson andEarthworks, drummer BillBruford has announced hisretirement from publicperformance as of January 1st2009. Claiming that “41 yearsis enough of me for anybody –including me,” Bruford stressedthat he would continue torecord, run his two recordlabels, Summerfold andWinterfold Records, and givetalks on “the perils andpleasures of playing percussion”.

The news came after Brufordcompleted his autobiography(available via his website)where he writes in the forewordthat his aim had always beento push the art of drummingforward, if only a step.

He began his professionalcareer with Yes in 1968 andsaw the prog rock monsterthrough its formative years,culminating with the classicClose to the Edge album. Then,just as Yes were launching intosuperstardom and the progexcesses of Tales fromTopographic Oceans, Brufordquit the band to join up with

the perennially unstable KingCrimson in 1972. In this line-up, Bruford found himselfworking alongside percussionistJamie Muir, whose avant gardeapproach was to have a lastingeffect on him.

When Robert Fripp broke upCrimson in 1974, Brufordcontinued to work with bassistJohn Wetton in bands such asUK and Asia, as well as stintswith Genesis and his own jazzfusion project, Bruford.

He was then part of thereformed King Crimson from1981 to 94 and after a handfulof gigs with the CrimsonProjeKcts, walked away from“that noisy stuff” to concentrateon his own jazz formation.

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BASKEY, the British accessorymanufacturer, has signed anexclusive deal with Morico todistribute its range of innovativedrum fixing products across theUK and Ireland.

Baskey was launched at theDrummer Live show in 2006,originally selling directly online atbaskey.com and soon signed an

impressive array of endorsers.Baskey’s boss, Ian Baskerville,said: “We already have over 100fantastic endorsers and we areadding more all the time.

“The company has seenconsistent growth over the lastfew years, which has allowed usto invest in overseas massproduction and the partnership

with Morico will bring Baskeyproducts into the best shopsthroughout the British Isles.”

Baskey’s Ruggluggs joinsMorico’s roster of productsincluding DW Drums, DWhardware and pedals, PDP Drums, Gon Bop Percussion andTRX cymbals. MORICO: 01992 461089

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DRUM NEWS

L to R: Mike Dolbear and Gerry McDonnell run theMikeDolbear.com website together

New drum websites forall D’Addario rangesD’ADDARIO HAS launched newwebsites for all of its brands,including Evans Drumheads,HQ Percussion and Puresound Percussion.

With a ‘fresh new look anddesign’, all sites featureexpanded usability andcontent, including productnews and information, artistand teaching videos,promotions and sweepstakes,articles, community forums,networking and additionalartist features.

The sites also incorporatebuilt-in purchasing optionsfulfilled by local retailers (afeature of all D’Addariowebsites for some years now),plus international catalogues

and consumer buying options.The new sites are up andrunning and can be found atevansdrumheads.com,hqpercussion.com andpuresoundpercussion.com.

15 Mipro106_final 20/2/09 14:32 Page 1

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www.mi-pro.co.uk miPRO MARCH 2009 17

With Easter falling at a more usualdate this year, Musikmesse findsitself positioned nearly three

months after January’s NAMM show,which combined with the breakneck pacethe world’s economies are hurtling alongat means there has been plenty of time tore-group and re-plan for Europe’s MI andpro audio showcase.

There is also the fact that Europe’seconomies, generally, are faring somewhatbetter than the US’. As a result of all ofthis Musikmesse’s director, Cordelia vonGymnich, is looking forward to a goodshow, with the uncertainty in the world of finance adding to the need for visitorsto attend.

“It’s going to be great,” she says,somewhat predictably, but then addssome substance behind the wishfulthinking. “There are good reasons for this.We have held three shows so far this year

– technical and consumer goodsexhibitions – and all of them haveperformed way above our expectations.It’s difficult to say why, exactly, but I cansay it has been unexpected and veryencouraging at the same time.

“The NAMM show was good, withgreat attendance, and the US market hasmore problems than many others aroundthe world. Also, both German suppliers anddealers are saying that 2009 has been agood year so far. This means that, despiteeverything in the news, privateconsumption is up – in Germany at least –and the shops will want to come to keepthis momentum going.”

This matches reports from many in theUK business, as well. Many will be quick topoint out notable exceptions, of course,although the big hits in the UK have beenon the supply side as the crunch begins tobite, with retailers reporting a good

Christmas and a largely excellent January.This goes towards making the showorganiser pretty optimistic about Europeanattendance generally.

WHERE ARE THE PIANOS?Of the major issues at this year’s show,the main one will probably be the absenceof a dedicated piano hall. This follows thenews from last October that the Germanfederation of piano suppliers decided thata biennial presence would be sufficientand so cut back considerably on theamount of piano companies exhibiting.Rather than killing off pianos for the showthis year, however, many piano makershave seen this as an opportunity tocapitalise on a more exclusive presence.

“Some people have made the mistakeof thinking there will be no pianos at theshow,” explains von Gymnich. “We willhave some 22 piano manufacturers there,

including one traditional German maker,so pianos will be well represented – it’sjust that there are not enough to have adedicated hall for pianos as usual.”

Those wishing to source pianos shouldlook them out in Halls 1, 3 and 5.

The second ‘no show’ this year will bethe proposed ‘buying’ sector, which wasannounced in 2008. Unfortunately, this‘business only’ hall has not yet hadsufficient time to impress itself upon theconsciousness of exhibitors and won’t behappening this year, although Musikmesseis keen to stress that the concept is aliveand well and hopes that 2010’s event will feature this.

The idea was to have a whole exhibitionhall devoted to smaller booths and offices,with only buyers allowed to meet up withsuppliers in their secluded stands, awayfrom the hustle and bustle of the showfloor. “The idea became too difficult to

MUSIKMESSE • SHOW PREVIEW

Fighting talkThis year’s Musikmesse comes amid the doom and gloom of the global financial crisis, but with MI still bucking the trends,the organiser believes the show will be as good as ever. Are you going to be there...?

EVENT: MusikmesseVENUE: Frankfurt MesseDATE: April 1st to 4th 2009OPENING TIMES: 09.00 to 18.00

TRADE ADMISSION PRICESDAY TICKET: (in advance and online) €27.00(on arrival) €40.00

SEASON TICKET:(in advance and online) €43.00(on arrival) €63.00

17,18,21 Mipro106_final 20/2/09 12:20 Page 1

SHOW PREVIEW • MUSIKMESSE

explain in the time allowed,” commentsvon Gymnich. “We need more time, so this will be a definite feature of nextyear’s show.”

On the positive side, the Musicbiz hallwill be taking place for the third year,showcasing the marketing of music, labelsand publishing products, as well asprofessional training for musicians, know-how transfer in relation to self-marketing,and a first studio-recording session or alabel and publishing deal. The high degreeof internationality on both the exhibitorand visitor sides will offer, the organiserbelieves, the best chances of making newcontacts with manufacturers, dealers andconsumers during the fair.

Also keeping the banner flying formusic makers this year will be theFrankfurt Music Prize for specialachievements in interpretation,composing, musicology and musicteaching. The winner of the 2009 award,which was founded by the FederalAssociation of German Musical InstrumentManufacturers (Bundesverband derDeutschen Musikinstrumenten-Herstellere.V. - BDMH) and Messe Frankfurt, will be a personality from the field of ‘serious’ music.

Back with musical instruments andequipment, the prestigious MusikmesseInternational Press Award (MIPA) is toutedas the Grammy of the musical instrumentand pro-audio sector and will be presentedfor the tenth time. Trade journalists fromover 100 music magazines worldwideselect the best products for the award inover 40 categories.

Admission tickets can be purchasedquickly and easily on the Musikmessewebsite and can be printed out on thespot, which saves visitors the need toqueue at the box offices at the fair. Onlinetickets are personalised and authorise theholder to travel to and from the fair usinglocal public-transport services operated bythe RMV public-transport authority.Additionally, online ticket buyers benefitfrom lower advance booking prices.

MEANWHILE, ON THE SHOW FLOOR…As MI Pro goes to press, there has beenextremely limited informationforthcoming from suppliers andmanufacturers as to exactly what will bemaking an appearance at the show, whichmeans the ‘show issue’ (April 2009) of MIPro will be dedicating its Musikmessepages to a much more detailed runthrough of the important and interestingitems being launched.

Of course, all of the NAMM launchesfrom this year’s January show will be onhand, to enjoy the platform of a Europeanlaunch, but rest assured that the Frankfurtshow will still have huge swathes of newproducts in every hall. In the meantime,here is a quick glimpse at the information

we have been sent to date to whet theappetitite before you get there.

ROLANDRoland had some 19 new products of allshapes and sizes at NAMM, but with theJapanese corporation deliberately timingnew product launches to coincide withmajor shows, there will still be a lot ofnew stuff happening on the company’svarious stands.

It is probable that nothing will quite topthe innovative V-Piano, however, whichwill be enjoying further coverage atMusikmesse. Roland UK will holding a UKlaunch on March 4th in Bristol (contactthe company for details), but anyone stillwithout a first-hand view of thisremarkable instrument by the time theshow comes around should go along andhave a look.

On the Pro Light + Sound front, RolandSystems Solutions will be extending itslive, all-digital stage sound and FOHcontrol offering with new personal mixing

systems, bringing the V-Mixing systemmixer and snake to a wider audience.

TANGLEWOODTanglewood guitars will be on three boothsat this year’s event. The first is in Hall 4.0H44, where staff will be meeting UKcustomers and international distributionpartners. On show will be all six acousticranges of Tanglewood, a representation ofthe new Signature by Tanglewood electricrange (to be launched in the summer of2009) and an expanded Cove Creek andUnion series folk section, with new modelsacross all ranges.

The second stand is in Hall 3.1 H65Aand is dedicated solely to the display ofthe Tanglewood Master Design by Sandenmodels. Michael Sanden will personallyattend this booth along with Tanglewoodrepresentatives and there will be livedemonstrations of both Master Design andthe hand-made Sanden guitars on thisbooth for the duration of the show.

Third is the Musik Meyer Distribution

and Marketing Group stand in Hall 3.00B78, where Musik Meyer will be exhibitingthe full range of Tanglewood guitars,dedicated to the domestic German andAustrian markets.

ALLEN & HEATHAfter the launching of the new Xone:22two-channel analog DJ mixer at NAMM,which will also get a Euro-airing, Allen &Heath will display additions to the high-end,pro audio iLive mixing system (which cannow interface with popular networkingstandards such as Ethersound, ADAT andAviom) and a new broadcast console (thefirst from the Cornwall company for 15years), a direct evolution from the smallformat Zed series of USB mixers.

The increasingly popular Zed-R16Firewire recording mixer will also begenerating interest, as well as mixers from the whole Xone DJ range being onshow, including the D series of MIDIcontrollers, and there will be a crosssection of mixers from the Zed,

“It’s going to be great. We have held three showsso far this year and all of them have performedway above our expectations.”

Cordelia von Gymnich, Musikmesse

18 miPRO MARCH 2009 www.mi-pro.co.uk

HALL 1.1: WINDBrass and woodwind instruments,accessories

HALL 1.2: BOWEDString instruments, accessories

HALL 3.0: BEATPercussion and accessories, ensemble(full-range companies)FortePianos, grand pianos, historicalkeyboard instruments, accessories

HALL 3.1: TABAcoustic and semi-acoustic guitars,harmonica and accordionsNotaSheet music, specialist literature

HALLS 4.0 & 4.2: PICKUPElectric guitars, electric basses,amplifiers, accessories

HALL 5.0: REMIXDJ equipment, accessoriesMidiKeyboards, digital pianos, churchorgans, accessories, ensemble (full-range companies)FortePianos, grand pianos, historicalkeyboard instruments, accessories

HALL 5.1: DATAComputer software & hardware

Hall by hall

17,18,21 Mipro106_final 20/2/09 12:20 Page 2


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MUSIKMESSE • SHOW PREVIEW

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DEALERSHIPSAVAILABLE

TRAVEL BY PLANE: From Frankfurt Airport, takesuburban trains S8 or S9, which run tothe main railway station (Hauptbahnhof)every 15 minutes ( journey time: approx11 minutes). From there, you cancontinue by trains S3-S6 or tram (see below).

BY TRAIN: Suburban trains S3, S4, S5 andS6 run straight from the main railwaystation (Hauptbahnhof) to the ExhibitionCentre, Torhaus Entrance. You can alsotake tram 16 or a taxi from the MainRailway Station to the City Entrance. Byfoot, you will need about ten minutes.

The U4 underground train from theMain Railway Station takes you to theExhibition Centre, City Entrance, in lessthan five minutes. The new Messe/Festhalle underground station is a greatimprovement to local transport in thearea. On workdays and during fairs, trains

run every five to eight minutes from theMain Railway Station to the fair; onweekends, every ten to 20 minutes.

COMBINATION TICKET: Messe Frankfurtservices for exhibitors and visitors,whereby day tickets, season tickets andpress tickets entitle the holder to free useof suburban train, underground and tramsservices in the entire area served by theRMV local public-transport authorityapplies as usual. For tickets purchased inadvance, this applies to the journey tothe fair and back afterwards. Naturally, ifthe ticket is purchased on arrival at theexhibition centre, this applies to thereturn journey only.

BY CAR: Signs to ‘Messe Frankfurt’ on allmotorways take visitors straight to theRebstock multi-storey car park wherethere is a free shuttle-bus service to andfrom the exhibition centre.

BY TAXI: Taxi stands are located at theCity and Galleria entrances. The taxitelephone numbers are: +49 69 230001,250001 or 230033.

HOTELS: The Messe Frankfurt HotelGuide rates all hotels in and aroundFrankfurt by trade-fair specific criteria(distance from the fair, price to the fair,

connections to the fair and pricecategory). The ‘Rhine Main Hotel Guide’costs €4.40 and is available from MesseFrankfurt Medien und Service on +49 697575 6083 or [email protected]

The complete Rhine-Main Hotel Guidecan also be found on the internet atwww.hotelguide-rheinmain.de

Travel and accommodation at the show

17,18,21 Mipro106_final 20/2/09 12:20 Page 3

We may be in the midst of aglobal recession, but you’d neverhave suspected it one

temperate Tuesday evening in Cannes.While the clear blue water lapped at thebeach and the clinking of yacht masts andthe buzz of passing scooters filled thetown square, the familiar sounds ofMediterranean Europe were punctuated bya thumping bass line which echoed acrossthe bay. It was party night at Midem, theinternational music industry’s annualshindig, and in the iconic Palais DesFestivals the big bash of the week tookplace, featuring a limitless supply of freebubbly and the DJ skills of Groove Armada.

But the harsh reality is that the musicindustry is in crisis, with record sales nowincreasingly less likely to keep it in thestyle to which it’s accustomed. It’s hardlysurprising therefore that the main topicsof debate in the huge seminar rooms andundoubtedly over coffees and croissants inthe tiny street cafés as well, were twofold.How can the music industry survive in thedigital landscape? And with hard salesgoing rapidly down the pan, what otherchannels of revenue are there to exploit?

One seminar was given by JakobLusensky, the CEO of a Swedish companycalled Heartbeats International, a globalbusiness which develops mutuallybeneficial deals between name brands andthe music industry.

Lusensky argued a strong case forderiving publishing revenue from catchysongs by marrying them inseparably tospecific brands or products. This is apractice that has been going on for years(think Stiltskin and Levis or JustinTimberlake and McDonalds), but now it’smore relevant than ever. Yet despite aconvincing presentation, opinion wasdivided between delegates – those inspiredby the rich stream of publishing revenuesuch business represents and those whocan foresee a bleak future where popularmusic serves no other purpose than toprovide jingles to shift burgers.

Another excellent panel, sparking someof the liveliest debate, was titled Indies inthe Digital Landscape. Following on fromMyspace music president Courtney Holt’skeynote speech, Bob Frank, president ofthe influential American independent KochRecords and Horst Weidenmüller, founderof the German !K7 label group, seemedvisibly riled, arguing that the deals struckwith the digital stores and the labels arealways in favour of the majors.

“I’m not going to drop my pants andtake whatever deals are put on the table,”Frank barked, while Weidenmüller madethe point that although it was the smallerlabels that made portals like Myspace andNapster successful, they have turned theirbacks on those same small labels in favourof juicy deals with the big guns.

Digital marketeers including Amazonand The Orchard were emphatic that therewas no favouritism, but it seems that theinternet has proved to be something of adouble-edged sword.

The last seminar of the whole eventwas a listening session for the gamingphenomenon Guitar Hero. Labels,managers and artists were asked to popCDs into a drop box near the mainentrance to the Palais, with the gamemanufacturers choosing one song fromthe box to add to the next edition of thegame and then announcing it in the hall.Despite the staggering quality of the

short-listed final seven or eight entries, itrapidly became clear that this was littlemore than a cunning marketing exercise;the winners Attack! Attack! already seemto have quite a bit of industry weightbehind them. It’s perhaps even moretelling that the closing event at theworld’s biggest music industry get-together was hosted by a company whichmakes computer games that allow playersto fantasise about performing in bands.

All of this seems to send out a veryclear signal about the music industry in thelast year of the 21st Century’s first decade:the landscape is changing on all levels.

The record industry is lookingunder every stone for waysof creating new revenue forlost. Chris Underwoodbraved the Riviera elementsto discover there was noshortage of ideas…


SHOW REPORT • MIDEM

Fighting recessionon the Cote D’Azur

This, of course, isnot why Chris

Underwood wentto Cannes

22 mip106_final 20/2/09 12:18 Page 1

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Mel Bay is a company on a mission.Long associated with tuition,educational music books and

associated material, recent years haveseen it steadily growing in prominence inthe UK to the extent, reveals Mel BayMusic’s UK managing director, ChrisStatham, that recession or no recession, thecompany is experiencing a boom in sales.

Since 1947, when Mel Bay himselflaunched his music tuition publishingbusiness, the company has been at theforefront of this market sector – not leastbecause of its willingness to concentrate onthe guitar and related instruments, whichare consistently popular and reliable sellersfor music retailers around the world.

But fashions change and publishersneed to keep an eye open for new trendsand developments, which is where the first

UK-based artist signing by Statham comesin – the virtuoso acoustic guitarist RodneyBranigan. If you haven’t yet seen or heardhim, watch this space. Branigan, a Texannow based in the UK, plays two guitarssimultaneously as his party piece – a featthat has seen him also being picked-up byYamaha as an endorser for its LL seriesacoustic guitars.

“It was back in 2007 at the FrankfurtMusikmesse when I was first approachedto take a look at this particular artist,”says Statham. “At the time the main focusof my business was to raise awarenessthat the Mel Bay catalogue was nowselling direct to trade throughout the UKand Europe and not being distributed anylonger. While it was something I wasalways going to be very keen to becomeinvolved in – signing artists, developing

new products and opening new markets –I couldn’t quite commit to offering RodneyBranigan a deal there and then.

SELLING THE CONCEPT“Fast forward to the NAMM show in 2008and I had my opportunity at selling theconcept/project to Mel Bay’s thenpresident, William Bay. Bill Bay, being aguitarist himself and head of all theeditorial and artistic decisions, obviouslysaw something in my presentation andpassion and also in meeting with the artistand his manager. We started the ballrolling in setting up a deal to sign him upand get to work on publishing his worksand performances.

“For anyone in the business this is thetedious part. This is where both partiesopen up negotiations and fire the first

shots at getting the best deal possible forboth artist and publisher. I am not verypatient when it comes down to thedotting of the ‘i’s and the crossing of the‘t’s – once I have shaken hands I reallywant to see the product published,marketed and out there getting sold assoon as physically possible. I guess that’sthe salesman in me.

“So here we are, over a year on andabout to launch the first of many projectswe have lined up with Rodney, whichtiming-wise could not have been betterwith the major promotion and marketingtool of the Frankfurt Musikmesse 2009looming large. This first live performanceDVD really will get my trade customersenthusiastic and from here I hope we canramp up some educational products,which I know Rodney is very keen to do.”

MEL BAY • COVER FEATURE

Business at

BAYProbably the big success story of the past two years has been Mel Bay’s establishment as a standalone publisher anddistributor in the UK. Now the British operation has taken the next step of signing its first artist, as Gary Cooper discovers,while Andy Barrett finds out from Bryndon Bay what makes the global business tick…

25,26,27 mip106_final 20/2/09 11:38 Page 1


COVER FEATURE • MEL BAY

Choosing your first artist (even if onlyin the UK) is a crucial decision and caninfluence perceptions of the publisher formany years after the fact, so it wasimportant for Statham and Mel Bay to getthis one absolutely spot on.

“There are so many reasons why Iwanted to sign Rodney,” continuesStatham. “First, he is an amazing artistthat people will remember forever and heseemed so tailor-made for the Mel Baybrand. Not only is he unique in the way heplays, strums and taps two guitars at thevery same time, but he comes with anunbelievable talent for singing, songwritingand live performance.”

Of course, while Rodney Branigan hasbeen the first signing of 2009 comingfrom the Mel Bay Music UK offices, hejoins a global brand within a publishinghouse that has a stable of talentedguitarists and artists such as Chet Atkins,Juan Martin, Johnny Hiland, Juan Serranoand Tommy Emmanuel.

PLANNING PROMOTIONMel Bay’s plans for promoting Braniganinclude helping him find a spot on aforthcoming Jools Holland programme andkicking-off his career with a live concertDVD, filmed in Bombay, which will later befollowed by the first of what Stathamfeels could be a string of educational titlesbenefiting from the stir Branigan is alreadycreating with his live performances. It’snot just the artist that is new, either.Starting with a live DVD marks somethingof a change in the way the company ispromoting its new signings.

“It’s a slightly different direction,”Statham says. “We signed Rodney up firstand foremost on the strength of hisperformance and other material that wecan publish for him, which is why we areleading with a live performance DVDstraight away. This is the first UK-basedMel Bay signing, but we believe that it’sthe start, both in terms of the artistconcerned, but also in terms of someother very exciting things.”

The Branigan signing and promotioncomes against the background of abusiness which has been going fromstrength to strength, Statham reveals. “Ireally think that for sheet music and forthe industry in general, we could have agreat 2009 and already we have had astrong January, which doesn’t match upwith such a low presence at the NAMMshow of many UK and European dealers.

“This exciting launch will keepdealers talking about Mel Bay and,with my plans for a new issue programmebeing one of the most flexible andgenerous in the industry, there should beno reason why you wouldn’t want to dealwith Mel Bay Music. Also, I have trimmeddown our new releases to be morefocused on our high-quality mix of sellers.My trade accounts have always told methat there are just too many new productseach week being launched, so the booksand DVDs that are being produced andreleased from Mel Bay in 2009 are hand-picked with volume and margins in mindfor our dealers.”

With Statham admitting to fewer UK

retailers at NAMM, it must be seen assomething of a phenomenon that he isexperiencing a surge in sales. This Januarywould appear to have seen a shift in dealerhabits, Statham thinks, judging by wherehe now anticipates writing orders: “Icertainly felt in January that there was asudden upsurge in people coming direct tome and I don’t want to take anything awayfrom the wholesale business, or the jobbers

or rackers out there, but I think quite a fewaccounts are looking to come direct for thebetter terms, the better discounts andbetter service and an immediate responseto their business. I’m hoping it also had alot to do with a certain wall-planner andadvertising I did with MI Pro that raised ourprofile in the industry.”

MATERIAL MARGINSFlattering though that thought may be,there is also the question of the marginsto be made on printed material –something the smartest retailers have longrealised and which, in these margin-strapped times, increasing numbers arestarting to see the attractions of.

“I’ve been banging on for somethinglike ten years about this – about howattractive the margins are,” Statham says.“The message is finally getting throughand there are certainly a lot moreaccounts now that would never havetouched print before and who are comingdirectly to us to see how they can startand develop.”

If any reader is beginning to think theywould like to share in this booming sector,but is uncertain how, Statham says MelBay is only too happy to help retailers intothe printed sector. “If you think of a printspinner, it is barely a foot in diameter. Itlooks attractive, it draws attention to an

area where you might not even haveturned a light on in the past or it can bestuck in the window and bring peoplethrough the door.

“The way we’ve managed to expandour stock and range means I think weshould be taken as a third option in themarket now. If a retailer doesn’t want todeal with a lot of different publishers,there is Mel Bay, which offers a verypersonal touch, a phenomenal service andgreat material. I really think we are gettingthere now and being seen as a majorsheet music publisher.”

The emphasis may still be on paper, butpublishing is, like every other aspect of themusic industry, caught in a technologicalrevolution and it’s one Statham is wellaware of. Launching a new signing with alive DVD is just the tip of the iceberg,though. The company is also looking set tomove into areas such as online tuition anddownloading. “Yes, very much so,” hecomments. “Within the next six to 12months, we hope to be offering a fullydownloadable service whereby we partner-up with our trade accounts and they canoffer their customers downloadable booksand products from Mel Bay. They take themoney and get the discount on theproduct downloaded and that is definitelyon the way.” MEL BAY MUSIC: 020 8323 8010

“The books and DVDs that are being produced andreleased from Mel Bay in 2009 are hand-picked

with volume and margins in mind for our dealers.”Chris Statham, Mel Bay

Chris Statham, Mel Bay’s UK MD,and Maria Evangelou, his assistant,believe in their products...

25,26,27 mip106_final 20/2/09 11:38 Page 2

Chris Statham has undoubtedly made asignificant impact on the sheet musicmarket in the UK, taking on what somesee as a quite parochial Americancatalogue and bigging it up in front ofdealers, knowing that these are thepeople who impact upon the buyinghabits and decisions of the public morethan anyone. His full-on marketingpolicies have seen, in under three years,the establishment of an enviable dealernetwork and Mel Bay’s titles punchingtheir corner along with the establishedheavyweights in the business.

All of this, of course, costs money andneeds more than one head to set thecourse and keep it there and Stathamhas been lucky in having a boss who seesexactly where the ideas are coming fromand going to. Enter Bryndon Bay(pictured, right), the grandson of Mel Bayand, since the new year, the president ofthe global operation.

“Chris was a major factor in usestablishing an office in the UK,” explainsBay. “He was very much the right man atthe right time and he has really takenthe bull by the horns.”

Bryndon Bay took the day-to-dayrunning of the publishing house inJanuary this year from his father, William(pictured, left), with the latter nowchairman of the board and continuinghis work with artist relations and projectdevelopment. Bryndon is in charge of thepublisher’s manufacturing operation(which takes in the whole publishingprocess from writing and editing,through to pre-press, printing andbinding) to the business developmentstrategies that have resulted in partnersin Hong Kong, India and Dubai, as well asStatham’s UK business.

“The first year, I was in the UK about18 times,” recalls Bay. “By the secondyear, it was down to six times. Chris is aguy you can trust to get the job done.”

Bay describes his takeover of thecompany as a ‘gradual evolution’ havingtaken some ten months working togetherwith his father to learn the ropes,culminating in his appointment aspresident. That gradual evolution issomething that has been at the core ofMel Bay since the very beginning, withthe eponymous founder building thecatalogue based on his own ModernGuitar Method tutorials and introducingthe first elements of the productionoperation, his son William establishingthe facility in Pacific, Missouri throughthe ‘70s and ‘80s, to Bryndon’s ownefforts in turning the company globalsince the turn of the century.

Talking of business development andinternational expansion is, of course, fareasier said than done and Bryndon Bayhas used the template of slow and

steady growth to establish relations andpartners around the world.

“When I rejoined the business fiveyears ago, the company was still almostcompletely US-centric,” explains Bay.“Yes, we had been regularly at theFrankfurt show, but that was it. I startedlooking at the Far East and Australianmarkets and developing relationships andtaking trips out to meet up with people.They were essentially ‘meet and greets’and we have enjoyed slow and steadygrowth in those markets. It takes time.”

Having established partners in thecountries mentioned and the productsbecoming available, there then followeda circle of feedback that resulted inadapting established Mel Bay titles formore local instruments, such as the ud.“Our partners come back with thesesuggestions and we work with that.

They will often provide artists and soon – they know better than us what sellsin their markets.”

All of that said, the UK operation hasnot needed to be quite so radical, withthe UK market generally accepting theMel Bay catalogue as it is. “The past twoyears have seen us building our marketshare and a wider audience getting toknow our products. Our specialist niches,such as accordion, banjo and ukulele, areproving tremendously popular.”

At this point interviews wouldnormally focus on plans for expansionand what the future holds, but in thecurrent recession no-one knows whatthe future holds. “Generally, ourcustomers are asking for fewer newtitles, so we have cut back on newreleases from about 20 per month to fiveand we are concentrating on tried andtrusted business areas, key artists andthe specialist niches we have built overthe years,” explains Bay. “We are alsolooking at where we want to go with ourdigital and online content.

“One of the good things about theeconomic situation at the moment isthat, as we shore up, we become morecautious and this gives us the chance tolook at what we can do better.”

Bay goes on to explain that thecurrent crisis is the first in his company’sexperience to have shown an immediateimpact on sales, which, taking intoaccount printed music’s tendency to rideout slumps with little or no impact, isnews in itself, but with books sittingfirmly in the ‘affordable entertainment’and education categories, there is littlesign of any alarm as yet.

“We’re moving steadily,” says Bay,“but what is happening is so differentfrom anything we’ve seen before, we’reremaining guarded and cautious andconcentrating on the titles that thedealers want to pick up.”

Originating from Amarillo, Texas, Rodney Branigan is nowbased in the UK and, following an extensive period spentplaying in the Far East, has been busily building a followinghere – no doubt about to be enhanced by his signing withMel Bay. But how had that come about? What had madehim decide to approach Mel Bay in particular?

“A part of it was that it had experience with artists usingsome of the techniques that I use,” he says. “Its best-sellinglive DVD, I believe, is by Tommy Emmanuel and I use a lot ofsimilar techniques to him. Dealing with Mel Bay was reallyeasy – one of the easiest deals I’ve ever done, in fact.

“As for promotion, I’m also working with Yamaha,endorsing its new LL series of guitars, so between Yamahaand Mel Bay there are going to be a lot of clinics, I hope.The schedule at the moment is that I should be touring theUK and Europe during the summertime, and then the States, from September to mid-October, and Asia from then until December.”

Catalogue Number: MB21982DVDTitle: Rodney Branigan – Live In India DVDRelease Date: April 1st 2009

Rodney Branigan – the new Mel Bay signing

MEL BAY • COVER FEATURE


Bryndon Bay takes Mel Bay global

“Our partners come back with suggestions andwe work with them. They often know betterthan us what sells in their markets.”

Bryndon Bay, Mel Bay USA

25,26,27 mip106_final 20/2/09 11:38 Page 3


ELECTRONIC DRUMS • SECTOR SPOTLIGHT


It’s probably fair to say that there hasbeen nothing like the recent boom inelectronic drum kits of the past five

years since the explosion of electronickeyboards in the 1980s. The advance ofsampling and synthesis technology,combined with increasingly sensitive andcomplex triggers has meant that – as withthe keyboard’s successor, the digital piano– an instrument whose sound andplayability depends upon the acousticstructures achieved through traditionalmanufacturing methods can now beimitated very closely by synthetic means.

The electronic development of musicalinstruments has led to three significantselling points: noise levels, size and price.Nowadays would-be players can buy adrum kit for well under £400, pop it in thecorner of a bedroom without having to domore than clear a small space, plug in theheadphones and start learning.

Those in the know will already bereaching for their ‘Disgusted of TunbridgeWells’ letter templates. Acoustic drum kitshave long been as compact as electronickits, of course, with practice padsreadily available to silence a kitand entry-level kits have onlyrecently been matched byelectronic ones for price – andhave a better mark up.

MAKING A MARK (UP)As with the keyboards of the ‘80s and,to a lesser degree, digital pianos, e-drumshave slipped easily into the ‘hi tech’ retailcategory, which can translate into as littleas 15 to 20 per cent mark up. One drumretailer I spoke to, who has enjoyed a verysuccessful 2008, told me that while e-kitshave grown to 20 per cent of his turnover,that comes through as a mere seven percent of his gross profit. Add to this thefact that while an acoustic drum kitcustomer will need all manner of add-ons(such as those practice pads – not tomention the sticks, skins, pedals, newcymbals and snares and hardware) there islittle value the drum dealer can add to ane-kit sale other than the hope that thecustomer will be back to upgrade or makethe leap to an acoustic kit.

With prices now moving below the£500 mark – some even below £300 –there are now signs that youngstersstarting out on an electronic kit arebeginning to come back to the storeslooking for an acoustic kit. It is a recentdevelopment, but one that bodes well.

The boom in electronic kits is also ahealthy sign that the market is stillgrowing. A look at the major suppliers’

sales figures makes for interesting reading,where growth in the entry-levelparticularly seems to be proving thataccessibility in terms of space and lownoise is all many need to inspire thatmove to buying a drum kit.

E-drums have also brought thedrumming fraternity (or rather aspirants)into the mom and pop stores, which hasbeen very much welcomed by said outlets,while rankling a bit with the specialists.This is not so much to do with any ‘stayout of my territory’ attitude as with a

concern that the back-to-front entry intothe market has brought about aninteresting phenomenon. Coming into themarket on the back of e-drums and theinherent low margins has led some toassume that starter acoustic kits canfunction on lower margins, too. This ishaving the effect of pushing prices andmargins down for all, including those thatmake their bread and butter from drumsand percussion.

Despite that, there is a lot ofopportunity for ‘simple’ sales (compared

to full scale acoustic kits) and thus fornon-specialists to take full advantage of aproduct range that appears to havecaptured the public’s imagination.

It wasn’t that long ago that a drum kitin a home was unusual. A few more yearsand it will be positively normal.

What follows, then, is, as ever, far froma comprehensive run through of electronicdrums, but it should be enough to givethose pondering the possibility of gettinginto e-drums a bit of inspiration as towhere to go for advice and supplies…

E’s are goodAs electronic drums head lower and lower in the price range, we are beginning to see something of a Pot Noodle phenomenon(a product that creates a niche, but fails to impact other markets). As more and more hobbyists take up the challenge ofbeating the crap out of synth and sample triggering drum pads, Andy Barrett takes a look at a burgeoning bandwagon…

29-31 mip106_final 20/2/09 11:40 Page 1

ROLANDThe rise of Roland in the drum world overthe past six or seven years has beennothing short of phenomenal and theJapanese hi tech developer has forged apath that has enabled an increasingnumber of minor manufacturers andsuppliers to follow on with ease.

Roland’s latest offering came at therecent NAMM show: the TD-4K kit, a mid-to-high price range kit with a new TD-4sound module, which has upgraded drumand percussion sounds, as well as newambience effects, optimised for drums. Aswell as the familiar rubber drum pads,cymbals and proprietary multi-layer, meshsnare head, it has a newly-designed four-legged drum stand that allows flexible andsolid positioning of the pads and placesthe TD-4 module in the centre for easyaccess. The Rhythm Coach and QuickRecord functions complete the package,offering excellent tuition capabilities.

The TD-4K, which clocks in at a sub-£1,000 price tag, is a typical example ofRoland’s ongoing trickle down oftechnology from last year’s TD-9K kit,which retails at around £1,300. The TD-9introduced an upgraded triggering systemand came in two versions, the familiarrubber pads (as with the TD-4) or withcomplete mesh heads throughout on theTD-9KX for an extra £300.

Roland tells us that an increasing numberof acoustic drummers are incorporatingtriggering into their performance as a bridgebetween the conventional playing theyknow and love and the adjustable andstable output of a sound module.

Another route for the ‘established’drummer unsure about the benefits ofgoing the whole hog with an electronic kitis the drum pad unit. Roland’s SPD-Ssampling pad is becoming a familiar sightamid professionals’ acoustic set-ups,enabling eight sounds using six rubberpads and three edge triggers. The beauty isin the simplicity: record a sound, assign itto a pad and go. Up to 12 minutes ofsampling is provided in ‘Long’ mode, alongwith the editing features of Truncate andTrigger Mode. Roland is seeingconsiderable growth with this product, too– and at a roughly £400 retail price, itneedn’t be the exclusive sphere of the pro drummer.

ASHTONNew to the e-drum market (althoughin relative terms, Ashton is, of course,pretty new to everything) theAustralian entry-level brandhas also gone down the drumpad route with the EDP420drum unit.

Targeting the home marketor incidental studio work, thisFar Eastern-manufactureddrum pad unit has seven pads,two pedals (hi-hat and bassdrum), 25 preset kits, five userprogrammable kits, 250percussion and 128 MIDIvoices, USB port, single trackrecording, metronome and theall-important headphoneoutput. As well as a set of sticks,the EDP unit also benefits fromAshton’s now familiar POSpackaging. At £189 it is a good

way for the beginner to dip a toe into thegenre without blowing a year’s savings.

SESSION PROP&R Howard has been enjoyingconsiderable success with the Session ProDD505 since its introduction to themarket just under two years ago. Soldpredominantly to general or mom and popstores, the Scottish supplier was blownaway with the response. The 505 hitstraight into the entry level market,retailing with a sub £400 tag, whileoffering four drum pads, three cymbals, hi-

hat and kick drum, together with 215voices, 20 preset kits, ten user kits,

tempo, tap and voice tuning, as wellas reverb and gain control.

It is now introducing the DD508to the UK. The 508 stretches outinto the mid-priced market at £849and this could prove a big mover

over the next year or so.The 508 has the same pad,

trigger and cymbal layout ofthe 505, but upgrades to 307voices, 30 user kits, multipletriggers, including rim shot,cymbal bell and edge, cymbalchoke, MIDI and USB – inshort, a pro kit that willdoubtless turn the head ofthose intermediates looking toupgrade and gain access tosome of the acoustic

techniques, but on an electric kit.Well worth a look.

SECTOR SPOTLIGHT • ELECTRONIC DRUMS

GET YOUR MESSAGE OUT THERE

Consumersmight want awhole kit or justa drum pad unit

29-31 mip106_final 20/2/09 11:40 Page 2

PP DRUMSThe new PP900E from PerformancePercussion (now referred to as PP Drums)features all the equipment laid out asyou’d expect: four drum pads, kick drumand pedal, two cymbal pads and a hi-hatcymbal pad with control pedal. Also asexpected, the kit is supplied with a fullyadjustable frame, three cymbal booms, allconnecting cables, power supply,drumsticks and instructions.

The mountable sound module offers achoice of 215 voices, along with 20 presetkit sounds. And while the unit’s memorylets you save your favourite settings, ten‘user defined’ kit voices are also availablewith an additional 50 preset songs to playalong with, as well as a click track andmetronome facility. Via the module, theplayer has control over these settings, plusstraightforward volume, tempo and tapcontrols, which can be monitored visuallyon the LED display.

The PP900E module offers a MIDI outfacility, with normal outputs for hookingup to a PA, desk or monitor/amp. Then aheadphone output (of course) and an auxinput for audio from an external source. Alot of bang for buck on this model with aretail price of £479.

PINTECHPintech is unusual in that themanufacturer focuses on the kit itself,while leaving the hi tech wizards to supplythe sound module. The Road Pro kit, forexample, comes standard with all the

extras, designed specifically for the RolandTD-20 drum module and comes in at afew hundred quid less. This six-piece kit isthe top of the line in every respect – twoten-inch and 12-inch Concert Cast BlackEZ Tune mesh pads and a 14-inch BlackPiccolo mesh snare. It features the VisuLite line of cymbals (available in 12colours), has super accurate triggering anda feel that is as close to acoustic aselectronic cymbals have yet come.

Top it all off with American-made,hand-soldered CBI cables, with Neutrikconnectors, Silen Trim on all pads for quietrim playing and you have a kit that hasthe pros drooling. Pintech alsorecommends the Roland TD-12 for this kit.

ALESISLike Roland, Alesis began life withsynthesizers and keyboards and as suchhad access to a lot of technology ideal forthe manufacture of electronic drums. Theaddition of Akai and its samplingtechnology to the Numark family,however, opened up even more doors, butstill the company hung back from theplunge, while Roland and Yamaha stole theshow. When the company did finally comeinto the market, it was with something ofa splash – literally.

Alesis’ USB Pro drum kit is the world'sfirst drum set designed for use with a Macor PC as the sound module. The logic isthat a computer has more processingpower than any hardware drum moduleand combined with the touch of tunable,

mylar drum heads and the natural feel ofbrass-alloy Surge cymbals (by Sabian),creates an acoustic-feeling, great-soundingdrumming experience. The heart of theUSB Pro is the Trigger/IO interface and theFXpansion BFD Lite software, which opensup the world of DAWs and plugins, such asBFD, Toontrack and Reason to drummersand producers looking for realistic drumperformances.

The drum pads are built around eight-inch mylar drumheads and acoustic-dampening foam. The snare and tom padsare dual-zone, enabling rimshot or rim-click sounds on the snare and additionalsounds such as wind chimes, cymbals,gongs, and cowbells on the tom rims.When they wear out, the drumheads canbe replaced with any model you choosefrom any manufacturer.

The Surge cymbals on the USB Pro are12-inch hi-hats, 13-inch crash and 16-inchride – the crash and ride both having achoke function, while the ride has a dualzone for bell sounds.

YAMAHAYamaha has done as much as anyone toestablish e-drums as a viable alternativeto ‘the real thing’, as well as helping toopen up the hobbyist and home market.As with digital pianos, the MI giant hashad its own top quality products in theacoustic arena to examine, sample andemulate, which means the ‘learning curve’of gradual sound quality improvement hasproved an easier nut to crack.

Whether in the studio or live, Yamaha’sDTXtreme tops the DTX range and givesthe drummer everything he (or she) needsthanks to the powerful Motif synth engine.The kit also has value for the student andhelps teach any style, as well as allowingthe users to track the accuracy of theirplaying. There are also a lot of uploadedsongs on the kit for the player to get togrips with.

As ever, the technology trickle downhas allowed Yamaha to introduce much ofthese features in the mid-priced DTXpressand the DTXplorer beginner kit.

ELECTRONIC DRUMS • SECTOR SPOTLIGHT

CONTACTSROLAND .....................................................................................01792 702701

ASHTON.....................................................................................01780 781630

P&R HOWARD (SESSION PRO)...............................................01355 236621

JHS (PP DRUMS) .....................................................................0113 286 5381

PINTECH...................................................................................0141 432 2469

NUMARK (ALESIS) ..................................................................01252 341400

YAMAHA...................................................................................01908 366700

� Print Edition � Digital Edition �Mobile Edition � Online LeaderContact [email protected] for more details on the exciting opportunities ME can offer.

Alesis (left) and Yamaha(right) both have top-quality e-drum kits

29-31 mip106_final 20/2/09 11:40 Page 3


LARRIVÉE • COMPANY PROFILE

Recently the subject of some debateon the MI Pro website, the role ofdistributors in the MI market has

rarely been so open to question. But ifsomeone was looking for an example ofhow transformational a good distributorcan be, the blossoming of the Canadianand US acoustic guitar brand, Larrivée,under the wing of Sound Technology,offers the perfect case study.

It was Sound Technology that tookTaylor to a position where it had becomea serious challenger to CF Martin as theUK’s premium acoustic brand. It had takenthe Letchworth distributor a lot of moneyand over ten years to achieve, so theunexpected loss of Taylor, as part of itsinternational deal with Fender last year,

must have felt like a body blow. A lesseroutfit might have walked away from theacoustic business in disgust. Instead,Sound Technology made a bold bid forLarrivée and in under a year hastransformed its market position.

Charged with getting Larrivée on trackwere Sound Technology’s sales directorGreg Niven (pictured right) and marketingdirector Ian Cullen (pictured far right). Theyadmit that establishing Larrivée mighthave looked like a hard task but, eightmonths on, everything is going accordingto plan. “Larrivée has been something of asuccess story so far,” says Niven. “We’vemet our expectations and put the brandon the radar of everyone involved in thehigh-end acoustic guitar market.

IN THE BEGINNING – BELIEF“First of all we had utmost faith in theproduct. Jean Larrivée and his guitars hadreceived universal support from others in

the guitar industry. We took on theline with confidence in the guitars.Frequently we hear that we took onLarrivée to replace Taylor, but wewere under no illusions that this was

going to happen any time soon. Ittook over a decade to get Taylor to grow tothe levels it was when we left it. From the

Sound Technology business perspective,our Taylor turnover had been made

up with the securement of otherlines earlier in the process –predominantly Propellerhead

software. It was the in-houseexpertise and experience that led us to

take on another high-end acoustic line,following Taylor’s departure. We believed

Larrivée to be an under-performingbrand that we could do a job with.

“You could identify dealercoverage and marketing support asthe two key factors. There was also

a lot of misunderstanding aroundthe brand itself. The existing dealernetwork we inherited was knowledgeable,but somewhat limited in geographicalcoverage and presence in the market. Nochains were involved. This is a comfortablemodel, but to really grow a brand to thenext level you need to take a leap. Wehope we’re building a network now thatcombines the speciality dealers withmainstream that the brand deserves.

As a proposition for dealers we’ve builtin margin and marketing support. The stock

commitment was, of course, much lowerthan other brands were asking for.

“The common misconceptions were thatLarrivée was a boutique guitar builder andthat they were all built in Canada,” addsNiven. “In reality, Larrivée builds 50 to 100guitars a day and every guitar except the -03 series comes from California.”

“I suppose there was some reluctance,”admits Cullen. “But we’ve got the historyto show that we do grow brands. On themarketing side, we’d clearly learnt a lotabout the acoustic guitar market, butLarrivée did need a different approach –it’s a very different style of company toTaylor. It’s a family run business, extremelytalented at what it does, but without themarketing dollars.

“We looked to find a specific focus tostart our brand building of the line. Theobvious standout feature was JeanLarrivée’s personal involvement in thesourcing of timber. No other high-endguitar manufacturer is as directly involvedin travelling the globe to source wood asLarrivée. This results in Larrivée having firstpick of the best tonewood available.

“Take the £999 L03 model: the qualityof the spruce top is superb and wouldn’tbe out of place on a guitar costing threetimes as much. So it was this simple,focused message we took to the market.All our ads and in-store point of salecentred around this concept.

“And then we set about creating a

barrage of reviews. Again, being all aboutthe guitars, we wanted to get them into asmany experts’ hands as possible. We’vedone this very successfully and you cansee the results on our website. This hasbeen very powerful not only in promotingthe brand to the end user, but also in ourapproaches to retailers,” Cullen says.

“From here, we’ll be more directlydriving consumers to retailers in thecoming months. Plus an artist program isin place, with Razorlight using the guitarsand more artists are to follow.”

“We plan further expansion of thedealer network,” adds Niven, “andcurrently there is no mid-price Larrivée -our prices start at £999. The £500-£1,000price point is vitally important fordelivering high turnover. If we could getsome of Larrivée’s quality in that pricewe’d be very happy – and this is notbeyond the realms of possibility. It’s worthnoting too that Larrivée’s own business isgrowing. They say the brand-building workwe have done in the UK over the pasteight months has allowed them to sign upbig hitting distributors in Europe such asAlgam in France.”

Where Larrivée goes from here in arecessionary market is, of course, anyone’sguess – but if there are people who doubtthe influence a top-class distributor canhave, even in the trickiest of marketingcircumstances, they should bear thissuccess story in mind.

Since being taken on by distributor Sound Technology, Larrivée has gone from strength to strength, making quite animpact on the market. Gary Cooper investigates exactly how this has happened…

Sound Technology made a bold bid for Larrivéeand in under a year the distributor has

transformed its market position.

Larrivée has arrived

miPRO MARCH 2009 33

33 mip106_final 20/2/09 12:19 Page 1


ELECTRIC GUITARS • SECTOR SPOTLIGHT


There comes a time in everyguitarist’s playing career when themoment they have been waiting for

finally comes. Some have to wait years, alucky few not so long, but when it arrives,hell, it’s enough to make the hardestrocker alive misty eyed. That moment iswhen, after years toiling away oneverything from cheesecutter Chineseknock-offs all the way up to mid-rangeworkhorses, the guitarist buys his firstgenuinely great quality guitar.

Breaking the £700 barrier is a bigmoment, one that should be celebrated asmuch as any birthday. It says a few things;primarily, that the player is finally makingenough money to actually acquire a guitarthat has been coveted for some time,itself no mean feat, but there’s muchmore. It means that a dream – maybe asmall dream to the casual observer, but adream nonetheless – has been achieved,and the gleaming guitar that has beendrooled over and saved up for can befinally taken home. It means a certainamount of appreciation and love for theinstrument itself has been gained. You join a club on the day you buy your firsttruly beautiful guitar and it’s really quite a feeling.

With the market as busy and full ofnew models and updates on old favouritesas it ever has been, there’s plenty tochoose from out there. For the retailer,there has never been so much choice, andwith the economy in such a fragile statemaking the correct stock choices hasnever been more crucial. Thankfully, MI Prois on hand to help sort the six-stringwheat from the chaff…

FENDERAs one of the most high profile recententries into the £700-plus section of themarket, Fender’s Road Worn series iscertainly causing many an eyebrow toraise. Taking the trend for pre-agedinstruments to its next logical conclusion,Fender has bridged the gap betweenextreme high-end USA custom shop relicsand entry-level approximations with thesegreat looking and feeling guitars.

The high quality of instruments comingout of Fender’s Mexican factories

Electric AvenueThere are plenty of reasonsto get excited about what’sgoing on in the electricguitar market at themoment, especially forthose with a few shillings toburn. Rob Power goeselectric to find out more…

Breaking the £700barrier is a big

moment, one thatshould be celebrated

as much as anybirthday.

35,36,37 MiPro106_final 20/2/09 12:20 Page 1

nowadays, combined with the company’sobvious expertise in the area of roughingup new guitars to give them an aged look,means that these instruments pack aserious bang for your average Joe’s hardearned buck.

There is obvious appeal here for guitarslingers looking for the vintage vibe onslightly less of a budget than custom shopspecials might allow and be in no doubtthat these are excellent guitars. The ageingfeels realistic, the necks have beenbeautifully sanded to make them feel likethey’ve been played a thousand times, andthere’s a good spread of 50s and 60s styleStrats and Teles. This is a range that looksset to do some serious business for Fenderin the UK, so don’t miss out on givingcustomers a chance to get their hands onat least one.

GIBSONWith the reaction to Gibson’s uniqueRobot guitars so far a positive one, andanticipation high for the arrival of ordersof the Dark Fire Les Paul on these shores,the boundaries of what the electric guitarcan be capable of are being well and trulypushed. The astonishment on the face ofplayers who have never seen a self-tuningguitar before really speaks for itself andthat these innovations are not priced outof reach from the man on the streetmeans that we are going to be seeing thetechnology spread a lot quicker than itmight have done had it been three timesas expensive – surely a good thing.

Combining the best of the modern withthat which Gibson has always done wellmeans that the Robot guitars, available inLes Paul or SG shapes in a variety of ultramodern or more traditional colours, lookset to buck the trend for ‘out there’electric guitar designs. With the self-tuning system affordable to install,unobtrusive in design and, crucially, verygood at its job, you really can expect to beseeing these guitars around for some timeyet and in the hands of an increasinglydiverse range of players.

It’s not just Gibson which is making themost of this area of the market though.Long-term sister brand Epiphone also hasplenty to shout about. Although moreusually found in the sub-£700 area of themarket, Epiphone’s latest offering is acorker of a guitar that marks a rare outingfor the brand into the higher end of themarket. The 1962 Wilshire Custom iswithout doubt a beauty. Manufactured inthe US and aiming to capture the essenceof one of Epiphone’s most easilyrecognisable solid bodies, it features amahogany body, three-a-side Epiphoneheadstock with vintage tuners, a set ofP90s and a set of goodies including a hardcase, leather strap, certificate ofauthenticity and a vintage looking curly

lead. With the likes of Pete Dohertyplaying similar Epiphones recently, as wellas the obvious heritage of the model, thisis a guitar that will be sought after by akeen fanbase of Epi lovers.

WESTSIDEHome to a number of brands that deservea look-in at this price point, first up fromWestside is Duesenberg, which has beensteadily building a name for itself forsome time now among guitarists lookingfor distinctive, retro-styled instrumentsthat ooze class. There are plenty of guitarsto choose from in the Duesy range thatmight catch the eye of an upgradingguitarist, from the likes of thehollow body Imperial through to the solid body 49er, abeautiful instrument that withits ‘50s style chrome andmodern hardwarecombines the best of two worlds.

Another big name in thisarea of the market forWestside is Tom Anderson’sGuitarworks, the Americanmanufacturer that has shownthe rest of the world how toreally hot rod a guitar. Restlesslyinnovative and with a growingarmy of fans worldwide, you onlyneed to look at something like theDrop Top Classic to get an idea ofwhat this company is capable ofachieving. A super stratmanufacturer by hand and with the

highest possible quality of components, alot of Tom Anderson players are almostreligious about these guitars, making themwell worth a look.

The recent addition of Schecter to theWestside stable means there is a thirdbrand for the company in this area of themarket. Popular with name players formany years now, these hand-crafted USbuilt guitars have often been favoured byheavy rockers – the 2009 Blackjack ATX C-1 is a great example of what the companydoes best. With rockist looks, mahoganybody and loaded with a set of activeSeymour Duncan active Black Out pickups,this is nothing short of a mighty guitar.

MARTYN BOOTHEstablished by ex-Gibson and Yamaha manMartyn Booth in the Suffolk countrysidewith the intention of bringing the luthier’sno-compromise, high quality and hand-made approach to guitar building to theUK market, the company has gone fromstrength to strength. One need only take aglance at the Martyn Booth Classic to seewhat it is all about: classic lines, hand-built in the UK to exacting specifications,with a huge variety of options available for customers looking for something thatlittle bit special, these are the instrumentsthat are flying the flag for UKmanufacturing at the moment.

Having expanded greatly since thecompany was established in 2002, it hasstarted to expand its dealer network and

is currently looking for moreretailers to take on what arewithout doubt beautifullyconstructed, great looking

instruments.

SECTOR SPOTLIGHT • ELECTRIC GUITARS

Epiphone, Larivée,Martyn Booth andSchecter – a top notchguitar for any taste


The Fret King rangehas gone from

strength to strengthsince its launch.

35,36,37 MiPro106_final 20/2/09 12:21 Page 2

YAMAHAWhile better known for its affordableelectric guitars, Yamaha’s high-end models,exclusively made in the company’sJapanese workshops, are well regardedamong players and dealers alike thanks tounique designs, quality components andhigh level construction methods.

Leading the pack is the company’slongest-running electric guitar, theSG2000. Originally designed in the late1970s by Carlos Santana, the SG2000’sthrough-neck and brass sustain block weredesigned to maximise sustain, while theversatility afforded by custom coil-tappedhumbuckers went a long way towards thedesigner’s goal to build the ultimateelectric guitar.

Joined by the set-neck SG1000 and theflagship SG3000 models (only available inJapan until very recently and featuringcustom finishes and upgradedcosmetics), the latest SGs combinethe heritage of the range with up todate guitar-building technology – newSGs feature Yamaha’s Initial ResponseAcceleration, designed to eliminate thephysical stresses between componentsof a guitar and produce a responsemuch closer to that of a guitar playedon for years.

Along with the popular SG range, ahandful of signature models pepperthe upper reaches of Yamaha’scatalogue, including the uniqueCV820WB, designed by Wes Borlandof the recently reformed Limp Bizkit,and featuring ‘Takumi-Kazuri’semi-hollow constructionand exclusive customhardware and pickups. Itmakes for a distinctivelooking guitar for a playernever shy about standingout from the crowd,and especiallypertinent now theleading exponentsof nu metal areback with avengeance.

JHSThe Trev Wilkinson-designed Fret Kingseries has been performing very well forJHS at the higher end of the market, asmight be expected from a distributor thathas had a track record of deliveringexcellent guitars in recent years.

All of Wilkinson’s UK-produced GreenLabel series instruments, assembled andfinished by Wilkinson himself in hisSouthport workshops, fall into the £700-plus price category, and are proving to bevery popular among players looking forinstruments that lie slightly outside of thenorm, yet look and perform just as well asthe best the US has to offer.

The S-type inspired Corona guitars, theT-type Country Squires (including thegreat looking Yardbird), the twin-cutawayElan models, the Firebird-esque lines ofthe Esprit models, and the intriguing ‘Back

Into The Future’ vibe and looks ofthe excellent Ventura 60 and 80versions are all popular choices inthe Fret King range, which has gonefrom strength to strength since its

launch last year.

SOUND TECHNOLOGYFirst up from Sound Technology andnow shipping in the UK for the firsttime are the much sought-afterWashburn Idol Chicago Custom Shopmodels. These include the WI568,featuring a premium-grade maple top,USA Seymour Duncan Pickups and TonePros hardware, and the WI566, whichfeatures all of the above but is poweredby EMG 85 and 81 active humbuckers.

The Idol range has also recentlybeen bolstered by models in theWashburn Heavy Metal Series.The WI50V Pro E includes star

inlays, a licensed Floyd Rosetremolo, EMG active humbuckers

and a 6-a-side reverseheadstock.

Also from Sound Technologyis the Larrivée RS4, a newaddition which, with acombination of excellent

craftsmanship and quality components,really does make its presence felt on theshop floor. The RS4 has an extra thickCanadian flamed maple top, Schaller M6Tuners and straplocks, Tonepros bridge andstoptail, Switchcraft toggle and end pinjack and Luxe bumblebee capacitors.

LOTS ON OFFERAs the electric guitar market continues toexpand and fill up with more guitars bythe day, it is refreshing to see that keycompanies are still pulling out the stops toprovide guitarists with somethinggenuinely new – be that a shape, atechnology or a sound.

Economically times are tough in the UKand indeed across the world at themoment, but there is still a market forthese instruments, and not simply amongpros or older players with a bit more sparecash in their pockets. These are aspirationalinstruments that every 12 year-oldbattering away at his Squier Strat dreamsof owning and one day will. It’s vital thatthey are in the market, giving guitarists areason to move up the ladder into therealms of the high end. It’s as importantnow as it ever has been that high qualityinstruments make their mark on the HighStreet and show the guitar slinging publicjust how far their money can go.

ELECTRIC GUITARS • SECTOR SPOTLIGHT

CONTACTSFENDER......................................................................................01342 331700

GIBSON (EPIPHONE) ..................................................................GIBSON.COM

WESTSIDE...................................................................................0141 2484812

MARTYN BOOTH........................................................................01787 370192

YAMAHA...................................................................................0870 4445575

JHS ..............................................................................................0113 2865381

SOUND TECHNOLOGY............................................................01462 480000


35,36,37 MiPro106_final 20/2/09 12:21 Page 3

Mel Bay 17/2/09 17:29 Page 1

Mel Bay distributes to the world!Office 2.05, Argentum • 2 Queen Caroline Street • Hammersmith, LONDON W6 9DX

Telephone No: 020 8323 8010 • Fax Number: 020 8323 8306UK Sales Freephone: 0800 432 0486 E-mail: [email protected]

Mel Bay 17/2/09 17:29 Page 2

api template:bb18 4/12/08 17:51 Page 1

When you have 177,000 separateproducts on your catalogue andare turning over in the region of

4,500 orders per month, to say that youneed a good warehouse system is muchlike saying if you have a car you need aset of four wheels to make it workproperly. If you are Faber MusicDistribution, the company whosewarehouse enjoys precisely these figuresquoted, then now you not only have a carwith wheels, but one with super alloywheels and custom Bridgestones fitted.

It is easy to forget the value of thewarehouse and its staff, but for someonelike John Hepworth, FMD’s managingdirector, it is the very nerve centre of hisoperation, which is why he has spent thepast two years planning andimplementing a picking system that hasbrought Faber Music’s wholly-owned salesand marketing subsidiary firmly into the21st century.

“In fact, the first objective was to bringus into the 20th century,” explainsHepworth. “Then, for phase two, I wantedto bring us into the 21st. I looked at a lotof options and at their cost, but in the end

I decided to go down the most expensiveroute of a voice recognition system.”

Phase one was the introduction ofcomputerised handsets for stock arrivalrecording and this could have beenexpanded into phase two as well, butHepworth decided to go a step further.“The handheld devices cost about £1,600each, which is quite an investment and wecould have developed that to cover thewhole process, but I thought it better togo straight to the voice picking system.”

ON TRIALFMD had been using Solarsoft’swarehouse management system softwarefor some time before launching into thenew set-up with the Vocollect Talkmanwireless headset and beltpack units andthe 3iV voice recognition software(supplied by Zetes). Solarsoft customisedits software to work with the Zetessystem and the custom package begantrials in September 2008. Fullimplementation began in January.

The installation saw immediate resultswithin a week. Previously, warehouse staffhad been able to pick between 60 to 70


FABER MUSIC DISTRIBUTION • COMPANY PROFILE

Faber Music Distribution has invested heavily in a new warehouse picking system and the company'smanaging director, John Hepworth, took Andy Barrett around to show how MI retail will benefit...

Giving voice

41,42 mip106_final 20/2/09 12:26 Page 1

order lines per hour, but with the voicerecognition system this has climbed to anaverage of 200 lines per hour.

Hepworth points out that it is possibleto pick up to 300 lines per hour when thepressure is really on. Another benefit ofthe system is that new staff can have

their voices uploaded into the program inaround 20 minutes. Another 40 minutes oftraining and they are ready to go it alone.

“I’ve got a wide age spread here,ranging from 20 to 60 year-olds andeveryone has taken to it really well,” saysHepworth. “People are usually quitecautious when it comes to change, butthis has changed over pretty seamlessly –in fact the oldest guy here has had one ofthe best responses of everyone.”

At the warehouse, Hepworth showedme around its innards and we followedDave Llewellyn up and down the aisles ashe picked out an order.

The order is in the system and assignedto a picker, who is then instructed toselect according to instructions, ‘copy’ fora book, CD, DVD and so on. Unusual titles,such as foreign language titles, are givencode words or numbers. The pickerconfirms they’re at the correct location by

saying a unique check digit, confirms thetitle or code and quantity into the headsetmic and moves on to the next item. Weasked Llewellyn to read the wrong codeinto the mic and then to select theincorrect quantity. The computer’s voicecorrected him and would not let him

proceed until the correct selection hadbeen made.

For retailers, this gives the obviousbenefits of reduced returns and, atpresent, something in the region of 90 to95 per cent of orders going out the sameday. Hepworth is aiming for 100 per cent.

On top of that, the system hasdrastically reduced the need for overtimeand made the onerous task of stockkeeping massively easier. Adding this tothe increased productivity of thewarehouse, Hepworth expects the newsystem to pay for itself in around 13months. Because of the timescalesinvolved in planning and implementing thesystem, there has been no need to makeany enforced redundancies, either. Naturalwastage has seen the moderate reductionin staff necessary to achieve optimumproductivity without pain and the eightpickers and one dispatch manager appear

to be handling the global distribution of this vast array of product with extreme ease.

Voice picking systems tend to be theprovince of large-scale businesses and,Hepworth admits, Zetes was notconvinced that Faber would go the wholehog. “I looked at the Superdrug warehouse,where they have 190 people on each ofthree shifts around the clock,” he explains.“For companies such as this, voicerecognition is now all but essential, but Isaw the benefits for Faber instantly. Ontop of everything else, we have gone froman almost entirely paper-based system toa completely paperless one and – most

importantly – I have a satisified workforce.They wouldn’t like to go back to thepaper-based system.”

Zetes has also been excited by having aso-called SME (small to medium-sizedenterprise) take up its package. For thiscompany, the FMD project opens up wholenew territories of potential customers.

“Voice picking has traditionally beenseen as the preserve of large companiesrunning very high throughput warehouseoperations,” points out James Hannay,Zetes UK’s managing director. “Thisimplementation for Faber Musicdemonstrates the flexibility of voicedirected working and proves that SMEscan see an immediate efficiency andproductivity return when they make the switch.”

A NEW PATTERN EMERGESLooking over downturns and recessionsthat have taken place in previous decades,something approaching a pattern hasemerged that while new players buyinginto the MI market reduces, those alreadyplaying seem to reinvigorate their efforts.This doesn’t lead to any increase ininstrument or equipment sales, but doesmaintain profits from accessories andsheet music.

FMD’s timing, therefore (while totallyunassociated), has been pretty perfect.Just at a time when MI dealers will belooking to emphasise sheet music sales,the Harlow-based company can provide adelivery second to none and more thancapable of coping with any increase inturnaround that such efforts might inspire.I’m certain a lot of dealers will delight inputting this to the test. FABER MUSIC DISTRIBUTION:01279 828900


COMPANY PROFILE • FABER MUSIC DISTRIBUTION

“People are usually quite cautious when it comesto change, but this has changed over seamlessly.”

John Hepworth, Faber Music Distribution

HEPWORTH: “The objective was tobring us into the 21st century”

The new voice recognition system hasvastly improved order picking times inthe warehouse

41,42 mip106_final 20/2/09 12:26 Page 2

43 Mipro106 17/2/09 17:43 Page 1

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#24851 - TexasTone MI Pro ad:Layout 16/2/09 17:19 Page 1

I’m usually up at around 7 o’clock in the morning,and I spend Monday at home planning. It reallydoes take an inordinate amount of time to plan

where you’re going in order to make the mostefficient use of the day.

The day is short, as shops only open at around 10:00and you can’t really call much past 16:30. I don’t makeappointments – I used to very carefully make them, butone of about four things would always happen: I’deither be held up on the motorway and arrive stressed,there would be a customer in the shop and I’d have towait for two hours, the shopkeeper would have to goout to deal with a query or follow up a sale or, finally,they’d ever so tactfully have forgotten I was coming.

So now I take on as much as I can do and I getthrough it all with no problem. What I do find is thatbecause of my background – I spent a long time in retailand now I work for Intermusic, where we are all ex-retailand it’s a small company, so it’s all hands to the pump –I can give the shops some sort of comfort in theseworrying times that what is happening to them in theirtown is not their fault. The comfort is that their cashflow is as bad as everybody else’s and they’re not doinganything wrong. That doesn’t help pay bills, but it letsthem know they’re doing nothing wrong.

If I can help, I do. I put people in touch with others ifthey’re having trouble sourcing stock, things like thatand it’s all part of the back-up service that we provide.Similarly, we’re lucky – being a small company there’sno protocol, no endless box ticking, so if there is aproblem I have been given the responsibility and I cansort it out. I can take some quite major decisionswithout having to refer back – if you’re running a shopand you have a query, you aren’t going to want to haveto wait a week for an answer while someone fills in a bitof paper. I can deal with it and get problems sorted,which makes it easier for everyone and allows us toquickly move on.

I’m very lucky to be working at Intermusic, as theyare super people to work for. We all get on very welltogether and are all singing from the same hymn sheet.It makes us all so much more proactive. We can do dealsand sort things out, which is especially useful at a timewhen prices are screaming up and getting out of control.People are thinking more about doing own branding andhaving specialist lines – and we have the versatility tobe able to deal with that.

I always plan where I’m going to be at least a week inadvance, although I like to be flexible. I cover the wholeof the UK, which means I can go wherever I need to goand get there in a matter of days. I do about 1,000miles a week and you learn very quickly where thepopulation densities are. I always make the point ofgetting to see all the dealers, even the ones that are farremoved from major cities. It makes a difference to havea personal touch with dealers and I think shops like tohave the physical presence. If there’s ever a panic or aproblem, I can be there.

I’ve been at Intermusic for nine years now and beforethat I spent 40 years in retail. It’s a huge strength, asyou can empathise with the retailers and think aboutthe problems they have and help them solve them.

I WOKE UP THIS

MORNING

WWW.MI-PRO.CO.UK

PROFILE

David Rushworth likes toplan ahead – but not tomake appointments. Wefind out how he helpsshops and what his busyworking week forIntermusic involves...

DAVID RUSHWORTH Director, Musical Instruments,Intermusic

Because of my background, inretail and at Intermusic, I can

give the shops some sort ofcomfort in these worrying

times that what is happeningto them is not their fault.

45 Mipro106_final 20/2/09 12:29 Page 1

It’s barely gone 9am on a FebruaryMonday morning and my phone isringing. It’s what I call ‘Fuck-Up Day’:

the day that the latest issue of Guitaristmagazine lands on most people’sdoormats. It’s also the day – one of (atleast) 13 each year – that I wonder whythe flippin’ heck I do such a stupid job.

The caller is, verbally, throwing all histoys out of the pram. I am blissfullyunaware of his issues because my copy ofGuitarist hasn’t arrived. But you can’t be inmy line of work and not expect theoccasional rant. You might consideryourself good at your job, an ‘expert’ or

whatever tag you want to apply, but whenyou or your publication messes up –however rarely – you still feel like the anti-Christ. In minutes, long-term, mutuallybeneficial relationships can dissolve in aheart-felt, justified or not, rant. Oh dear. Idecide I need a coffee but before I canleave my desk there’s another call andanother (unrelated to the last) problem.

I try and sort out the mess(es) butbecause FUD falls about halfway throughthe production of our next issue, time isrunning out to submit my various parts ofthe magazine and mess-clearing isn’texactly diminishing the unfeasibly long list

of things I still have to do. After all time ismoney, isn’t it?

I was recently invited to attend a‘discussion group’ by one of our leadingdistributors to discuss their intended newdesigns and so on. Travel would be paid forand lunch. Now a free lunch… ah, you saythere’s no such thing. I suspected aconflict of interest. What if I suggested adesign or feature that the company putinto production and sent into us forreview. I could hardly say that’s rubbish ifI’d thought of it, could I? So, I suggestedthat I was happy to attend but as afreelance consultant and expected to be

paid, an offer declined by said company.So here’s a company that would like thebenefit of my ‘expert’ knowledge andexperience but doesn’t want to pay for it.

Sometimes I think I should get MUGtattooed on my forehead, along withmany other journalists. I’m sure we’reperceived simply as conduits for wordsand pages that are basically free ‘adverts’for products that, especially with a brandas big as Guitarist behind them, will behelped out of a store with the resoundingthud of the cash register.

Last year I heard from a British guitarmaker that there was going to be a major

exhibition of hand-made British guitars.No-one contacted us. Eventually I did thecontacting and the organisers were verykeen for us to feature the exhibition. A littlewhile later I headed off to sort throughover 40 guitars awaiting placement in it. Ihad to select 12 or so to shoot, balancingwell-known names with lesser, but well-made guitars, and create a mixture ofelectric and acoustic in as many styles aspossible. With the help of theaforementioned guitar-maker and ourphotographer we got the job done and thisfree advert for the makers concernedeventually ran over six or so pages in themagazine. But just one maker called – ChrisEccleshall – to say thanks for the free ad.

Grow up, I hear you say, that’s your job.It is, but people being people, some can’thelp taking the piss. Last year we ran afeature on hot-rodding your guitar: away to get a lot of editorial plugsfor spare parts that normally arehard to get into the mag. It wasa very successful feature butobviously we requested lots ofadd-on products and then hadto fit them to the guitars. Soto say I was surprised toreceive an invoice for saidnuts and tuners (£27)from a company who’dreceived anendorsement from usis an understatement.After all, for many ofour readers, ‘if it’sgood enough for those

guys at Guitarist, it’s good enough for me’.Did I hear that resounding clunk of the cashregister again?

There are no more problem calls for awhile. But there aren’t any, ‘nice issue,thanks for the review/feature’ calls either. Iguess that’s why it’s called Fuck-Up Day andnot Thank You Very Much For PotentiallyImproving My Business Day. Ho-hum.

The caller is, verbally, throwing all his toys out ofthe pram. You can’t be in my line of work and not

expect occasional rants. In minutes, long-term,mutually beneficial relationships can dissolve.

A day in the life of our guitar-toting scribe. Which side of the bed has he got out of this month..?

Dave Burrluck is the Gear ReviewsEditor of Guitarist magazine.

Guitarist, the UK’s leading magazinefor serious players, is published byFuture Publishing – 01225 442244

DAVE BURRLUCK


Blue Monday

What manufacturerssee when a journalistcomes into view

46 Mipro106_final 20/2/09 11:54 Page 1

PERSONNEL


SOAR VALLEY Music has appointed DarranBramley as its new sales manager followinghiss redundancy from the now defunctArbiter Group.

Bramley brings over 20 years’ experienceof working for Arbiter, heading up thefamous supplier’s drum and percussionteam. Soar Valley’s director, David Ledsam,commented: “I have known Darran formany years and have always admired hisefficiency, drive and commitment. Hisinput into Soar Valley will be invaluable.”

“I am delighted to be working for such asuccessful and forward-thinking company,”said Bramley of his new position. “SoarValley Music has built up an excellentreputation for fast, efficient, friendly serviceover the years in both the education andMI retail markets and I look forward tousing the experience gained from my years at Arbiter to help further thecompany’s growth.”

The announcement also said that SoarValley has a new catalogue and hinted that“major percussion lines” would come soon.

Bramley added that he is looking forwardto hearing from customers old and new. SOAR VALLEY: 01509 269629

Arbiter drum managerjoins Soar ValleyDarran Bramley becomes sales manager for percussion expert

THE MUSICShipping Co. (MSC)has announcedthat MattLongbottom, freshfrom a two-yearstint with Arbiter,has joined the

company as national account manager.Longbottom, who was formerly

Arbiter’s northern percussion salesmanager, will be handling MSC’s fullrange of percussion products.

Longbottom is a drummer who willalready be well known to northern drumstores and brings with him a lot ofprofessional expertise.

“We’re really delighted that Matt isjoining us at such an important point inour history,” said MSC’s Craig Fenney.“With Aquarian and our otherdistributed lines going from strength tostrength, we are now increasing thepresence of the British brands we own,including Natal and Shaw, to the pointwhere they are demanding even moreattention, which Matt will provide.”

Fenney concluded by pointing out that Longbottom will be contactingcustomers old and new in the next few weeks and in the meantime he can be reached [email protected]. MSC: 01562 827666

Longbottom heads to MSCFormer Arbiter man to take national accounts role

Broadcast man for DKHarrison brings peerless experience to Danish manufacturer

DANISH PRO audiofirm DK Technologieshas appointed PeterHarrison as regionalsales manager, withresponsibility for the USand the Far East.

Harrison has workedin broadcast since the 1970s, when hejoined Border TV. This experience is setagainst his pure engineering background – in1980 he joined the Rupert Neve-foundedmixer company. His commercial backgroundwas later broadened by working with Amekas director of engineering.

After some years of self employedconsultancy, he joined Calrec Audio in 2004as US regional sales manager and hisinternational experience is invaluable for DK Technologies.

He is also an erstwhile contributor to MIPro’s sister publication, Audio Pro International,where he discussed broadcast audio issues.

Richard Kelly, sales and marketing directorfor DK Technologies, added: “Peter’sexperience in the broadcast market, combinedwith his engineering and system design skills,makes him a valuable asset for the company.We are delighted to have him on board.” DK TECHNOLOGIES: 023 9259 6100

47 mip106_final 20/2/09 16:40 Page 1

Register now for the 2009 show at

11th June 2009 • Trade Day12th – 14th June • Public Days

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Lims Advert 17/2/09 17:27 Page 1

RETAILTanglewood hits the Caribbean

NEWS, OPINION, DATA

CHRIS HARGRAVE of The Music Stop inCockfosters, Hertfordshire took some timeout from his store in January to attend theseventh annual Little Feat Festival inNegril, Jamaica.

Before setting off, Hargrave (pictured,centre, with Little Feats’ Paul Barrere andFred Tackett) decided to arm himself witha Tanglewood TW73VS parlour guitar onthe off chance he might be able to get upclose and personal with the band and getthem to have a play on it.

“All the guys in the band werefantastically open and accessible,” saidHargrave. “Paul Barrere and Fred Tackett –Little Feat’s guitarists – were graciousenough to try the guitar and were both

genuinely impressed with the design, buildand quality of the instrument. Barrereremarked that it was ‘one sweet soundingguitar’ and was taken aback at the price,and was expecting it to be a much moreexpensive instrument.”

The purpose of the Little Feat Festival isto raise funds for the band’s foundation,Deep Blue Ripple International, that helpsunderprivileged kids in Jamaica. There isusually a raffle and an auction of itemsdonated by band members and guests.

Hargrave thought it would be a nicegesture to donate the guitar for this cause,so all the members of Little Feat signed it

and it was duly put up for auction, whereit helped to raise over six thousand dollarsfor the charity.

The blues rockers regularly organiseevents for Deep Blue Ripple, which ofteninvolves gigs, raffles and auctions and seesmusicians, artists, therapists, educators,teenagers and other kind hearted folksvolunteering at their own expense for aweek of working with the children ofvarious homes for orphans, the needy anddisabled. Money raised usually goestowards educational materials, artsupplies, recreational equipment, musicalinstruments and transportation costs.

Ongoing projects include The Friends ofThe West End Kids Fair, which celebratescommunity and life through laughter, art,

music and fun and the West HavenChildren’s Home for the Disabled, whichcares for mentally and physicallyhandicapped children in Jamaica. Almostall the children living there are wards ofthe state, with some 80 residentscurrently living at the home, ranging from

ages four to 38. Most of the residentsspend their entire lives at West Havenonce they are brought there.

For more info on Little Feat in Jamaicaand the Deep Blue Ripple Internationalfoundation, visit the band’s website atlittlefeat.net or deepblueripple.org.

The Music Stop presents parlour guitar and supports children’s foundation in Jamaica with blues legends, Little Feat


NEWSJG Windows toacquire Dolphin’sGateshead store

INDIE PROFILEStrings of theIsle of Wightcontemplates thepros and cons ofisland life

LOCATION REPORTOur roving reporterdiscovers DirkWitte’s store inAmsterdam andfinds it very special

The Little Feat Festivalraises funds for the

band’s foundation, DeepBlue Ripple, that helpsunderprivileged kids in

Jamaica.

Little Feat getting down n dirty on stageat the Little Feat Festival

49 MiPro106_final 20/2/09 14:49 Page 1


RETAIL • NEWS

JG Windows acquires Gateshead storeDolphin recognises branch doesn’t fit with future plans as traditional Newcastle retailer jumps at the chance of expansion

JG WINDOWS has announcedthat it is to take over the 3,500square foot store currentlyoccupied by Dolphin Music inGateshead’s Metro Centre withinthe next few months.

The takeover will add only thesecond retail outlet to thecompany's portfolio, which, in2008, celebrated a century oftrading in the centre ofNewcastle-upon-Tyne.

JG Windows is the NorthEast’s largest music store(pictured), selling musicalinstruments, printed music, CDsand DVDs and hi fi equipmentacross three floors.

“When we purchased the citycentre store from the Windowsfamily in 2006 and with mybackground at Roland, not leastin running the digital pianoconcessions within departmentstores, we knew that at somepoint we must take our businesswell and truly to the consumermarket,” explained RupertBradbury, the Newcastle store’smanaging director.

“The Metro Centre has alwaysbeen in our sights as it is only 15minutes from our city centrestore and has 23 million visitorsa year, of which many do notshop in Newcastle’s city centre.

“We approached Rob Williamsand Jason Tavaria from Dolphinin October last year and realisedthat there would be a clearbenefit to both of our businessesby taking this plan forward.

“For Dolphin, largely down toit’s geographical location, beingin Liverpool the Gateshead storedoes not exactly fit with theirfuture plans.

“For Windows, it fits perfectlyinto our future plans. Clearlythere are many benefits ofhaving two similar, but differentstores so close to each other.”JG WINDOWS: 0191 261 2406DOLPHIN: 0870 840 9060

B&M launchesonline trade areaBARNES & MULLINS haslaunched an online trade area,designed to be an invaluableresource for all MI retailers atbarnesandmullins.co.uk.

When logged in to the area,retailers can keep their detailsup to date, upload store logosand pictures, find detailedB&M staff contactinformation, see all newproducts, downloads, artistsand news stories since theirlast visit, check the latest B&Mtrade only news, listthemselves as stockists ofappropriate brands and more.

B&M’s Alex Mew explainedthe reasoning behind theproject: “We needed a way tocommunicate efficiently withour trade customers and keepthem up to date with newdevelopments and productadditions. Sending physicalpaper updates is just too timeconsuming, expensive andlargely inefficient.

“Having completed theonline catalogue and store-finder in December, we wereconscious that more specificinformation had to flow moreeasily to the trade.

“As an example, theFebruary 2009 price updatesare now available in the tradeonly download section in aformat that is both readable in

a regular sense and also usefulto those with EPOS or web-based sales systems.”

B&M has also added asimple but useful stock imagedownload function. With thisnew feature, the retailer cansimply select all the brandsthat they want pictures for,and download a single zip fileof multi-sized, correctlylabelled images.

In addition, for retailers thatneed it, there is also a functionto download the fullycategorised and description-rich web database itself, tosave webmasters from havingto retype all B&M productsinto a spreadsheet and so on.

Stage two of the project isdue for completion in 2010.

Full details on how to log inare available from B&M areasales managers. BARNES & MULLINS:01691 652449

Fretz Music creates Drum ZoneCONFIDENT IN MI’s apparentability to buck the trend in thecurrent economic climate, FretzMusic Store has announced theopening of Drum Zone, itsdedicated drum shop in HemelHempstead, Hertfordshire.

The space for Drum Zonebecame available when FretzMusic moved to largerpremises, but the store’sowners, Baz and Theresa Garvin,decided to keep hold of the oldstore and turn it into a drumemporium. The drum store isstaffed and managed by afriendly professional drummerwith over 20 years experience.The management invitescustomers to drop in –apparently the store even offersa decent cup of coffee.

Drum Zone aims to cater forall drummers, offering topfacilities, including a soundproof booth for the prospective

punters who need to check outgear. The store is also offeringpromotional free lessons.

The drum retailer is aimingto stock most major brands, aswell as a selection of‘interesting and unique’ gearand is negotiating becomingthe sole agent for Fulminecustom made drum shoes(fulminedrummershoes.it).

Drum Zone’s owners said:“We’re excited about our twostores in Hemel Hempstead.Drum Zone is a classic old townshop and we take pride in ourcustomer service and aim to dogreat deals.”

The store can be found at 42High Street, Hemel Hempstead,HP1 3AE. FRETZ MUSIC: 01442 260004

Indie festival to benefit retailersTHE INDIE Guitar Company hascome up with an unusualpromotion, aimed at helpingsales of its guitars and increasingawareness of its festival,unsurprisingly named the IndieGuitar Music Festival, which willtake place at The Wichwoods inthe Cotswolds in Oxfordshire onJuly 24th to 26th this year.

The promotion takes the formof a draw, with the Indie Guitarteam pulling a serial number of aguitar sold during the preceding

month and awarding the dealerthat sold that guitar with 20tickets to the festival. The drawwill take place each month fromMarch through to July, with thewinners being announced in MIPro and on the MI Pro website.

The festival has alreadyconfirmed bands including TheHolloways, British Sea Power andCounting Crows. There are alsoother bands lined up awaitingconfirmation including thePigeon Detectives andBabyshambles.

Dealers wishing to participatein the promotion (and benefitfrom the chance of gettingtickets) should contact the IndieGuitar Company.INDIE GUITARS: 01635 579300

50 Mipro106_final 20/2/09 14:30 Page 1



RETAIL • INDIE PROFILE

STRINGS GUITAR CENTRE, ISLE OF WIGHT

Is business up or down comparedto last year?Down, unfortunately. The generaleconomic climate hasn’t helped andwe’ve definitely seen fewer peoplethrough the door. We also run a PAhire side to the business and thathas dropped off as promoters havestopped putting on as many nights.

Do you advertise locally?Yes, we do. We use a number ofdifferent approaches, including localpapers, free ads and White Bay,which is a local version of Ebaythat's free to advertise on. We alsouse conventional routes such as theYellow Pages and things like that.

Do you have a web presence?Yes we do, it can be found atstringsguitarcentre.com. We mainlyuse it as an advertising tool and wedo some mail order from it. Wedon’t do a lot though as it is veryexpensive to ship goods off theisland. The Solent is a very expensivebit of water to cross.

What is your main strength?We're a good old fashioned rock nroll shop with lots of experience andplenty of in-house knowledge andenthusiasm. We’re the best stockistof electric, acoustic and bass guitarson the island and we have aneclectic and wide ranging mix ofstock. We also bring in a fair bit ofvintage and rare product, so we havelots to offer.

What is the most importantlesson you’ve learned during yourtime in the business?Keep your ear to the market andlisten to your customers.

What’s the biggest challengefacing you today?It’s keeping people coming in thedoor – and cash flow. We have aloyal customer base, which is greatand as we’re on the Isle of Wight wehave a bit of a protected market.However, most of the populationhere are 50 plus, which doesn’t helpmatters, so it can be a bit limitingbeing on an island and being faraway from a major city.

Given the power, what’s the onething you would change about theindustry?I would like to see retail pricingstandardised across the board, get itthe same between everybody. It’llnever happen, but it would be ahuge boost if it could. If a product’sRRP is £249 and everybody wasselling it at £249, we’d all really feelthe benefit.into the music

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52 Mipro106_final 20/2/09 14:43 Page 1

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AMSTERDAMRETAIL • LOCATION REPORT - SPECIAL


WHILE wandering around the streets ofAmsterdam, it would be easy to forgetthat there is more to the place than viceand bewildered stoners. However, a bit ofgentle investigation and ten minutes wellspent with a map can lead you to 55Vijzelstraat and a small slice of retailnirvana. Ladies and gentlemen, I give youDirk Witte’s, the finest purveyor or musicalinstruments in Amsterdam.

DIRK WITTE’S WOWSIt makes one hell of an impression – theshop is squeezed into a busy city street inthat inimitable old European way ofbuilding houses that looks like they’vetaken a normal row of shops and squeezedthem all together so that they’re allincredibly tall and thin. From the outsidethis is a store that looks tiny, but itimmediately oozes class.

A window packed full of guitars clearlychosen to demonstrate the good taste andbroad stocking options of the ownersbeckons you in so smoothly that it feelslike a guitar-based tractor beam has a holdof you. It reeks of old-school Europeancool, with its arch-top instruments andwooden panelling, like the sort of shopyou might imagine a young PaulMcCartney buying his famous Höfnerfrom while in Hamburg.

Once you manage to stop staring atthe instruments in the window, the funreally begins. Unlike so many stores thatpromise so much from the outside butdeliver so little once you’re in, it isimmediately apparent that Dirk Witte’s isa treasure trove. The first sight uponentrance is two walls packed full of abeautiful array of arch-top Ibanez and Ariaelectrics and, thrillingly for a huge fan whohas never seen more than a couple in anymusic shop he has ever visited, a hugeselection of Rickenbackers.

The ground level is a mere taster forwhat is to come. Arranged on the wall arevarious examples of beautiful vintageinstruments, pre-war Martins, late ‘50sGibsons, the sort of thing to give anyworld weary muso a tingle down thespine, while a large area in front of aridiculously well stocked accessories areais left clear for casual chatting andstandard music shop banter.

A quick jump up the stairs reveals astaggeringly well-stocked acoustic, electricand bass guitar room. Fender and Gibsoncan be found here in force and a thoroughshowing from Martin, Taylor and Yamaha,among myriad other manufacturers, makethe acoustic section one of the best theseeyes have ever seen. Further exploration ofthe store reveals excellent selections ofamplifiers, effects, keyboards,microphones, pro audio gear and a wholehost of other goodies.

The single most striking aspect of thisfeast for the musician’s eyes and earsthough, is that every manufacturer youcan think of is represented – and not in ahalf-hearted manner, but thoroughly andrepresentatively. The sheer weight of stockis frankly astonishing and enough to makeanyone with a musical bone in their bodyput their hands in their pocket. This is ashop that allows the musicians ofAmsterdam access to every bit of kit theycan think of, with no waiting around fororders, no awkward ‘we don’t stock that’moments and ultimately no hassle.

THE PERFECT EXAMPLEYou may be wondering by now why amusic shop in Amsterdam is in any wayrelevant to the UK. Well, here’s why: DirkWitte’s is not a cheap shop to buy gear in,nor is it a huge internet retailer. It simplydoes what a music shop should do – itinspires musicians to make music bygiving them a chance to actually touchand play the gear they have seen in themagazines and on the websites and lustafter every day. It gives them a reason tosave their pennies for the next guitar,because they know they’ll be able to get it.

A crowd of hugely knowledgeable andfriendly staff and a well planned and laid-out store make shopping there a pleasure.It’s the sort of place that days could bespent in, not to mention thousands ofpounds. Frankly, it’s a travesty there isn’t astore like this in every city. And for thoseof you who are doubting that a shop ofthis scale could work, bear this in mind –for the four days this reporter spent inAmsterdam, visiting the shop every day, itwas never anything less than packed outwith paying customers. Something, surely,to think on…

Perhaps more famous for its liberal laws than its musicshops, all it took was one store to show our roving locationreporter how it should be done. Rob Power dons his finestclogs and investigates…

Dirk Witte’s wondershop leads the way as

an example of what allgood music shops

should aspire to

Dirk Witte’s

54 Mipro106_final 20/2/09 12:11 Page 1

The current economicclimate is impacting greatlyon our industry and I am

now getting regular calls fromretailers and suppliers in relationto what the MIA is doing to help.

I have been delighted with thegenuinely supportive andconstructive ideas you areoffering, helping us all throughthese difficult times. Manyexisting members will be awarethat the association is doing agreat deal to support yourbusinesses and help preserve thejobs and the skill sets that arethe fundamental foundation ofour industry.

It seems clear you are glad theindustry has a central body tolobby government, producestatistics, put on industry shows(such as LIMS), work witheducationalists and negotiate

and provide additional supportand benefits for your businesses.

This is not always met with adesire to pay the membershipfee and actually be part of thisbody – which is a shame.

The more members, the easierit becomes to lobby and presentthe case for our great industry.

It is harder when we onlyrepresent parts of the industry,for all the reasons you canimagine – especially in thecurrent climate.

A successful LIMS this June willbe a great boost for the industryand will encourage more peopleto take up playing an instrument

or to buy another new one. We need you all to consider

how you can support the event,whether you are exhibiting as asupplier, retailing or visiting theshow in person. How can youhelp us to get as many people tothe show as possible? We need togive the customers every reasonto make a purchase in thesedifficult times, not just at theshow, but from your store andLIMS is aiming to do just that.

We will also be working withMusic for Youth, the biggestmusic charity in the world, as ourEducation Partner at the show. Ithas a database of millions ofyoung musicians and we wantthem all at LIMS.

Another positive aspect ofincreased MIA membership is thebargaining power it gives uswhen negotiating the wide range

of benefits we can provide foryour businesses.

Our powers to influencegovernment, the record industry,regional development agenciesand the Charities Commission aredependant on us beingrepresentative of all the retailersand suppliers in our industry.

Everybody has opinions andideas, but unless we harness andact on these democratically andcollectively, we will never moveforward. There is still far toomuch apathy and negativity inthe industry. There has never beena more important time for you tobe part of our association, so joinus and let’s make a difference.

MIA: 01372 750600 For membership details go tomia.org.uk or contact Jon [email protected].

Preferential Electronic Card Processing Terms

Make the most of the connections you already have

Pick up the phone and callHSBC Merchant Services!

Call: 0800 731 8921* (new customers)

Call: 0845 702 3344** (existing customers)

Important notesHSBC Merchant Services reserves the right not to open a card processing facility subject to our card processing Terms and Conditions. *Textphone 1800 10800 0283 516. Lines are open 9am- 5pm Monday to Friday (excluding public holidays). **Every day (except Christmas day) 8am to 11pm Monday to Saturday, 10am to 5pm Sundays, 10am to 4pm public holidays. To help uscontinually improve our service and in the interests of security, we may record your communications with us.Issued by HSBC Merchant Services LLP AC13075


A message from the MIA president, Jon Gold of Ashton Music: consider how you can support LIMS this year...

Your trade body needs you

55 Mipro106_final 20/2/09 12:09 Page 1


NEW PRODUCTSBACKLINE & FX • NEW PRODUCTS


STAGG250 GAR 212 UK COMBO £369They say: All the power and quality at themost competitive of prices.For: GuitaristsRange: Stagg guitar combosSpec: 250W, 2x 12” combo, two channels, 3-band eq, reverb, FX loop, jack and balancedXLR outputs, Speakon extension speakeroutput, steel pull-out handles.From: EMD 01293 862612

HAYDENPETITE 2 COMBO £399They say: Hand wired, point-to-point, like it wasin the pioneering days of amplifier design.For: GuitaristsRange: Hayden ampsSpec: Two-Watt combo, ECC83 preamp valve,6V6 power amp valve, volume and tone knobs,three-position gain switch (standard, crunch andoverdrive), Celestion G10 Greenback 10" speaker.From: Hayden 01245 441155

PEAVEYVYPYR TUBE 120H £TBCThey say: The most technologically advanced guitar modelingamplifiers available.For: GuitaristsRange: Peavey VypyrSpec: 120W head, 32-bit, floating-point Sharc processing, 24 ampmodels, 11 editable preamp effects and 11 post-amp effects withdual-parameter control, reverb, delay, 3-band eq, USB 2.0 output.From: Peavey 01536 461234

BOSSME-70 MULTI-EFFECTS £269They say: A friendly design and unprecedented tonecreation capabilities – an essential performance unit.For: GuitaristsRange: Boss multi-effectsSpec: Four effects banks (overdrive/distortion,modulation, delay & comp/FX), expression pedal,COSM preamp engine derived from GT-10, EZ Tone,phrase loop.From: Roland 01792 702701

DANELECTROHODAD MINI GUITAR AMP £39.99They say: Will rock your world – no matterwhere or what the occasion.For: GuitaristsRange: Dano ampsSpec: Classic ‘triangular’ design table-top amp,on/off/volume knob, gain & tone controls,adjustable echo & tremolo effects. From: JHS 0113 286 5381

MARSHALLMG 4 SERIES AMPS £POAThey say: The renovated MG series providesmaximum versatility.For: GuitaristsRange: Marshall MG4Spec: Analog tone, digital control, digital effects,proprietary Stompware technology, 12-inchspeaker, four channels. Eight models in series:MG10 (two channels, 8” speaker), 15 (twochannels, 10”), 15FX, 30FX, 50FX. 101FX, 102FX(2x 12”), 100HFX head.From: Marshall 01908 375411

VOXAC4TV HEAD & COMBO £218They say: Based on the popular AC4 from the1960s.For: GuitaristsRange: Vox ampsSpec: Four-Watt, Class A valve amp, single12AX7 preamp valve and EL84 power valve, 1-Watt and 1⁄2-Watt switch, 16-Ohm speakeroutput. Combo with Celestion 10-inch speaker.From: Korg 01908 857100

Mini to maxi: Thediminutive Hodad (above)and Peavey’s monsterVypyr (left)

57 Mipro106_final 20/2/09 11:28 Page 1

1 – 4. 4. 2009live for the music

The world of music is coming to Frankfurt am Main again in 2009. Visit the Musikmesse show from 1 – 4 April to find out about the most important product innovations and new developments in the industry. Musikmesse is the leading international trade fair for musical instruments, music soft-ware, computer hardware, sheet music and accessories. With a complete range of musical instruments from the classical spectrum through to electric guitars, keyboards, brass instruments and electronic equipment, our exhibitors give retailers, trade visitors and music fans alike an insight into the latest trends. Make valuable contacts and success-ful business links here. Discover the most recent technical innovations and try out the latest instruments. Plus, there are professional product presentations from famous musi-cians to enjoy at this top insider event.

Tel. +44 (0) 17 84 41 59 [email protected]

mipro template 19/11/08 14:39 Page 1

BASS & GUITAR • NEW PRODUCTS

STAGGAB203CE-N LH LEFTIEELCTRO-ACOUSTIC BASS£299They say: Niche market? Noproblem, Stagg has the instrument tofit any need.For: BassistsRange: Stagg bassesSpec: Spruce top, rosewood back &sides, nato neck, rosewood bridge &fingerboard, diecast nickelmachineheads, bridge piezo pickupwith compensated saddle, naturalhigh gloss finish.

From: EMD 01293 862612

ENCOREBLASTER SERIESELECTRICS FROM £125They say: Whatever guitar or bassstyle you want to start playing,we’ve got it covered.For: Guitarists, bassistsRange: Encore electricsSpec: Six models in range, varietyof finishes, E6 S-type, E99 L-type,E2 T-type, E69 twin horn, E4 P-typebass and E20 7/8 sized bass,Wilkinson designed guitars withWilkinson hardware.From: JHS 0113 286 5381

YAMAHALLX6A ELECTRO-ACOUSTIC £816They say: The perfect combinationof ultra-traditional styling andcutting edge performance.For: GuitaristsRange: Yamaha LL seriesSpec: Engelmann spruce top,rosewood back and sides, 3-plymahogany/rosewood/mahoganyneck, System 57 3-way ARTpreamp, 3-band eq, independentvolume control for each of threepickups, chromatic tuner.From: Yamaha 01908 366700

MARINERDX-6N DREADNOUGHT £835They say: A most elegant, handcrafted guitar.For: GuitaristsRange: Mariner MastheadSpec: Solid mahogany back and sides, sitka spruce top.maple and rosewood bindings, abalone inlays. GroverSta-Tite tuners. Ships with deluxe shaped plush-linedhard case.From: Ashton 01780 781630

TAKAMINELTD 2009 £1,529.99They say: Offers performers timeless beauty andunparalleled, classic tone.For: GuitaristsRange: Takamine limited editionsSpec: NEX small jumbo body, solidspruce top, solid mahogany back& sides, ebony fretboard,mahogany neck androsewood pin bridge,CTP-2 Cool Tubepreamp. Sunburstfinish, ships withdeluxe hard shell case.From: Fender 01342 331700


PEAVEYHP SPECIAL STOPTAILSERIES GUITARS £POAThey say: Originally offered as acustom upgrade, but now availableas a stock model.For: GuitaristsRange: Peavey HP SpecialSpec: Fixed bridge, DualCompression string-thru-bodydesign, two HP Specialhumbuckers, push-pull coil taps,basswood body, available as carvedmaple top and flat top versions,maple neck.From: Peavey 01536 461234

ARIAAVB77 BASS GUITAR £399 They say: Aimed at the bassistwho wants a versatile workhorsethat will deliver the goods in everydepartment night after night.For: BassistsRange: Aria AVB bassesSpec: Alder body with quiltedmaple top, bolt-on neck, doubleoctave fingerboard, chrome satinhardware, closed tuners, twoSeymour Duncan alnico JB-101pickups, pickup blend control,active bass & treble.From: Aria 01483238720

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59 Mipro106_final 20/2/09 11:27 Page 1

60 MARCH 2009 miPRO WWW.MI-PRO.CO.UK

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DRUMS & PERCUSSION • NEW PRODUCTS

MAPEXOCEAN WAVE LTD EDITIONThey say: Beautiful wood with a deep, hand rubbed finishshells that deliver precise tone and perfect resonance.For: DrummersRange: Mapex OrionSpec: Six-piece kit with 22 x 18 bass, 10 x 8 and 12 x 9toms, 14 x 14 and 16 x 16 floor toms, 14 x 5.5 snaredrum, all-maple Orion shells, black chrome hardware,white coated front bass drum head, burl veneer.From: Korg 01908 857100

MAPEXMERIDIAN MAPLE SERIES They say: Bright and resonant shells in awide selection of lacquered and coveredfinishes.For: DrummersRange: Mapex MeridianSpec: 9-ply all maple, 5.8mm toms andsnares, 7.2mm bass drum, isolated tommount system, 2.3mm steelPowerhoops, new lug, spring-cushionedfloor tom legs, new bass drum tommount (with adapter for boom arm),low-profile, recessed bass drum clawswith cushioning gasket, Remo UT heads.From: Korg 01908 857100

ROLANDTD-4 SOUND MODULEThey say: Brings advanced V-Drumstechnology to an affordable price point.For: V-DrummersRange: Roland V-Drum sound modulesSpec: New drum and percussion sounds,ambience effects, Rhythm Coach andQuick Record functions.From: Roland 01792 702701

ROLANDTD-4K ELECTRONIC KIT They say: Upgraded sounds,enhanced functionality and a coolnew design.For: DrummersRange: Roland V-DrumsSpec: TD-4 percussion module,multi-layer mesh snare pad, four-leg drum stand, natural playingcymbals, hi-hat control, RhythmCoach and Quick Record functions,expands with an optional pad or 3-way trigger V-Cymbal.From: Roland 01792 702701

MAPEXMERIDIAN BIRCH SERIES They say: Ushers in a new level ofquality and functionality in themid-level.For: DrummersRange: Mapex MeridianSpec: 6-ply all birch, 7.2mm shells,isolated tom mount, 2.3mm steelPowerhoops, new lug, spring-cushioned floor tom legs, new bassdrum tom mount, low-profile,recessed bass drum claws withcushion gasket, Remo UT heads.From: Korg 01908 857100

MAPEXLIMITED EDITION ELM BURL SNAREThey say: Beautiful exterior on a thin shell. with anenhanced focus and a more controlled sound.For: DrummersRange: Mapex limited editionsSpec: Elm burl on thin ply maple shell, reinforcing ring,14-inch by 5.5-inch, black chrome die-cast hoop, shipswith free snare bag.From: Korg 01908 857100

ROLANDDT-HD1 DRUM TUTORIALThey say: Integrates seamlessly with the Roland HD-1V-Drums Lite electronic drum kit.For: HD-1 usersRange: Roland tutorialsSpec: Introductory drum patterns and techniques forbeginners, USB-MIDI interface, audio cable, notationscreen with ‘bouncing ball’ guide, computer ‘game’ styleguide, tempo control.From: Roland 01792 702701

60 mipro106_final 20/2/09 11:50 Page 1

INCREASE SALES AND BOOST PROFITS! NEW!SEE MANY MORE NEWTITLES AT MUSIKMESSE HALL 3.1STAND D27

GET THE BEST DEAL ON THESE NEW HAL LEONARDPUBLICATIONS AND MORE BY VISITING THE MUSICSALES STAND AT FRANKFURT MUSIKMESSE 1ST-4TH APRIL (HALL 3.1, STAND D27)MUSIC SALES TRADE SALES HOTLINE: +44 (0)1284 705050 EMAIL: [email protected]

MS 704 MI Pro HLE Advert 315x230:Layout 1 19/2/09 15:16 Page 1

NEW PRODUCTS • RECORDING & HI TECH

ROLANDAX-SYNTH £949They say: Allows keyboard players toconnect with their audience as guitaristsand singers do.For: Keyboard playersRange: Roland synthsSpec: Modulation bar, D Beam, assignableknob controllers, 49 velocity-sensitivekeys, 28-voice with 256 tones, MIDI I/O,V-Link visual control.From: Roland 01792 702701

AKAIEWI USB WINDINSTRUMENT/CONTROLLER£299.99They say: Gives anyone the expressivecapabilities of wind instruments.For: Woodwind playersRange: Akai controllersSpec: New Aria operating system, USBinterface, five-octave range, breathmodulation with adjustable threshold,pitch bend, adjustable vibrato,transposition, octave shifting, multiplefingering modes, saxophone, flute, oboeand trumpet.From: Numark Alesis 01252 341400


ROLANDVP-770 VOCAL & ENSEMBLE

KEYBOARD £1,649They say: Expressive onboard sounds across a vast array of genres.

For: Keyboard playersRange: Roland keyboards

Spec: Solid wood construction, metal chassis, Super Natural soundtechnology, high-resolution vocoder modelling, interactive, real-time

backing chorus.From: Roland 01792 702701

KORGMICROKORG XL £436They say: Offering a variety of toolsfor performers, producers, computermusicians and beginners alike.For: Synth & keyboard playersRange: MicroKorgSpec: Radias synth engine, 128 sounds,intuitive genre and soundcategorisation system, 17 Kaosseffects, virtual user patch mode, 16-band vocoder, gooseneck mic, USB &MIDI I/O, 37 keys.From: Korg 01908 857100

SAMSONGO MIC USB CONDENSER£TBCThey say: A versatile computer-basedmiking and recording solution.For: General, podcast, voicerecognitionRange: Samson USB micsSpec: Portable USB condenser mic,Mac & PC compatible, no driversneeded, laptop clip holder, pressuregradient with USB digital output, 20Hzto 18kHz frequency response.From: Korg 01908 857100

ALESISMASTER CONTROL

AUDIO INTERFACE £899.99They say: Contains a broad swath of connectivity to

connect nearly any source.For: Producers, musicians

Range: Alesis interfacesSpec: 44.1/192 audio quality, two XLR & six TRS inputs,

phantom power, 26 simultaneous inputs, S/PDIF and dualS/MUX ADAT Lightpipe inputs, six analog outs for surroundsound, Eight 360-degree assignable virtual potentiometers.

From: Numark Alesis 01252 341400

JBLLSR2300 SERIES STUDIOMONITORS FROM £399They say: Delivers professionalperformance at price points within reachof any studio.For: StudiosRange: JBL monitorsSpec: Three in range. LSR2328P: 160Wbi-amped eight-inch monitor.sLSR2325P bi-amped five-inch.LSR2310SP powered ten-inch subwooferwith 180W amp.From: Sound Tech 01462 480000

One of NAMM’s best inshow (left) the handy

Samson USB mic

Microkorg continues itsdevelopment for all

musicians andproducers

62 Mipro106_final 20/2/09 14:46 Page 1

MI MARKETPLACE

CLASSIFIEDS: MINIMUM 12 MONTHS - ONE ANNUAL CHARGE QUARTER PAGE £1,295

MARKETPLACE INDEX

Fusion made an entrance into themusic industry at Music China,Shanghai in October 2008. Its

presence certainly attracted attention,resulting in the company partneringwith established distributorsworldwide.

A repeat performance took place atNAMM 2009. Its booth resembledbees round a honey pot, drawingin the crowds on all four days.So what is theattraction of thisnewcomer?

Fusion designs andmanufactures fourranges of high quality gigbags that offer a choice instyle, colour andconstruction and have aconcept where a selection ofaccessory bags can beattached across the ranges.

The company alsohas passion and vision.It has the vision todesign and producethese innovative bagsand the passion in theteam is the drive andheartbeat behind Fusion.

The all-woman teamconsists of fourexperienced anddetermined individuals.

Amanda Wheatley, a leading UKproduct designer, started her career inthe sports and leisure industry. Thisexperience, coupled with the fact thatshe is an accomplished musician, ledher to transfer this knowledge intothe music industry.

For the last 12 years she hasdesigned gig bags for major brand

names in MI and in 2008 decidedto form Fusion with NicoleSzekeres, Wendy Caldwell andTheli Renwick.

These ladies offer a strongbase with experience inmarketing, sales, logistics andadministration.

This is only the beginningfor Fusion, which is sure toinject a large shot ofexcitement into the future ofthe gig bag world.

At present it providesexcellent bags for guitar,

cello, keyboard, brass andwoodwind instruments,but there will be plentymore to come.

You can visit the teamat Musikmesse, FrankfurtHall 3.1, booth F64, andexperience these bagsfirst hand. You will seewhy they are morethan just a gig bag.

www.fusion-bags.com

SU

PP

LIE

R S

PO

TLIG

HT

THE PLACE FOR BUSINESS

A

ALLPARTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0870 442 3336

B

BILL LEWINGTON . . . . . . . . . . . . . . . . . . . . . . . . . 01268 413366

BARNES & MULLINS . . . . . . . . . . . . . . . . . . . . . . 01691 652 449

C

COVERNOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0121 327 1977

F

FOCUS MERCHANDISE . . . . . . . . . . . . . . . . . . . 020 8245 9035

FCN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01892 603730

FUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0113 3200 304

G

GHANA GOODS. . . . . . . . . . . . . . . . . . . . . . . . . . . 0117 955 8668

GUITARRAS DE ESPAÑA . . . . . . . . . . . . . . . . . . . 0117 973 3214

H

HERGA MUSIC SERVICES. . . . . . . . . . . . . . . . . . 020 8861 1590

HOT ROX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0115 987 3163

L

LEED REPRESENTATION. . . . . . . . . . . . . . . . . . . 01243 378050

M

MADAROZZO™/CBAC LTD. . . . . . . . . . . . . . . . . 020 8816 8368

MARSHALL AMPLIFICATIONS . . . WWW.MARSHALLAMPS.COM

MCELLAND/GREMLIN MUSIC. . . . . . . . . . . . . . . . 01273 491333

MELBAY . . . . . . . . . . . . . . . . . . . . . . . . . . +44 (0)20 8382 8010

MIDI (IRELAND) . . . . . . . . . . . . . . . . . . . . . . . . 003531 6779004

MUSIC EXCHANGE.. . . . . . . . . . . . . . . . . . . . . . . . 0161 946 1234

MUSIC SHIPPING CO. . . . . . . . . . . . . . . . . . . . . . . 01562 827666

O

OCARINA WORKSHOP . . . . . . . . . . . . . . . . . . . . . 01536 485963

ORANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0208 905 2828

P

PIANO LOGISTICS . . . . . . . . . . . . . . . . . . . . . . . . 0208 561 4321

R

ROBERT MORLEY . . . . . . . . . . . . . . . . . . . . . . . . 020 8318 5838

ROTHWELL AUDIO . . . . . . . . . . . . . . . . . . . . . . . . 01204 366133

S

SOAR VALLEY MUSIC . . . . . . . . . . . . . . . . . . . . . 0116 230 4926

STAINER & BELL . . . . . . . . . . . . . . . . . . . . . . . . 020 8343 3303

V

TOM & WILL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08450 945 659

V

VARSITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0131 557 4310

W

WIND PLUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0116 243 1698

TO ADVERTISE ON THESE PAGES CALL DARRELL CARTER ON 01992 535647MIMARKETPLACE


Here come the girls

63-71 mip106_final 20/2/09 11:36 Page 1


AMPLIFICATION

To find out more about the JVM Series and other Marshall products contact: Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK11DQ www.marshallamps.com

ACCESSORIES & GIFTWAREABROAD REPRESENTATION

CLASSICAL GUITARS

63-71 mip106_final 20/2/09 11:36 Page 2


MI MARKETPLACEDISTRIBUTION

DISTRIBUTION

DISTRIBUTION

DISTRIBUTION

63-71 mip106_final 20/2/09 11:36 Page 3

DISTRIBUTION

MI MARKETPLACE


DISTRIBUTIONDISTRIBUTION

ETHNIC AND FOLK

63-71 mip106_final 20/2/09 11:36 Page 4


MI MARKETPLACE

…more than just a gig bag!

“THEWINNIN

G TEAM”

Visit us during the Musikmesse:Hall 3.1 Booth F64or online www.fusion-bags.com

DISTRIBUTION

...bridges, necks, bodies,

electronics, frets, inlay dots, pickups, knobs,

switches, pickguards, tools scratchplates, strings, screws,

nuts, saddles, tailpieces ...and much more!!!

The UK’s Premier Guitar & Bass Parts Supplier

Pick a partABM, Badass, Bartolini, Bigsby, CRL, CTS,

Danelectro, Earvana, Electrosocket, Fender,

Gotoh, Graphtech, Hipshot, Hofner, Jim

Dunlop, Lace, Leo Quan, Moses, Razor,

Schaller, Sperzel, Sprague, Switchcraft

& Wilkinson.

To order call 0870 442 3336Low call rate 0845 345 5951

Order online or find a local dealer @:

www.allparts.uk.comor email us: [email protected]

GUITAR PARTS

ETHNIC AND FOLK

GHANA GOODSWEST AFRICAN PERCUSSION

WHOLESALE AND RETAIL

PO Box 95, Fishponds

Bristol, BS16 1AG

Tel: 0117 9354132

[email protected]

www.ghanagoods.com

63-71 mip106_final 20/2/09 11:36 Page 5

GUITAR ACCESSORIES

Rothwell effects pedals are trulyhand-made here in the uk and built to thehighest standards. The cases are handpolished and the electronics carefullyassembled by skilled uk workers. The circuit designis innovative and original (we don't do clones, repros ormods) and the sound is the sound of classic rock guitar - pure tone.Our pedals are quickly gaining a reputation for superb quality and are being played on some of theworld's biggest stages. The Hellbender (overdrive) and Switchblade (distortion) are currently beingheard by thousands of fans on Justin Timberlake's world tour, played by Mike Scott (also Prince'smain guitarist), who says "you make truly great, great pedals".

Why not join our growing list of uk and international dealers and stock Britain's finest boutiqueeffects pedals.

BRITAIN'S FINEST BOUTIQUE EFFECTS

WWW.ROTHWELLAUDIOPRODUCTS.CO.UK01204 366133

INSURANCE BUSINESS

MI MARKETPLACE

ETHNIC AND FOLK

MUSIC PUBLISHERS

Excellence in Music

Office 2.05, Argentum 2 Queen Caroline Street Hammersmith, LONDON W6 9DX UK Sales Freephone: 0800 432 0486

Fax Number: +44 (0)20 8323 8306 E-mail: [email protected]


63-71 mip106_final 20/2/09 11:36 Page 6


MI MARKETPLACEPIANOS AND HARPSICORDS

Rober t MORLEY Co Ltd

34 ENGATE St. LONDON SE13 7HA

020•8318•5838Grand & Upright Pianos by

Elysian, Grotrian-Steinweg, Bechstein,Monington & Weston

and other famous makers

John Morley Clavichords, Spinets,Harpsichords, Virginals & Celestes

Antique, Modern & New, Rental, Repairs,Sales lists & colour brochures on request.

Robert MORLEY & Co Ltd.Piano & Harpsichord Makers

Established 1881

www.morleypianos.com

OCARINAS

MUSIC PUBLISHERS

Making Music in SchoolsSince 1983

UK made rainbow ocarinas fromOcarina Workshop are easy to playand great fun to teach with.

These pocket-sized instrumentsare popular with kids & well-tuned.Together with 'Play your Ocarina'music books, they are the key tosuccessful music-making in manyschools around the country.

Make sure school ocarinas are onyour counter-top and availablewhen customers request them!

Quote ‘MI Pro’ when you order12 Ocarinas & 12 Books and beamazed at the ocarina’s potential...

Trade orders are sent by return:free delivery & no minimum order

www.ocarina.co.uk

tel: 01536 485 963fax: 01536 485 051

email: [email protected]

MUSIC PUBLISHERS

63-71 mip106_final 20/2/09 11:37 Page 7

PIANO MOVERS REPAIRS

www.focusmerchandise.co.uk

PROMOTIONAL MERCHANDISEPERCUSSION AND DRUMS

[email protected]

MSC ONLINE

Extensive Product Information

Secure Dealer Only Section

Public & DEALER Forums

Online Ordering

www.musicshipping.co.uk

01562 827666

NEXT DAY DELIVERY

Drum and Percussion Accesories

THE MUSIC SHIPPING CO.

www.musicshipping.co.uk


MI MARKETPLACE

63-71 mip106_final 20/2/09 11:37 Page 8

Adam Hall..................................................................34

Anglo Spanish Guitar ................................................5

Aria ...............................................................................5

Ashdown..............................................................44,52

Barnes & Mullins ................................................24,43

DBT ...............................................................................9

EMD.............................................................................75

Freestyle ......................................................................4

House Music .............................................................45

HSBC ..........................................................................55

Indie Guitar ................................................................21

JHS .............................................................................23

Lesiuretec .................................................................20

Lims............................................................................48

Marshall........................................................................2

Martyn Booth............................................................37

MB Media...................................................................56

Mcelland .....................................................................18

Mel Bay ............................................................38 & 39

Music Sales ................................................................61

Music Shipping ..........................................................14

Numark ......................................................................32

Palme (IIR) ................................................................40

P&R Howard..............................................................28

Peavey.........................................................................51

Piano Warehouse ......................................................13

Retail Up! .....................................................................5

Roland ........................................................................76

Rotosound .................................................................52

S.Johnson ....................................................................3

Sherwood ..................................................................58

Sound Technology .......................................................1

Summerfield .............................................................43

Westside ............................................................11,19,47


MI MARKETPLACEADVERTISERS INDEXWHOLESALERS

TOP 10 BEST SELLERSNASHVILLE ACOUSTIC GUITARS . . . . . . . . . . . . £50.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £27.50 trade ex vat

NASHVILLE ELECTRIC GUITARS . . . . . . . . . . . . . £99.95 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £54.97 trade ex vat

ARK HEAVY DUTY MUSIC STAND. . . . . . . . . . . . . . £18.50 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £10.18 trade ex vatDOLMETSCH DESCANT RECORDER . . . . . . . . . . . . . £6.99 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £3.84 trade ex vat

STEINHOFF 108B UPRIGHT PIANO . . . . . . . . . . £1795.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £987.25 trade ex vat

RAVEN STUDENT TRUMPET OUTFIT . . . . . . . . . £140.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £77 trade ex vatNASHVILLE ELECTRO ACOUSTIC BASS . . . . . . . £125.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £68.75 trade ex vat

STERN VIOLIN OUTFIT. . . . . . . . . . . . . . . . . . . . . . £75.00 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £41.25 trade ex vatMAXTONE BONGOS . . . . . . . . . . . . . . . . . . . . . . . . . £29.95 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £16.47 trade ex vatNASHVILLE 5 STRING BANJO . . . . . . . . . . . . . . . £99.95 retail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £54.97 trade ex vat

DARRELL CARTER ON

01992 535 647

TO ADVERTISE IN MIPRO CALL

Advertiser Page

WIND INSTRUMENTS

63-71 mip106_final 20/2/09 17:34 Page 9

SEND YOUR PICTURES TO [email protected]


MARCH 2002

Cover Stars: Sennheiser UK. John Steven revealsplans to turn the UK subsidiary of the Germanmicrophone giant into a £25 million operation.

News: Denon and Marantz merge to create D&MProfessional, Peavey takes Crest back in house,PRS sells 100 £23,000 Dragon guitars in a day,Zenon Schoepe launches Resolution magazine,Guitar Buyer woos Mick Taylor from Future.

Features: Sounds Expo, Martin Guitars, SoundTechnology, Horizon cables, Gremlin, Nightfire

Products: Fender American Deluxe, Grand seriesacoustics, Ashdown Peacemaker, Boss OD-20,Laney TT-50 amp & combo, Line 6 Vetta, PeaveyWolfgang Special, Yamaha Silent Guitar & violin.

Number one singles: Enrique Iglesias – Hero,Westlife – World Of Our Own, Will Young –Anything Is Possible/Evergreen, Gareth Gates –Unchained Melody

Number one albums: Sting / The Police – TheVery Best Of Sting and The Police, Barbra Streisand– The Essential Barbra Streisand, Nickelback –Silver Side Up

RETRO

THE LAST WORD IN MI PRO

MI Pro prides itself on bringing you hard-hitting news and analysis, but, we reckon you’d also enjoy seeing your peers intheir more ‘off duty’ moments. So, we’ve expanded CODA to include a permanent pictorial spread of the month’s socialhighlights. If you have any snaps from an event you’d like us to include, please send them to [email protected]...

IN ASSOCIATION WITH

THE ANSWER: FROMMADISON SQUARE GARDENTO DINGWALLSThe Answer (left) was back in Britain recently, thistime taking a short break from a successful tour withAC/DC. The band swapped the large stages it’sbecoming accustomed to for the small stage atDingwalls in Camden Lock, London to launch thealbum, Everyday Demons. The Answer really deliversits music with the swagger of a band enjoying thesuccess it deserves. At Dingwalls, the audience clearlyenjoyed being close to the action and they oftenbecame part of it as they fell into the monitors andonto the stage, while Cormac surfed the crowd.Everyday Demons is available in the UK from March2nd, but can be pre-ordered through the website.Paul uses an array of Marshall amps on the newalbum including the Vintage Modern, the JTM45 andthe TSL100.

RECORDING AT MAIDA VALESTUDIOS WITH JOEBONAMASSAThe popularity of Joe Bonamassa can’t have escapedthe attention of anyone recently. He has already soldout the Albert Hall for May 4th within days oftickets going on sale – way to go Joe. In themeantime he is keeping up that momentum with avisit to the Maida Vale Studios where we were luckyenough to catch up with him (above) recording asong from his latest album alongside Jools Holland.Bonamassa used the Marshall 50 Watt VintageModern in the studio and said afterwards what agreat sounding amp it was. Marshall has also sent a100 Watt Vintage Modern head out to his studio.

72-74 MCV106_final 20/2/09 11:52 Page 1

THE LAST WORD IN MI PRO

MI ICON Leslie speaker cabinet

To the untrained eye, it looks likenothing more than a big, boringwooden box, but although it

might be pretty uninteresting to lookat, the Leslie speaker cabinetproduces a sound that music fansacross the world will instantlyrecognise the second they hear it.Which is pretty impressive for aplain brown cuboid.

Designed by Don Leslie for usewith Hammond organs way back in1941, it was with jazz musiciansthat the speakers originally came toprominence, their distinctive toneappealing to ears across the US.

Coming to define the sound ofthe Hammond, the appeal of theLeslie cabinets was never in directsound reproduction from the organ,but rather in what it did to thesound, creating a distinctive,warbling vibrato that is bothimmensely soulful and gritty at thesame time.

The sound is achieved by therotating of the bass and treblespeaker horns within the cabinet itself,designed to ‘throw out’ the sound. Theadjustable vibrato that can be heard

as a result has coloured so many hugehit records it’s almost unbelievable.

Once the 60s really hit home andmusicians realised that these beautiful

old cabinets could be used withinstruments other than the organ, thefun really began. Guitarists began toexperiment with it and before long

vocalists were also givingit a go.

Counting the Beatles asleading fans, the Leslietone became synonomouswith the Fab Four’s studiobased experimentation.

Used on John Lennon’svoice for Tomorrow NeverKnows, it also became animportant part of GeorgeHarrison’s set up, debutingon tracks throughout HardDays Night before being usedon such masterpieces as LetIt Be and Something.

Outside of the Beatlesexperimentation, the Lesliebecame prevalent in all formsof pychedelia and went on tobe used by a staggeringrange of artists, includingEric Clapton (on Layla no

less), Pink Floyd, Led Zeppelin, VanHalen, Jimi Hendrix and many other60s and 70s popsters and rockers.

LATEST NEWSSTRAIGHT TO YOUR MOBILE

Bookmark us in your phone:MOBILE.MI-PRO.CO.UK

SEND YOUR PICTURES TO [email protected]

MI Pro publisher Dave Roberts is, to our tremendous surprise, ‘running’ the Bath HalfMarathon on 15th March, all in aid of MacMillan Nurses. If you would like tocontribute and put a little more pressure on him to finish, go towww.justgiving.com/daveroberts2


IN ASSOCIATION WITH

MARSHALL LAUNCHESCHARITY AMP WITHPAUL WELLERSince Marshall presented Paul Weller witha remake of his classic Lead & Bass 50 forhis birthday, the company has beenquietly working behind the scenes to makethe amp available to the masses,launching a limited number with all profitsgoing to the Childline charity in the hopethat this will enable even more children tohave somewhere to turn and be heardwhen they find themselves in trouble andin need of help.

Weller has been using the Lead & Bass50 for years (yes, even back in The Jamdays) and when he has been asked in thepast if he would like to try out a new amp,he has always maintained that if the toneisn’t broken why fix it.

Marshall has gone to great lengths toproduce this UK-made, 2x 12-inch combovery affordable and it retails at only £999,so if you are in the market for a newcombo and want to support a veryworthwhile cause, get down to your localMarshall dealer and order one now.

72-74 MCV106_final 20/2/09 11:53 Page 2

Tom Clark (guitar and vocals): Mint Green Fender

Telecaster, Hiwatt Hi Gain 100 head and Hiwatt 4x12

cab, Faith acoustics

Andy Hopkins (bass and vocals): Fender Precision bass,

Ampeg SVT head and cab

Liam Wattts (drums): Tama violet shade Starclassic

Maple: 22"x16" Bass Drum, 12"x8" Tom Tom,16"x16"

Floor Tom, Iron Cobra Power Glide Drum Pedal, Iron

Cobra Lever Glide Hi-Hat Stand, 1st Chair Drum Throne,

Zildjian cymbals


With a new album about to hit the

shelves, Coventry aggro-poppers The

Enemy have built a reputation for their

Jam-lite social commentary, fierce pride

in their roots and dedicated fanbase.

Here’s what they make their racket with...

SOUNDALIKESTHE ENEMY

NEXTMONTHA complete Musikmesse ‘Live’ issue willfeature all the important launchesforthcoming at the show – and, of course, amajor manufacturer on the cover. Sectorspotlights cover all things bass guitar.

EDITORIAL: ANDY BARRETT

[email protected]

ADVERTISING: DARRELL CARTER

[email protected]

Company / Job Title:The Music Shipping Company, MD

Years in the industry:Over 30 years.

First single bought: Very hard toremember. It was the Beatles, PleasePlease Me – I was only two.

Favourite Album: To be honest,Black Market by Weather Report.

Currently listening to: I like loads ofdifferent things, but in the car I’vegot an album by Gretchen Wilson,which is a country album, a bit ofJeff Beck and Greg Matheson – an LAkeyboard player.

Favourite musician: It should be adrummer really, as we sell drums, butit’ll have to be Jeff Beck, not just forhis playing, but for his personality aswell, the way he doesn’t care aboutthe music industry and does what helikes.

What instruments do you play?I play bass.

Are you in a band? I was pro for awhile and I still play with some guys.I do a lot of soul stuff and supportMotown acts when they’re over.We’ve got the Detroit Spinners soon,and we did the Impressions recently.

Craig Fenney

MI SPACE

© Intent Media 2009 No part of this publication may bereproduced in any form or by any means without prior permissionof the copyright owners. Printed by The Manson Group, AL3 6PZ

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Tel: 01992 535646 (Editorial)Tel: 01992 535647 (Advertising)Fax: 01992 535648

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MUSIC PRODUCER’SGUILD AWARDSFebruary 12th saw the MPG presentingits inaugural awards ceremony, withanyone and everyone who has anythingto do with producing records turning upto celebrate the best of British musicover the past year. The Shure team(top) of Paul Cognale, Paul Nash, MikeGibson and Kirsty Lamport is never oneto miss a party. Far right sees thoselovely people from Digidesign enjoyingthe bubbly, and below them, RichardEastwood of Cream Studios andMalcolm Atkin added to the prestige ofthe event.

To the immediate right, Brian Enogives his acceptance speech after beingpresented with the Joe Meek Award forInnovation. “Recorded music haschanged our perceptions to the extentthat we can hardly call it music anymore,” he said. “But we do, so thatmusicians can still feel they are makinga valuable contribution.”

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ORDER ALL REMO PRODUCTSFROM EMD, YOUR NEW

UK DISTRIBUTOR FOR REMO

remo.com

EMD are delighted to announce that they are now the sole distributor for the complete Remo catalog in the UK. With long standing experience as a distribution partner with Remo in Europe, as well as an established UK team, EMD can offer you, the dealer, the very best service and support for this market leading brand.We encourage you to visit our dealer website www.emdmusic.com for all stock, availability, prices and more. If you are a new customer requiring a login and password for this service, please do not hesitate to contact our UK customer helpdesk.

Unit 1, South Lodge Court - Ironsbottom, Reigate - RH2 8QG SURREY - Tel: 01293 862612 - Fax: 01293 863665

EMD Music UK


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A contemporary approach to a timeless classic

Beautiful, elegant and different: introducing the new LX-10 digital upright piano. Roland’s engineers have redefined the upright piano, creating a bold new instrument combining pure piano performance with contemporary style and convenience. The LX-10 is a piano with the looks, sound and feel of a classic. Call your area manager for more information. www.roland.co.uk


Documents

Mi Pro Issue 106 March 2009