October, 2012 - Music & Sound Retailer

October 15, 2012Volume 29, No. 10Born InDrumming Up SalesDrum And Percussion Manufacturers WeatherEconomic StormsBy Michelle LoebIf you take a slow economic recovery, mix it with a European debtcrisis and then add a pinch of presidential election uncertainty, what doyou have? It’s a recipe for instability that’s affecting all markets, includingMI. The Music & Sound Retailer spoke to three recognized authorities,representing the diversity of the drum and percussion segment, to findout how this slice of the market is faring and what manufacturers are doingto help music retailers make it through these tough times.Although, for this story, we spoke to only three companies, theirobservations and trend analysis lend insight into the entire segment. Ourrespondents are Mike Robinson, Director of Marketing, KHS America;Peter Stairs, Vice President of Sales, Sabian; and Mitch McMichen,Founder of TreeWorks Chimes and President of Meinl USA.Steady SalesAt KHS America, Mapex has seen steady sales at the entry-level and(continued on page 50)The 7 th AnnualIndependentRetailer RoundtableThe Second And Final Part OfOur Expansive ConversationBy Dan FerrisiIn its role as an advocate for independent musicproducts retailers, The Music & Sound Retailerseeks regularly to feature the views of the menand women we mean to represent and fight onbehalf of. That is why, every year, we feature ouranxiously awaited Independent Retailer Roundtable.This year, however, the conversation wasso wide-ranging and content-rich that we simplycould not fit the entire conversation into a singleissue. Therefore, rather than cut out valuableinformation for reasons of space, we publish thesecond part of the Independent Retailer Round-(continued on page 51)The U.S.A.Our Annual Exploration Of DomesticManufacturing Has ReturnedBy Dan FerrisiIn this writer’s mind, it remains an open question as to whether asticker reading “Made in the U.S.A.” makes a product intrinsically moreappealing to the average customer. Furthermore, I think a robust debatecould be had about whether that hypothetical increased value and appealexists uniformly across all categories of product or whether “Made in theU.S.A.” becomes more meaningful when talking about particular types ofproducts…perhaps electronics or motor vehicles or furniture or musicalinstruments. However persuasive the ROI equation is, though, it is hardnot to support companies who invest in American manufacturing andlabor, not only because of our shared patriotism but also because we, asa country, want our economy to return to the heights of vibrancy that itonce occupied.For this story, The Music & Sound Retailer sent an e-mail solicitationto the music products manufacturer community, asking each companywhether it manufactured a majority (more than 50 percent) of its productsin the United States. If the answer was yes, we invited a company representativeto respond to two open-ended questions. We have aggregatedanswers from 19 industry members—some prominent, some less wellknown—and, here, we share their insights with you.The Music & Sound Retailer: During these tumultuous economictimes, many companies are trying to rein in costs and stretchtheir dollars further than ever. Manufacturing in the U.S.A.certainly has considerable associated costs. Why is manufacturingdomestically agood investment Have you seen it?for your company?Not only do wemanufacture in theU.S. but, in fact, wemanufacture in California.It’s no easytask to do so andremain competitive,even at a high-endprice point. We do itbecause our brand(continued on page 18)n Indy Retailer P. 30 n Five Minutes With Bob Yerby P. 32 n MI Spy: Lexington P. 36

InsideVOLUME 29 NO. 10FEATURESON THE COVERBorn In The U.S.A.An annual story whose popularity grows every year,Born In The U.S.A. spotlights manufacturers that, despitechallenging economic times, continue to produce a majorityof their products right here in the U.S.A. Learn about thevalue proposition and ROI from those who know firsthand.ON THE COVERDrumming Up SalesThe Music & Sound Retailer spoke to three recognizedauthorities, representing the diversity of the drum andpercussion segment, to find out how this slice of the marketis faring and what manufacturers are doing to help musicretailers make it through difficult times.ON THE COVERThe Independent RetailerRoundtable, Part TwoEvery year, we feature our anxiously awaited IndependentRetailer Roundtable. This year, however, the discussion wasso wide-ranging and content-rich that we simply could notfit the entire conversation into a single issue. We publishthe second part of the roundtable this month.2754columns30 The Music & SoundIndependent RetailerThe Music Connection celebrated its grand opening….Z Music Store has already made a name for itself….And more!32 Five Minutes WithBob Yerby, Vice President, Sales & Marketing, has had apretty incredible career with Remo, Inc., spanning morethan 20 years and numerous divergent roles. Here, heshares his story, and that of the company he loves.3436 MI SpyKentucky is famous for many things, including bluegrassand a certain famous fried chicken recipe. Now, though, wecan add MI sleuthin’ to that list.40 Shine A LightSenseney Music has an enviable reputation in musicproducts retailing circles, as does its President, Lori Supinie.Here, we go in-depth on this vibrant business.buzzLatest 3People 16Products 242442 Sales GuruWhat is the greatest cause that makes a salesperson fail?Distractions! Gene Fresco helps us root them out and focuson the most important thing of all: selling.44 Business &MarketingTo help determine the right path for your business, columnistDavid Hall provides a closer look at the pros and consof free shipping.46 VeddatorialDan Vedda recently came across a listing of the topretailers from 1997, showing just how much we’ve had toadapt in 15 years. What does this say about where we arenow…and where we’re going?54 Under The HoodLet freedom ring! No, we’re not talking about patriotismhere (for that, read Born In The U.S.A.!); we’re talkingabout the Freedom Series from Chauvet.4

Full HouseClean to Drive Crunch to Punch Lead to HiGain Tone ShapingFootswitchableTube Tone Tube Power Headroom Tube Protection MIDI PowersoakRock on StagePlay at HomeRecord at NightIntegration Programmability Full Control Recording Out ReverbHughes & Kettner is proudly distributed in the USA & Canada by Yorkville Sound. www.yorkville.comHughes & Kettner Headquarters • P.O. Box 1509 • 66595 St. Wendel, Germanywww.hughes-and-kettner.com • facebook.com/hughesandkettner

editorialIf You Build It…When I reflect upon my youth, some of my most vividrecollections center on music. Although, right now, mymusical tastes run much more toward lighter sounds andpowerhouse vocal showcases, there was a time when all Ilistened to was rock music: Guns N’ Roses, Metallica, BonJovi and innumerable others. Even now, I still have distinctmemories of taking $100 in birthday money to the local SamGoody store and spending no less than 90 minutes walkingup and down the aisles, unsure even of where to look firstin my hunt for new tapes (ahhh…the old days of cassettetapes). Even though, at that time, I was a devoted subscriberto Metal Edge magazine and an aficionado of heavy metalwho never missed an episode of MTV’s “Headbangers Ball,”I also loved straight-down-the-middle rock ‘n’ roll along thelines of John Mellencamp and Bruce Springsteen.In fact, Bruce Springsteen, it could be said, was the firstartist for whom I developed a true passion (at least to theextent that a 10-year-old can be said to have one). The firstalbum I ever bought was his Human Touch—a companionto the simultaneously released Lucky Town—and I was soentranced with the title track that I probably played andrewound it 150 times. In fact, although this memory mightbe apocryphal, I think I literally put the tape throughsuch stress that it broke and I had to get another copy.Springsteen’s discography and his shelves of awards markhim as among the greatest rock musicians ever to pick upa guitar, and one of his most famous and beloved songsis “Born in the U.S.A.,” from whose title we borrow ourcover story’s headline.At the time of its release, the song was interpreted withremarkable elasticity: It was deemed everything from alament of Vietnam-era America to a boisterous patrioticanthem. Whatever messages and themes the listener drawsfrom it, though, the song does, I feel, tap into a certainworking-class American spirit that, through economic,military and cultural upheavals, continues to persist. Asmore and more manufacturers—across the whole spectrumof industries—elect to move jobs overseas due to challengingeconomic conditions, as well as the abundance of laborabroad that is both skilled and inexpensive, the talents of fartoo many American workers go unutilized. Thus, as persuasiveas the economic justification to move jobs abroad canbe, I was gratified to see the number of companies participatingin our cover story, all of them declaring that at least50 percent of their products are made right here in the U.S.As you read their comments, a few commonalities shinethrough. For example, although products manufactured incertain foreign countries often get a bad rap as being of inferiorquality as opposed to U.S.-made goods, most respondents,even while extolling the benefits of U.S. manufacturing,admitted that high quality goods most certainly canbe made in a foreign land. Most of the individuals whomwe spoke to were more inclined to talk about the immediateoversight that manufacturing domestically affords acompany; quite simply, rigorous quality control is easierto implement when the factory is across the parking lot,as opposed to across an ocean. Wrenching manufacturingfrom the country in which the executives oversee the business—andfrom which the design and innovation usuallyoriginate—has the potential to pose a risk to quality.At the risk of descending to cliché, America is a can-donation. I have confidence that American manufacturing will,in fact, rebuild over time, allowing companies once again tomarshal the abundant skills and talents at their disposal. Aspirit of hard work and passion for one’s craft suffuses ourcountry, and that spirit, I feel, is carried by each of us. That,it could be said, is what’s really borne in the U.S.A.®New Dynamic Design.New Dynamic Price.Lightweight.Aerodynamic.MusicianApproved.Dan Ferrisidferrisi@testa.comEditorKate Blessingkblessing@testa.comAssistant EditorBRIAN berKContributing EditorGeorge HinesSkip maggioraEditorial AdvisorsJANICE PUPELISGraphic Designer/ArtistSTEVE THORAKOSProduction Managercirculationcirculation@testa.comfred gummWeb DesignerOctober 15, 2012Volume 29, No. 10Robert l. Iraggiriraggi@testa.comAdvertising DirectorDOUGLAS YELINdyelin@testa.comArt/Production Assistantrobin hazanrhazan@testa.comOperations ManagerVINCENT P. TESTAPresident/PublisherRebecca Apodacagene frescoDavid Halljeffrey kyle, jr.Michelle LoebCR RaeDan VeddaContributorsEditorial and Sales Office: The Music & Sound Retailer, 25 Willowdale Avenue, Port Washington, New York11050-3779. Phone: (516) 767-2500 • Fax: (516) 767-9335 • MSREDITOR@Testa.com.Editorial contributions should be addressed to The Editor, The Music & Sound Retailer, 25 Willowdale Avenue,Port Washington, New York 11050-3779. Unsolicited manuscripts will be treated with care and must be accompaniedby return postage.Visit us online at www.reunionblues.com, or call 1.800.950.1095 to learn moreSound & Communications • DJ Times • Sound & Communications Blue BookThe Music & Sound Retailer • The DJ Expo • IT/AV ReportThe Retailer’s Vnewsletter • Convention TV @ NAMM • InfoCommTV NewsVTTV StudiosThe Music & Sound Retailer (ISSN 0894-1238) (USPS 0941-238) is published 12 times a year for $18 (US), byRetailer Publishing, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779.Periodicals postage paid at Port Washington, N.Y. and additional mailing offices.POSTMASTER: Send address changes to The Music & Sound Retailer, PO BOX 1767, LOWELLMA 01853-17676 OCTOBER 2012SR RB Ad 4.125 x 4.375 V6.indd 18/7/12 11:18 AM

LATESTThe Music Group CAREsThe Music Groupcompleted its two newestCustomer CARE Centers,situated in Las Vegas NVand Kidderminster, UK.Equipped with the latestin diagnostics and repairequipment, and staffedby 65 skilled and motivatedemployees, thesecenters are offering rapidturnaround with genuineparts and factorycertifiedtechnicians forall Music Group brands,including Behringer,Bugera, Midas, KlarkTeknik and Turbosound.“Two years ago, welaunched a massive audit of our customer CARE systems and determined that the best way to ensure asuperior customer experience was to bring product repair in-house,” said company Founder and CEOUli Behringer. “With one of the lowest defect rates in the industry, it only made sense to deliver aftersalerepair and parts supply directly to our end users, so as to ensure the best possible experience withour products.”“Our CARE operation now includes over 125 people across four continents, offering pre- and postsaleservice in seven languages,” said Pat Ferdig, The Music Group’s VP of Customer CARE. “We havemade significant investments in our tools, employees and resources that allow us to take complete controlof the service that our customers are receiving. These investments are turning our goal of deliveringthe best service in the industry into a reality.”QSC Launches K For Musicians SiteQSC Audio Products has premiered a new Web site for inspired guitarists, keyboardists, drummersand other musicians, who are increasingly becoming aware that the K Family of loudspeakers (K Series,KW Series) can exceed their expectations as a musical instrument amplifier or foldback monitor.The musicians themselves were the genesisfor the creation of KforMusicians.com, leadingthe way via online forum discussionstouting the company’s active loudspeakersas a good solution for accurate sound reproductionof digital sources in a live application.The K for Musicians Web site, availablein English and Spanish, offers multipleexamples of how K Family loudspeakerscan be used for musical instrument reproduction in common, live performance applications. There aredistinct and separate areas for electric guitar, acoustic guitar, bass guitar, keyboards, electronic drumsand acoustic drums, as well as compelling K for Musicians artist profiles, photos and interviews.The constantly growing list of featured artists in the various categories include such notables asDweezil Zappa, Tony Levin, Jonathan Cain, Salo Loyo, Omar Hakim, Dave Weckl and many others.And, in each case, the common sentiment heard is that the K Family allows musicians to be moreexpressive, add nuance and greater dynamics, and produce live performances that are more creativeand inspired.“We are quite impressed with the number of guitarists not only using our products as amplifiers, butpassionately endorsing them on the many guitar forums, as well,” stated Ray van Straten, QSC Director ofMarketing Communications. “So many electric and bass guitarists are now utilizing technology to recreatetraditional amplifier sounds, whether it is from something like a Fractal Axe, a POD, a pedal, an iPador even a laptop computer. A common instrument amplifier is going to wreak havoc on that sound, as it’salready a complete signal. K Family loudspeakers let musicians play with all the expression and nuancethey enjoy in the studio and, because each loudspeaker is outfitted with a 1,000-watt power module, theyalso provide the energy and presence found on the most powerful stage amplifiers.”SchoolJam USA’sSearch For ‘BestTeen Band’Just in time for back-to-school,teen bands have the chance toshowcase their talent by enteringNAMM’s fourth annual SchoolJamUSA, a national teen battle of thebands. Middle and high schoolteens with a passion for music canhelp promote their school’s musiceducation program by enteringthe SchoolJam USA competition atwww.schooljamusa.com. The competitionhighlights teen music talent,gathers students in support ofthe arts, provides funding for schoolmusic programs and promotesactive participation in school musicprograms. Unsigned teen musiciansbetween the ages of 13 and 19,with the majority of band membersregistered in a U.S. middle or highschool, are eligible to participate.Online entry for bands is open untilOctober 26. Bands can perform anygenre of music. Song selectionsmust be original content or designatedas “public domain.”Through November, participatingbands’ submissions will be postedon www.schooljamusa.com, whereonline voting is open to everyone.Eight finalist bands will be chosenby a combination of public votes andrankings done by a panel of musicalprofessionals. On January 26, 2013,during the weekend of the NAMMshow, the top-ranking eight finalistswill take center stage in DowntownDisney, Anaheim CA. The finalistswill perform live in front of a panelof professional judges and hundredsof fans for the chance to takethe title of “Best Teen Band in theU.S.A.” All finalists will receive prizemoney to purchase new gear, andfunds for their local school musicprograms to purchase neededinstruments from local NAMMmember music stores. The winningband will walk away with the grandprize, including a trip to perform atthe original SchoolJam festival inFrankfurt, Germany, a private musicvideo recording session on the JohnLennon Educational Bus, $1,000toward the purchase of new gearand $5,000 for the winner’s schoolmusic program.8 OCTOBER 2012

LATESTCMYCMDaniel AdairNickelbackSabian Cymbal Vote Ups Their GameThroughout last month and this month, drummers from around the world have had theopportunity to decide which new cymbals Sabian will release in 2013. Multiple sets of the12 new cymbal models developed by the innovative Vault team have been shipped to selectdealers worldwide, allowing customers to try them firsthand. In a series of exciting events,Sabian endorsers go on location, along with their fans, to play the cymbals.For those who are unable to get out and play the cymbals in person, the Cymbal Vote Website will once again feature video of Sabian artists playing and commenting on the 12 models.Top players like Mike Portnoy, Ray Luzier and Tony Royster Jr. will take the cymbals for atest drive and allow their views to be heard loud and clear. By shipping sets of the cymbalsto locations around the world so that drummers can try before voting, Cymbal Vote 2013promises to be an even bigger success than the first iteration in 2012.For a complete listing of Cymbal Vote events worldwide, and descriptions and video of all12 new cymbal models, visit www.cymbalvote.com.MYCYCMYKDelmar Inks Agreement With D’Andrea USADelmar Products, Inc., has signed a StrategicAlliance Agreement with D’Andrea USA.All D’Andrea USA operations have relocatedto Delmar’s spacious facilities in Berlin CT.Delmar is the exclusive distributor of severaltypes of plastic materials for many markets,including celluloid plastic used for the productionof guitar picks. Delmar is also a majormanufacturer of plastic drum covering materialused on drum sets that are produced forOEM manufacturers worldwide. In addition,Delmar manufactures high-quality acousticand electric guitar pickguards, backplates andbindings.John J. DiMugno Jr., President of DelmarProducts, said, “The relationship betweenD’Andrea and Delmar spans many decadesand, with the signing of this agreement, wenow look forward to combining our resourcesto strengthen our global position as a brandedproduct and OEM supplier to the industry.”John DiMugno Jr. and Tony D’Andrea.The D’Andrea and the DiMugno familiescan trace their histories back to the beginningof guitar pick manufacturing. Since the birth of rock ‘n’ roll, Delmar has supplied thecelluloid and D’Andrea has produced billions of the music industry’s premier guitar picks.The two companies first intersected in the early 1960s when John J. DiMugno and AnthonyD’Andrea Sr. first began their relationship as vendor and customer. John Jr. and Tony, whotook over their fathers’ companies, have been business associates and friends for manyyears.“This alliance ensures the continuing growth of both companies, and will enhance ourmutual capabilities to better serve our customers,” Tony D’Andrea affirmed.OCTOBER 2012

latestLearning FromA LegendAudio specialist Sennheiserand Full Compass Systems, aprominent name in professionalKorg USA Distributes HK Audio In CanadaIn winter 2011, Korg USA was appointed exclusiveU.S. distributor for HK Audio when the Europeanbrand entered the U.S. market. As of this July, KorgUSA is now also the exclusive distributor for HK Audioin the Canadian market, in recognition of its efforts tobuild the brand in the U.S. Korg USA’s New Yorkbaseddistribution facility offers a dedicated marketingstaff, as well as sales and product support personnel.In addition, HK Audio’s U.S. Product Manager, JamesSajeva, will be supporting sales efforts by visiting newCanadian dealers to assist with in-store marketing efforts.Korg USA’s sales representative for HK Audio inCanada will be Robert Langlois. Interested retailers caninitially contact Korg USA’s National Sales Manager.Leslie Ann Jonesaudio, video, AV, lighting andmusical instrument sales, cosponsoredan audio recordingclinic on Tuesday, September 11,at the Full Compass facility inMadison WI. The event featuredGrammy award-winning soundengineer Leslie Ann Jones, whodemonstrated vocal recordingtechniques and covered bestpractices when recording livevocals in the studio. Attendeeswere provided with a pair ofSennheiser HD 449s, enablingthem to monitor both recordingand playback. The eventfeatured door prizes, including aK-array Piccolo audio system, aNeumann TLM 102 microphoneand a TRUE Systems P-SOLOmicrophone preamplifier.Jones, who is Director of MusicRecording and Scoring withSkywalker Sound, has been a recordingand mixing engineer formore than 30 years. She beganher career at ABC RecordingStudios in Los Angeles in 1975before moving to Northern Californiain 1978 to accept a staffposition at the legendary Automattrecording studio. There,she worked with such artists asHerbie Hancock, Bobby McFerrin,Holly Near, Angela Bofill andNarada Michael Walden, andstarted her film score mixingcareer with “Apocalypse Now.”Music & Sound Retailer

ADVERTORIAL • OCTOBER 2012visit us online at www.namm.orgNote from JoeYour Company’s Elevator SpeechCan you describe why your business is unique in 30 seconds or less?There’s an old story fromthe Jack Welch days atGeneral Electric that hasstayed with me. As Jackvisited GE’s many branchesaround the world, hisemployees were often given the opportunity––sometimes in anelevator––to briefly describe what they did for the company andwhy it mattered. It’s been said that careers could be made orlost in those 30-second “elevator ride” conversations.Whenever my staff and I visit with NAMM Members, meetwith our partners in music education or speak with importantdecisionmakers on Capitol Hill, we’re often faced with a similarchallenge: How do we quickly describe the year-long activitiesof our global trade association? Fortunately, NAMM’s Circle ofBenefits business model has really helped us to communicate,in a fast and easy way, how the association works and whyit matters.TRADE SHOWGROWTHINDUSTRYGROWTHTRADESHOWINCOMEINCREASEDPUBLICAWARENESSOur 30-second elevator speech goes like this…NAMM produces trade shows (the best in the world in myopinion!) and reinvests the proceeds back into the industry tosupport its Members with professional development training,government lobbying, research and statistics, and the relentlesspromotion of music and music education to the general pubic.These efforts help keep music “top of mind” with consumersand increase support for music education in our schools,which in turn drives consumer spending on music and soundproducts, enabling NAMM Member companies to serve thisexpanding market and grow their businesses as well. As a result,manufacturing companies continue to innovate and bring newproducts for retailers to see at the NAMM Show and the circlerepeats, as it has for 112 years.So much has changed since the association’s founding in 1901:instrument categories have come and gone, as have iconiccompanies, and changes in musical trends continue to confoundeach successive generation of parents. What hasn’t changed isNAMM’s business model. And through recessions, depressions,world wars and technological revolutions, this cycle of industryreinvestment has been a critical component of growth andstability. This business model has served many generationsof Members, and with your continued support and guidance,NAMM will continue to do so for future generations.So what’s your company’s elevator speech? I believe one of thekeys to success is to be able to effectively communicate whatyou do (or what you don’t do) suscinctly and why it matters,enabling your customers to know exactly what to expectwhen doing business with you. In a competitive world, it’s thiskind of clarity and focus that will help a company to stand thetest of time.INCREASEDDEMANDJoe LamondNAMM PRESIDENT AND CEONAMM News October 2012NAMM News is published by NAMM. To keep up-to-date on thelatest breaking industry news, sign up for our NAMM News e-newsletterat info@namm.org.

connectBUILDSHOWyour brandyour productsREACH your customersJANUARY 24-27, 2013 • ANAHEIM, CALIFORNIAANAHEIM CONVENTION CENTERwww.namm.org/thenammshow/2013

peopleHail To The ChiefYamahaCorp. ofAmerica (YCA)announcedthat JohnShalhoup hasbeen appointedChief MarketingDirector, anewly createdposition. Hisnew dutiesinclude developingand implementingnewmarketing strategies that ensure a cohesiveYamaha message across the company’s divisionsand across all sales channels, and tostrengthen and elevate brand awareness. He isalso responsible for initiating cross-marketingrelationships with alliance partners. Shalhoupjoined Yamaha in 1998 as a Pro Audio andCombo (PAC) division District Manager forthe Mid-Atlantic region. In 2001, he movedto YCA corporate headquarters to serve asNational Account Manager for Guitar Centerand Musician’s Friend. He was promoted toDirector of National Accounts in 2005 and toDirector of National Sales in 2008. Most recently,he served as Director of Administrationin the company’s Band & Orchestral division.Jaramillo Goes NationalLED lighting manufacturer Chauvet hasannounced the recent promotion of Ana Jaramilloto National Sales Manager of ChauvetDJ. An integralpart of the teamsince 2001, Jaramillo’scareer atChauvet beganas an AssistantManager to theNational SalesAdministratorand evolved intoher NortheastTerritorySales Managerposition. AsNational SalesManager, herresponsibilities include overseeing TerritoryManagers and putting measurable salesstrategies in place to increase and expand themarket share. Prior to working at Chauvet,Jaramillo spent approximately 10 years workingfor the U.S. Social Security Administrationand then went on to handle distribution salesfor the DJ Store.Santi, Reynolds Pop The KorgKorg USA, exclusive U.S.distributor for Korg, VOX,Blackstar, Lâg and HK Audio,announced new hires andpromotions for its nationalsales team. Tony Santi hasbeen hired as a District SalesManager (DSM) for the Midwestregion. He brings nearly20 years of MI experience toKorg USA, both on the retailand manufacturing sides.Doug Reynolds has beenappointed to Key AccountsManager. In this new role, hewill serve as a dedicated salesrepresentative to build andT. Santi D. Reynoldsmaintain strong professional relationships with various key accounts, and to drive business forKorg USA’s brands and his accounts. Reynolds brings to the position more than 16 years of MIexperience in various sales and marketing roles, most recently as a Korg USA DSM.The Music Group Feels ‘Young’The Music Group has appointed Steve Young to the role of Vice President, Installed Sound. Inhis new role, Young takes overall responsibility for Behringer’s Eurocom line and will overseeall product, marketing and market-development activities aimed at installed applications worldwide.Coinciding with the broad availability of the Eurocom product line from The Music Group,the appointment signals the company’s commitment to aggressive growth in installed sound.In Memoriam: Gary E. WallaceGary E. Wallace, an industry veteran and professionalmusician, died suddenly on July 14. He was 59 years oldand is survived by his beloved wife, Tammy Robinson-Wallace. Born and raised in St. Louis MO, Wallace touredthe U.S. in his earlier years, playing sizzling, high registertrumpet in a number of pop/rock/funk and show bands.He was also a vocal impersonator, especially well known forhis likenesses of Rod Stewart and Prince. He left life on theroad in the late 1990s for a more stable lifestyle. His firstindustry job was as an Inside Sales Associate for St. LouisMusic, providing retail dealer support for the southwestU.S., including southern California. He also assisted innational sales for Crate, Ampeg, Alvarez and Knillingproducts.Mars provided Wallace with the opportunity to moveover to the retail side, first in St. Louis and then LasVegas, ending up as Department Manager for Band and Orchestra when the company wasliquidated in early 2003. Choosing to stay in Las Vegas, his next job was Senior DepartmentManager for Band and Orchestra at Sam Ash, which led to a promotion to Sales Manager inEducational Sales for the Southwest Region. He left Sam Ash in the spring of 2009 to take ajob as Store Manager of Nick Rail Music’s two San Diego locations and, in so doing, fulfilleda lifelong dream to “make it out to the coast.”In the spring of 2012, Wallace left southern California for Washington State to be near hisdaughter and two granddaughters. He had just started as Store Manager for Kennelly Keys’Lynwood location at the time of his death.Cards can be sent to his wife, Tammy Robinson-Wallace, 23043 Ida Lane, Sedro-Woolley,WA 98284. Donations can be made to the Gary Wallace Memorial Fund through PayPal.16 OCTOBER 2012

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orn in the u.s.a.(continued from cover)is so closely tied to being an American company. It’s inour blood. It also allows us the level of quality control wedemand.We closed down our facility in Ensenada, Mexicoabout two years ago and brought our DW-brandedproduction line of drums up to California. With thatmove, we’ve confirmed that we’re also able to successfullybuild a mid-priced drum set here at home while, atthe same time, bringing more than 50 jobs back to theStates. We’re really proud of this accomplishment.—Scott Donnell, DW DrumsWhen you give up your manufacturingbase, you lose a significantedge in technology and quality.Over our 47 years in business,we have learned a lot about whatto do and, most importantly, whatNOT to do. Those lessons areinvaluable, and they have a lot todo with our products’ high level ofquality and reliability. As I alwayssay, if experience is the greatestteacher, I’ve been in the “classroom” longer than anybodyin this end of the business!Peavey has always applied the concept of “verticalintegration” to the manufacturing process (i.e., makingour products and the components that go in them fromthe ground up). Many manufacturers buy their metalwork, electronics, loudspeakers and even cabinets asopposed to building them in-house as Peavey does. Thisprocess gives us a better product at a lower price. We’vebeen doing it this way for almost half a century, whilemost of our competitors have seen multiple changes ofownership, management, location, etc. While we do havesome imported items, Peavey continues to maintain oneof the largest U.S.A. manufacturing operations in ourend of the music and pro audio business. My initial goalwas to be the best, and it’s impossible to be the bestwithout being different. We are! That’s a big reason whywe’ve been able to hang in here under the same ownershipand management for more than 47 years.—Hartley Peavey, Peavey ElectronicsManufacturing in the U.S.A. isa good investment for several reasons.First, it creates skilled laborjobs. Skilled labor contributes toproduct development on a dailybasis. As larger companies beginto outsource manufacturing, sogoes the knowledge associatedwith product development. For example,we learn a great deal abouthow to build product B based onwhat we learned from building product A. All that technologyis retained and we can streamline manufacturingas a result. Imagine how much we learned from themoon landing. We wouldn’t be on Mars right now hadthat never occurred.Second, although the days of large factories may bea golden moment in the United States’ past, the days ofsmall, agile, independent manufacturers are still ahead.This is something that should ignite every entrepreneur,developer, engineer and dreamer. We live in a time ofadvanced CNC machinery. Oftentimes, one machinereplaces the need for several people. Since the cost ofthe machines is going down, we now see an opportunityWe consider ourcommitment to domesticmanufacturing tobe a good investmentfor us because we seeit as an investment inAmerica. The resultof this commitmentis a better-qualityproduct due, in part,to our more educated,experienced workforce.In addition,manufacturing in theU.S.A. results in jobcreation and improvesthe overall economy bykeeping our dollars athome.—Chris Pelletier,Strings by AuroraMany companieschoose to save a buckand manufactureoverseas, not realizingthat they are simultaneouslycompromisingquality, integrity andcredibility in theirproduct. We’ll take thehigh road and keepmaking our guitarsin the U.S.A. withknowledgeable, happy,well-paid employees.We choose to put moretime and money intoeach instrument sothat our customers canget more out of it.—Ryan Cook, EsoterikGuitarsThe investment isin the quality of theU.S.A. labor forceand U.S.A. suppliers.Looking short term,it appears U.S.-madeproducts are lesseconomical. But, ifyour product lastslonger and gives betterperformance, customerssave money in thelong run and they getthe performance theydesire from higherquality. Where U.S.companies benefit iskeeping jobs in theU.S.A. When ournation is working atcapacity, the economyimproves and the costof living balances out.We like to look at itas long term. KeepAmerica working andproducing the highestquality products andthat, in turn, generatesrevenue inside and outsidethe industry.—Lori McCallian,Dean MarkleyU.S.A.Manufacturing inAmerica is a prudentbusiness decision forthe Zildjian Company.We are committed tomaintaining the highestquality standards,which is why we investin continuous qualityimprovements andinsist that they arepracticed up closeand personally. Thesequality improvementsrepresent an ongoingprocess that occursevery day in our factoryand simply cannotbe managed thousandsof miles away. Also,by manufacturing inthe U.S., we’re able tofoster and protect ourR&D and innovation.—Craigie Zildjian,The Avedis ZildjianCompanyWe at CEfeel that ourcustomerswould preferto purchaseand usemore madein-the-U.S.A.products.We continueto make theYellow JacketTube Converters and the FP style Can capacitorshere in the U.S.A. We are doing our part in trying tohelp improve the U.S. economy.—Orin Portnoy, CE Distribution18 OCTOBER 2012

for smaller companies to produce larger output thanwas once possible. I believe we’ll see more “garage-size”companies offering some of the same quality goods anddeveloping a regional market for their products. Thismay, in fact, help bring costs down so that, one day,“boutique manufacturing” doesn’t carry a heavy pricetag.Personally, I want to invest in the technology gainedfrom these experiences in our guitars, our amplifiersand our people.—Chris Mitchell, Pladd Dot MusicRane secures long-term viabilityby manufacturing in theU.S.A. The intimate associationof the critical business functionsof design, manufacture, sales,logistics and customer supportbest serves our customer. Thereis no disconnect between thedesigners and builders, betweenmanufacturing and salesorder processing and shipping,between purchasing and service center support. For anyquestion, the answer is only a short walk. Exceptionalcustomer service requires close physical association ofall functions.Design engineers remote to manufacturing loseknowledge of process controls, test routines, componentsourcing and opportunities for design improvement thatdirectly affects a company’s ability to support a product.For the quality audio products our customers demand,only manufacturing in the U.S. enables Rane to providethe product and exceptional support they require, andallows us to develop the skill set necessary for the nextgeneration of products, and indeed represents an investmentin a sustainable future.—George Sheppard, Rane Corp.Manufacturing in the U.S.A.is a great source of pride for us,and is what sets us apart fromthe majority of our competitors.Eminence began manufacturingloudspeakers in Kentuckyin 1966. Bob Gault chose thecity of Eminence KY, as it wasideally situated for shippingproducts all over the U.S.After 45 years, manufacturingin the U.S.A. still remains a good investment for ourcompany. We know manufacturing our genuine Eminencebranded products anywhere else would result ina sacrifice in quality and craftsmanship. Through ourincentive programs, each employee has a vested interestin the success of our products in the marketplace andour company as a whole. No one takes more pride intheir work than our Eminence family. The result: consistencyand reliability.Additionally, a good majority of the components weuse to manufacture our products are also made in theU.S.A. This helps us reduce lead times while ensuringthat the quality of the finished product adheres to ourhigh standards.—Cobi Stein, Eminence Speaker LLCLittlite has a reputationfor high qualityand durability. Thebest and most costeffectiveway for us tomaintain that reputationis by retainingour manufacturing inhouse,where we canconsistently monitormaterials and assemblyprocesses. We alsomanufacture quite afew custom productsfor various clients,and a U.S.-basedmanufacturing facilityenables us to respondquickly to requestsand provide prototypeassemblies.—Jim Fackert,LittliteWe have only startedto manufacture in Mayof 2010, after findingour current buildingand setting up shop,which all happenedat the peak of theeconomic downturn,or so they say. As aresult, we had to workwith tight budgetsfrom the beginning,especially consideringthat banks haven’treally been helpingmuch in financingstart-ups. We did getsupport from theSBA and other localorganizations, though,which has helped. Wewere also fortunate toconnect with individualswho share ourvision. We are still inthe beginning of buildingour brand and, forus, making high-endinstruments anywherebut here is not reallyan option.—Peter Wolf,Knaggs GuitarsSennheiser manufacturesits popular evolutionwireless G3 and2000 Series wirelessmicrophone systemsat the Sennheiser NewMexico factory, locatedin Albuquerque.The major advantageof manufacturing theseproducts domesticallyis improved availabilityand reliability ofproduct supply. Ourcustomers are able tobenefit from drasticallyreduced leadtimes and a reductionof transportation costs(including the eliminationof air freightcosts). In addition,we see a reduction infinished goods inventory,reduced costsof obsolescence andflexibility in manufacturingprocesses thatallows the productionof the right product atthe right time to meetcustomer demand. Asa result, we are ableto provide the bestservice possible forour customers.—Joe Fortuin,SennheiserIt is a real challenge to manufacture productsin America and remain competitive, but it’s notimpossible! I admit that there is an underlyinginner personal drive that wants to keep makingthings here, but, after all is said and done, wemake more profit on the items we make here thanwe do sourcing them elsewhere. Why? Because weget to control everything, and we work hard and doa great job at it.The bottom line is that, although the unit costmay appear to be slightly higher than when importing,the many other positive benefits reduce your overhead by so much that itis much cheaper to make many things here. One thing we know for sure is that wecan easily cultivate our culture of innovation and continuous improvement here,and it is much harder to do so 6,000 miles from here.—Jim D’Addario, D’Addario & CompanyMusic & Sound Retailer 19

Audix made a strategic decision some 15 years agoto maintain complete control over the quality of ourproducts. We have built a state-of-the-art manufacturingand production facility that includes CNC multi-axis machining,milling of in-house tools and fixtures, an SMTline to produce our own circuit boards, injection moldingand laser etchingsystems, and proprietaryautomated test stations.While we watchedother companies strugglethrough the move toChina for lower productioncosts, we continuedto manufacture partsand assemble qualityproducts domesticallyin a timely manner, without the challenges of setting upmanufacturing partnerships, parallel engineering andQC staff, etc.Our cost/benefit analysis has proved to us that ourstrategy was correct. We have kept our labor cost componentsin control through automation, kept our rawmaterials supply chain close at hand, maintained controlover quality, and avoided supply-line time and shippingcosts issues. With rapidly increasing labor costs inChina, as well as longer lead times, we feel even moreconfident in our decision to produce the bulk of our flagshipproducts in the U.S.A.—Cliff Castle, Audix Corp.As a softwarecompany, our “manufacturing”costs are thepeople who developthe software. About 96percent of our staff liveand work in the U.S.Although there are lotsof talented engineersoutside the U.S., webelieve having talentedpeople who are localhelps us communicatebetter, which helps usbuild a strong team,which is essential fordeveloping sophisticatedDAW software.—Michael Hoover,Cakewalk, Inc.Remo, Inc., produces more than 85 percent of our product in the United States.Although staying in the U.S., particularly California, provides challenges, companyFounder Remo Belli and the executive staff feel an obligation to provide jobs in theU.S. A manufacturing facility employing approximately 285 workers, many enjoying inexcess of 25 years with the company, provides an extremely skilled and creative workforce.Our employees play an integral part in product innovation, as well as processand quality-improvement programs.Although Remo, Inc., maintains satellite manufacturing of some product in Chinaand Taiwan, the intellectual property portfolio of the company, as well as proprietarytechnical processes, are well preserved at the corporate headquarters in California,thus assuring continued strides in product and process development aimed at providingthe highest quality product, at a reasonable price, to the consumer engaged inalmost any area of percussion.Importing and exporting presents challenges that vary from country to country.However, with continued emphasis on production efficiencies, stable pricing andextreme attention to product quality, we feel that our product manufactured in theUnited States does, and will continue to, remain more than competitive in the globalpercussion industry.—Brock Kaericher, Remo, Inc.We at Trophy werededicated from thevery beginning tomanufacturing not onlyin the U.S.A., but, infact, in our hometownof Milwaukee WI.There’s a longstandingtradition of craftsmanshipassociatedwith our city and wehonestly believe that, ifwe provide jobs here,everyone benefits,both near and far.There is a great dealof pride associatedwith manufacturing inthe U.S.A. Althoughthere may be someadditional costs todoing so, the benefitsin sales both here andabroad are substantial.The very things thatmake our products sodesirable overseas arenot only the qualityof design, materialsand workmanship, butalso that red, whiteand blue Made inthe U.S.A. label. It’sa priceless brandingopportunity.—Glenn Boren,Trophy StrapsManufacturingVic Firth Companyproducts in the U.S.A.is critical to the wellbeing of the people/families I employ atour Newport MEproduction facility, aswell as the Maine andU.S. economy. By makingthe investments inNewport, I also knowthere are no compromisesor corners cutto save a few dollars,which can negativelyaffect the quality ofmy products. I expectnothing but the bestfor our customers.Having our plant inNewport ME allowsme to walk the productionfloor, speakingwith all the employeesto know them personally,while discussingtheir thoughts on newor improved productionprocesses that canbe implemented forcontinuous productimprovement.—Vic Firth, VicFirth CompanyThe Retailer: The marketplace has become extremely global, with productsfrom China, South Korea and India, for example, sitting alongside those fromthe United States. Both in the minds of consumers and in actuality, is there adistinct quality difference when products are made in the U.S.A.?Yes and no. There is still a preference for U.S.-made goods in both the United Statesand other countries. Quality is a function of design, budget and intent, not geography.High quality products can be manufactured in Asian countries and sub-standard goodscan be manufactured in the U.S.A. If a product is designed to meet a low price point,then it is usually necessary to exploit the benefits of low-cost labor available fromoff-shore manufacturing facilities. Competitive, high quality/high value goods can bemanufactured in the U.S.A.—FackertI think it’s hard togeneralize based on thelocation of manufacturing.For example, I’ve seensome amazing productsfrom Apple, which aredesigned in the U.S. butare built overseas. I’vealso seen some beautifulproducts designedby Roland in Japan andbuilt in the U.S. I believeother factors, like design,the type of product andprice point (high cost/lowvolume, low cost/highvolume), play a big role inthe quality of the product.—HooverWith the right overseaspartner, end-product qualitymay offer no significantdifference. Manufacturingin the U.S.A.has advantages in better20 OCTOBER 2012

internal quality and process controls through use ofautomation of critical processes and other sophisticatedcontrols. Controls are used to prevent problems,with less reliance on rework to fix problems.—FortuinWith the recent downturn in the economy, we arehearing more and more about the American consumer’sdesire to support American workers and companies.As the oldest family-owned company in America,we can appreciate the sense of history, loyalty andidentity that comes from supporting American-madeproducts. America has one of the most skilled workforcesin the world, which enables us to manufacturethe highest quality cymbals in the world. By outsourcingour cymbals, we would be sending the wrongmessage to our customers: that cost control and profitstake precedence over manufacturing world-class musicalinstruments. Our company’s mission has alwaysbeen to manufacture the most innovative products ofthe highest quality. When I walk through our factory,I am proud to see so many talented men and womenwho share our vision and dedication to quality. Thereis a great sense of pride throughout our company thatour products bear the words “Made in the U.S.A.,” asthey signify quality and excellence in both design andmanufacturing throughout the world.—ZildjianAt Audix, we strongly believe that the creation ofacoustic products, be they microphones, speakers orinstruments, has components of science and art. Onlyby keeping our product development, engineering,manufacturing and testing processes close at handdo we believe that we can maintain control over thefinal products. Outsourcing any one or more of thesedisciplines could invite unwanted and uncontrollablevariation. These are risks that we are not willing toaccept.There are very good products being produced inAsia, to be sure. However, our customers have embracedand come to rely on the unique sound and thequality of our products, and we feel a great responsibilityto consistently provide what is expected. Going offshorewould not serve our customers and, ultimately,would not serve the future of Audix.—CastleOverseas manufacturers have definitely improvedtheir quality for many products, but the world marketstill desires and pays more for U.S.A.-made accessoriesand equipment. I do believe the U.S.A. can, andstill does, produce quality. The reason Dean Markleystill produces strings in the U.S.A. is that the tone,feel, quality and performance of U.S.A.-manufacturedstrings are still superior.—McCallianIn the American consumer’s mind, buying U.S.A.-made products is becoming more and more important,and we are proud to offer them a wide range ofproducts to choose from. There is a perception rightoff the bat that U.S.A.-made products are superior inquality. That’s also a reality. If we could boil it downto one word, it would be “consistency.” We hear itfrom our customers and consumers that many of ourcompetitors have a hard time supplying four speakersof the same model that sound anything alike. Thatcan be frustrating wheninvesting hard-earnedmoney into your hobbyor profession. As statedearlier, a good majorityof the components weuse to manufacture ourproducts are also made inthe U.S.A. This helps usreduce lead times whileensuring the quality of thefinished product adheresto our high standards.—SteinThere is a huge differencein products madehere. We have a hugeworkforce like Chinadoes, for example, but thedifference is ours is bettereducated and our trainingand quality-control programsare unmatched. Wedraw on over 60 years’ experienceand are involvedin the process on a dailybasis. Our manufacturingis truly a “hands-on” process,and our commitmentto excellence is evident.Other countries pay about¼ the pay scale we pay,making their advantageoverwhelming when competingglobally. But webelieve you get what youpay for. Aurora Strings arethe best-sounding, bestlookingstrings on themarket. Their extendedlife (two to three timeslonger-lasting than otherstrings) makes themwell worth the price. Wesolidly stand behind ourproduct. We produce a100-percent U.S.A.-madeproduct. And, we believeit is the right thing to do.—PelletierFirst, you must distinguishbetween quality andtotal quality. Failing toconsider a product’s totalquality makes it difficultto determine a qualitydifference based solelyon the country of origin.Retail and installationbuyers are very aware oftotal quality. For example,when placing an order, isthere immediate acknowledgement?Are you givenaccurate shipping dates?Are questions answereddirectly and unambiguously?Are problemsdealt with immediately?Can a shipment be expedited?These thingsestablish the total qualityof a product. And thisextends to the end user:Does the product havea readable and usefulmanual? Can the factorybe easily contactedfor help? Are repairsdone quickly? Does themanufacturer even offerrepairs?All these things determinethe real quality of aproduct. Being made inthe U.S.A. does not guaranteequality, but domesticdesign, manufacture,sale and support greatlyincrease the chances ofa quality product experience.—SheppardAbsolutely! Thededication and ingrainedquality responsibility ofmy employees cannot bematched anywhere in theworld. The wood-scienceknowledge, the specificspecies of Americanhickory we utilize, thecustom manufacturingmachines fabricatedin-house required tomaintain the tight manufacturingspecifications,the custom-fabricatedequipment/software toweight and pitch pair thedrum sticks to my exactingspecifications, theongoing manufacturingplant investments, the localinventory for immediatedelivery…these areall critical componentsthat, in total, make VicFirth drumsticks thehighest quality sticksavailable in the world.Not one of these elementscan be duplicatedoverseas, much less theentire process.—FirthMuch of that dependson whether the productwas actually designedhere in the U.S.A., becausewe believe that thedesign and packagingare just as important asthe location of manufacture.It’s a fact thatmost of the innovationsin audio have come fromthe U.S.A. and the UK.Peavey has engineeringand manufacturing facilitiesin BOTH of thoseplaces.I had the good fortuneto grow up in the musicbusiness—first in myfather’s music shop,and continuing after Igraduated from collegeand started Peavey backin 1965—and I have aunique perspective onthe music business.Since I learned it “fromthe inside out,” I knowwhat has been donewrong in this business,and we’ve tried to doit differently. Over our47 years, we’ve alwaystried to “build a bettermousetrap.” Peavey hasalways dared to be better,albeit different. Wehave earned more than180 patents worldwide,which may be more thanall of our competitorscombined in the areas inwhich we operate.For nearly half a century,our focus has beenon trying to build thebest product at a competitiveand reasonableprice. Our U.S.A. and UKfacilities are paid for andour company does nothave outstanding loansor stockholders to repay.Operating in a stable financialand managementenvironment has enabledPeavey to take advantageof nearly five decadesof experience while,during that time, mostof our major competitorshave suffered throughmultiple changes ofownership, location,management, etc. Webelieve that our trackrecord of innovation,quality and competitiveprices speaks for itself,and our commitment toU.S.A. manufacturinghas remained, while [asignificant portion of]our competition hasMusic & Sound Retailer 21

scrambled to move most or all of their productionoffshore.—PeaveyI wish I could say all products that are made in theU.S.A. are superior to overseas products, but that’ssimply not the case. Fortunately, as far as electric guitarsare concerned, it’s true. American-made electricguitars have always been known to have the highestquality standards, and we plan to keep that confidencegoing strong.—CookTrophy has gone out of its way to design and createproducts that have an obvious quality advantage. Thevery fact that an item is made domestically does notautomatically guarantee it is superior. It’s up to us, whomanufacture here, to strive beyond the limits in design,production and branding. If we do that, there arealways those who will opt for a product with greaterlongevity and style. There is no long-term benefitfor U.S. companies to engage in a race to the bottomin quality and price. If we, as consumers, purchasehigher-quality items, it grows our domestic economyin that we are not constantly replacing the sameinferior item. Therefore, we are more in control of ourdisposable income.—BorenI don’t think it is fair to generalize, painting the globalpicture based on our experiences alone. That beingsaid, one can make a compelling case for the opinionthat there is a significantly more positive customer perceptionof a product if it is Made in U.S.A. Through ourown experience, I would agree wholeheartedly.Realistically—again, through our experience—qualityis far more consistent and reliable when controlledin our own factories, right here in America. Thereasons for this conclusion are many, and do not haveanything to do with culture or ethnicity. Instead, theimproved quality is because there is less geographybetween the designer, the producer and the consumer.It is easier to communicate, freight costs are nearlyeliminated, runs can be shorter and faster, and materialsupplies are more reliable and consistent; theresult is superior quality.—D’AddarioManufacturing our Devilcat amplifiers and CMGguitars in the United States allows us to have completequality control from start to finish. We’ve noticed thatimported woods aren’t always what they appear to be.If a foreign manufacturer selects a different option forwood, they may not always offer the best tone. Unlessyou are there to hold the wood and feel its density,you won’t have any idea of what the end product willactually be. When we see our wood every day, speakto the workers every day and make decisions based onthe customer’s best interest, we have complete qualitycontrol. There’s no way around that.Manufacturers all over the world can producequality instruments, but we believe that the “Americansoul” of an amplifier or guitar can only truly beunderstood from the culture in which it originates.Sure, companies can copy. They can break somethingdown to its smallest element and reproduce it in somefashion. For example, think about Beethoven’s classicpiano work, “Für Elise.” You’ve probably been tocountless recitals whereyou’ve heard anyone fromfive to 15 years old completelybutcher it. Eitherthey don’t get the legatoright or the simple feel ofthe piece just isn’t there.It’s not that they’re notplaying the right notes.It’s that they’ve produceda carbon copy. When youlisten to a seasoned concertpianist play the exactsame piece, it becomes abreath of fresh air. It’s theartist’s interpretation andexpression that allows thepiece to flourish.Our employees makecreative decisions allthe time. Since we’re asmaller manufacturer,our instruments don’thave the automation thatmany large factories have.We still do much of ourwork by hand. Our circuitboards are printed, butour amps are hand-wiredwhere it is crucial. Ourtubes are chassis mounted,because it’s the bestway to do it, not becauseit’s the cheapest way.So, perhaps the questionshouldn’t be one ofa “distinct quality difference”but, rather, oneof simple distinction.shine a light(continued from page 40)don’t mean we are more emotional.” Asa great mentor, Senseney made a pointthat Supinie was active in his businessmeetings with vendors and othermerchants to make a smooth transitionof power when he retired. She also hada group of women friends who wereequally successful in college and life,never thinking about restrictive genderroles. With respect to her staff, the OperationsManager is also female, as aremembers of the repair shop. Looking atthe Web site, it looks like the managingstaff is equally split, men and women.Within the industry, Supinie connectswith other female owners whoare supportive of each other. She isvery active in the industry and wasPresident in 2009 of the Retail PrintOur amplifiers have that“American sound.” Ourguitars have that “Americanfeel.” And we’re proudto manufacture them inthe U.S.A.—MitchellThere’s no questionthat products madeoverseas have come along way. Ultimately, theconsumer wins. They geta quality instrument at amore affordable price. Itall depends on the specificproduct, though. There’sreally no way we couldproduce quality customdrums in any place otherthan in the U.S. It’s a verycomplex business modelthat involves lots of variables,such as an expansiveinventory of componentsand raw materials, ahighly trained workforceand a knowledgeablefront office staff to keepthe whole thing moving inthe right direction.From a marketingstandpoint, our CaliforniaCustom Shop is also abig plus. Once drummerswalk through ourfactory and see firsthandthe attention to detail andcraftsmanship that goesinto our products, they’refans for life.—DonnellQuality control! Qualitycontrol! In this day andage, that is what it’s allabout, although othercountries have madegreat strides in improvingthe quality of theirproducts. There is noquestion that you cancontrol the quality of yourproducts when they arebeing made in your ownbackyard.—PortnoyI believe [there is a qualitydifference]. It mightnot be so much the case inother industries, but, whenit comes to musical instruments,especially stringedinstruments, it is crucialhow they are made, inmy opinion. It is equallyimportant by whom theyare made, where they aremade and how the peoplewho make them arecompensated and treated.All these aspects have animpact on the feel, quality,value and market perception.—WolfMusic Dealers Association (RPMDA).She is a member of the National Associationof School Music Dealers(NASMD) and became a member ofNAMM’s Board of Directors in 2011.Plus, Senseney Music has been votedone of the top 100 dealers in the nation.Supinie believes in NAMM’s Circle ofBenefits.Lori Supinie believes we are a sharingindustry and that, in sharing information,we all win. And she was great aboutsharing information. “We do root eachother on,” she affirmed. Supinie encouragesall of us to participate in the shows,join our professional groups, be activemusic makers and continue learning.This makes sense for Senseney Music,and all of us.22 OCTOBER 2012

This Is Your Moment© 2012 MUSIC Group IP Ltd. Technical specifications and appearance are subject to change without notice. All trademarks are the property of their respective owners. iPad not included.The lights come up, the band explodes to life and your system is dialed in.The show unfolds in front of you and everything is where you expect it to be.Mains sound great, 6 monitor mixes, side-fills and in-ears are netting you nods fromthe band. You’re bedding 32 tracks in ProTools, and mixing a killer show. You glancedown at the X32 and marvel at the technology; motorized faders, LCD scribblestrips, 16 mix busses and racks of effects at your fingertips, iPad® ready to mixfrom anywhere.Get your hands on an X32 and live your moment!

productsDrums & PercussionDrums & PercussionSmokin’ HickoryOverview: Gretsch’s Renown Purewood Limited SeriesSpecifics: Gretsch Drums is offering the latest in itsRenown Purewood Limited Series that features 100-percentAmerican hickory. A very hard, shock-resistant wood, moredense than maple, American hickory creates a sound thathas substantial low end while maintaining a solid, controlledtone. Each drum is finished in a finely applied gloss lacquerto accentuate the distinct grain pattern of the wood. The setsare available in a five-piece and six-piece shell pack, and comecomplete with chrome hardware, die-cast hoops, Evans drumheadsand 30° shell-bearing edges.MSRP: Five-piece: $3,080.99; six-piece: $3,999.99Ship Date: NowContact: Gretsch Drums, 860.509.8888, gretschdrums.comBlack Bird BoomsOverview: Mapex’s Meridian Black Raven KitSpecifics: The Limited Edition Meridian Black drum kit,called “The Raven” from Mapex Drum Company, is a speciallydesigned kit. It is the first in a series of “Player Designed” kitswith features that fill the needs of the modern rock drummer.“The Raven” kit is a limited edition, specific in its configurationand unique in its look. The rich birch/maple shells crankout low and dark tones with a balanced attack. The inside ofthe shells feature a new black finish that enhances resonanceand projection. The 22”x20” Bass drum delivers massivelow end and the shallow toms speak fast. The kit boasts one12”x08” rack tom, and 14”x12” and 16”x14” floor toms, so theplayer can bring in his or her ride cymbal close for optimalperformance. A 14”x06” snare drum completes the set.MSRP: Call companyShip Date: NowContact: Mapex Drum Company, 615.773.9900,mapexdrums.comSound That SparklesOverview: Sonor’s Red Galaxy Sparkle FinishSpecifics: Sonor’s Safari and Bop kits are nowavailable in a new Red Galaxy Sparkle finish. TheSafari kit is a more affordable version of the SonorJungle Kit, offering compact size with uncompromisedsound. This shell pack includes a 16”x16”bass drum with riser, a 10”x8” tom with mountinghardware, a 14”x12” floor tom and a full-size 14”x5”snare. The Bop kit is easy to transport as a smaller,more affordable alternative to typical kit configurations.This shell pack includes an 18”x16” bassdrum, a 12”x8” tom with mounting hardware, a14”x14” floor tom and a full-size 14”x5” snare.MSRP: Safari: $637.50; Bop: $748Ship Date: NowContact: Hohner, 800.446.6010, hohnerusa.com24 OCTOBER 2012

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productsDrums & PercussionGuitar & AmpsThe Big BossmanOverview: HardLuck Kings’ Chop Shop SeriesBossman ModelSpecifics: The HardLuck Kings (HLK) Chop Shopseries Bossman has a solid mahogany body with aset mahogany neck. The scale is 24.75 inches, thewidth at the nut is 1.65 inches and the body thicknessis 1.875 inches. The Bossman sports 22 mediumjumbofrets, all dressed and polished on a rosewoodfretboard with custom brass knuckle inlays. TheBossman has a hot rod satin matte black finish on thebody, neck and headstock, along with white binding.It has all chrome hardware, including wilkinsondie cast tuners, tune-o-matic bridge and astop tailpiece. The glossy black pickguard, blackspeed knobs and black bell-shape truss rod cover,along with the chrome hardware, all pop againstthe matte black finish. It’s complete with a twowayadjustable truss rod and a bone nut. Theelectronic controls consist of two volume, twotone and a three-way toggle switch.MSRP: Call companyShip Date: NowContact: HardLuck Kings, 805.405.4096,hardluckkings.comOnly Watch CableOverview: Rotosound Repackages Instrument CablesSpecifics: Rotosound has repackaged its extensive range ofinstrument cables, which now come in a choice of more than30 specifications. The packaging enhances a collection of variedand versatile high-quality instrument cables, which havebeen engineered to Rotosound’s exacting standards. Featuringpure copper cable for good signal transmission and audioquality with straight or angled jacks, these cables are manufacturedfor consistency, strength and sound clarity. The rangeincludes a choice of lengths up to 45 feet, straight or curlycables, which includes XLR, MIDI, patch, speakon, extensionand phono leads. All cables are 100 percent hand-inspectedand finished in non-toxic PVC sleeves.MSRP: Call companyShip Date: Call companyContact: Rotosound, +44 (0)1732 450838, rotosound.comMSR ad - Trusst TUV Logo.indd 18/7/2012 10:04:37 AM

productsDrums & PercussionGuitar & AmpsDrums & PercussionDJ & LightingI Am A Real AmericanOverview: Fender’s American Vintage SeriesSpecifics: Fender’s American Vintage Seriesintroduces an all-new lineup of original-era modelyear guitars. With key features and pivotal designelements spanning the mid-1950s to the mid-1960s,American Vintage Series instruments preserve aninnovative U.S. guitar-making legacy. All the newAmerican Vintage Series guitars feature thick andslim necks with profiles and edges carefully resculptedto reflect even greater period-correctauthenticity, with both maple and rosewoodfingerboards, vintage-style frets andbone nuts; all-new vintage-style pickupswound to period-correct specs and soundto accurately reflect specific model years,and even specific periods within specificmodel years; and retooled pickguards,parts and hardware. The new guitars arethe American Vintage ’56, ’59 and ’65Stratocaster models (’56 model also inleft-handed version), American Vintage’58 and ’64 Telecaster models (’64 modelalso in left-handed version), AmericanVintage ’65 Jazzmaster and AmericanVintage ’65 Jaguar. Also, the AmericanVintage ’52 Telecaster returns to thefold (in right- and left-handed versions).MSRP: Call companyShip Date: Call companyContact: Fender Musical Instruments Corp., 480.596.9690, fender.comPioneering DJ ControllersOverview: Pioneer’s DDJ-ERGO LimitedSpecifics: Pioneer DJ is offering itsDDJ-ERGO DJ controller in a new premiumblack color, dubbing it DDJ-ERGOLimited. The DDJ-ERGO allows musicenthusiasts to make unique mixes withtheir own music collection. The controlleris packaged with “Traktor LE 2” by NativeInstruments and is compatible with otherDJ software, including Serato’s “Serato DJOut Of This WorldOverview: American DJ’s Galaxian Gem LEDSpecifics: American DJ is giving lighting users the “moon” andthe “galaxy” with its Galaxian Gem LED. This fixture combines dualRGBW LED moonflowers with a Galaxian-style green laser for a two-inoneDJ/club effect. The moonflowers, which sit on either side of its laser,are packed with a total of 46 5mm RGBW LEDs (16 red, 10 green,10 blue and 10 white). These LED sources produce a multitude of red,blue, green and white beams—similar to ADJ’s classic Gem moonflowereffect—which, when projected onto walls, ceilings and dancefloors,create patterns that turn any club or performance into a universe ofcolor and motion. What’s more, the moonflowers are equipped with anLED strobe that adds pulsating flashes of color, allowing users to crankup the excitement level even higher.MSRP: $349.95Ship Date: Call companyContact: American DJ, 800.322.6337, americandj.comIntro,” Atomix Production’s “Virtual DJ”Limited Edition and algoriddim’s “djay 4.”With the color change, the play/cue buttonnow has a chrome finish and the fourjog dial illumination was changed fromblack to white for a sharp appearanceMSRP: $599Ship Date: NowContact: Pioneer DJ, 310.952.2000,pioneerdjusa.com

MiscellaneousPRODUCTSDress The PartOverview: Zildjian’s Fall CollectionSpecifics: Zildjian’s fall collection of gearfeatures two top-voted T-shirts on Facebook:a soft 100-percent cotton T with an off-centerclassic A Custom logo and a soft, lightweight cottonshirt with an oversized graphic cymbal. Both shirtsare available in black, sizes S to XL.Zildjian rounds out the collectionwith a bling T for women featuringa dressed-up version of the company’sclassic logo. This rhinestonestuddedpima cotton T is availablein two colors, linen and black, andcomes in sizes S to XL. Zildjianbrings back the classics with a retrosweat suit combo. The pull-overblack sweatshirt features the classicZildjian logo with draw-stringYou’re WantedOn-StageTMAnalog Dual-Filter/Wah Stomp BoxPure Analog Tone with Digital Controlhood and front pocket; the sweatpants have an elasticwaist and ankles. There’s also a lightweight, long-sleevepullover hoodie in charcoal with a subtle Zildjian logo.MSRP: Call company Ship Date: NowContact: The Avedis Zildjian Company,781.871.2200, zildjian.comOverview: On-Stage Stands’Two Bench ModelsSpecifics: On-Stage Stands offerspianists and keyboardists twonew bench models. Both benchesare furniture-quality pieces andare engineered for comfort andstability, as well. The KB8802RRosewood Piano Bench featuressolid wood legs and a dark rosewoodfinish. A durable vinyl seatcovering and vented seat cushionprovide long-term comfort andresistance to wear. The KB8902BFlip-Top Bench sports a classicpiano-black finish and integratedstorage compartment. The paddedseat flips open to reveal a largestorage space with plenty of room.MSRP: KB8802R: $126.99;KB8902B: $143.99Ship Date: Call companyContact: On-Stage Stands,800.289.8889,onstagestands.comThe Ultimate Wah/Filter Pedal Has Arrived!The Wahoo is a dual analog filter stomp box where each filter can be configured as low-pass orband-pass and operate independently in wah pedal, envelope, LFO, and pitch-tracking modes. Thewarm-sounding fully analog signal path is digitally controlled for precision, configurability andadaptability.Whether you want to recreate the character of vintage wah/filter pedals or break new sonic barriers,the Wahoo can do it for you.Warm, organic analog tone • Dual-filter design • Digitally controlled with 100 factory + 100 user presetsPatent-pending pedal sensor that will never wear out • Transparent-True-Bypass switching • Wah pedal, envelope,LFO and Pitch-tracking filter modes • Future-proof upgradeable firmware • 9VDC, 4×AA batteries, USB-poweredfacebook.com/sonuusyoutube.com/sonuusmusicDistributed By:© 2012 Peterson Tuners. The name sonuus and Wahoo are trademarks or registered trademarks of Sonuus Limited. Sonuus Limited Registered in England, No. 6800737.Music & Sound Retailer 29

sixty-seventh editionRedding MakesThe Music ConnectionIn Redding CA, music is in the air once again. Back in August, The MusicConnection celebrated its grand opening on Bechelli Lane, according to theoriginal report from The Redding Record Searchlight. Part of the festivities wasBernie Baker, the store’s Manager,who had owned the music store thatpreviously occupied that space. Asthe Redding Record Searchlight storyreported, The Music Connectionis, in essence, a reincarnation ofBernie’s Guitar, Baker’s old store,which shuttered earlier this year.Bernie’s Guitar had boasted impressivelongevity, as well, having operatedfor nearly 40 years. It had beena favorite of budding musicians andlocal music lovers. Baker was forcedto close his shop in April because ofa $100,000 tax debt to the InternalRevenue Service.According to Sally MacMillan,who, along with her husband, Bruce, owns TheMusic Connection, they invested some $40,000in remodeling the store, which, according to theoriginal article, had not been revamped since1989. The deal did not, however, address Baker’sdebt to the IRS, which is divorced from the store.The Music Connection will host regular concertsand lessons and, at the time of this writing, wasscheduling a musician swap at which artistscould trade equipment.From A To Z Music StoreIn sunny Flagler Beach FL, Z Music Store, which opened inJanuary, has already made quite a name for itself in the community,reported The Palm Coast Observer. Opened by Gene Kisselev andAlex Gourin, Z Music Store grabs your attention as soon as you walkthrough the door with its sizeable display of acoustic and electricguitars, the original article reported. Pricing ranges from thosesuiting budget-conscious beginners to those for high-end professionals.The complement of items in stock also includes stringed instruments—fromthe banjo to the viola—as well as woodwinds and brassinstruments. Kisselev, who boasts many years as a professional jazzmusician, also does brass and woodwind instrument maintenance andrepairs, which can be handled in house.A professional rock guitarist, Gourin deals with most stringedinstrument maintenance and minor repairs. A local guitar designer andmaker named Chris Ware serves as the store’s luthier when repairsare very involved. Ware, a certified fretted instrument technician,designs and crafts guitars and ukuleles.For the audiophile guitarists out there, Z Music offers Pulsar fulltubeamps built on the Fender Bassman industry standard chassismodel—in tweed. Each one is custom made by Steve Pulcifer. Plansthat have been developed for the store’s future sound extremelypromising. They include expanding retail space, as well as sponsoringmusic seminars and meetings with industry professional musiciansand artists.30 October 2012

usiness and marketing(continued from page 44)free-shipping club membershipand the cost averages $79.95 peryear. Besides the free shipping,sites offer members exclusivedeals and incentives that theywouldn’t get otherwise. Promotingthe added value of extrabenefits will justify the price ofthe membership and help yousign people up.The Bottom LineShipping is expensive andsomebody is going to pay for it.Free shipping can build trafficand repeat business if costs canbe managed. Establishing a freeshippingclub could be the answerto build sales in a controlledenvironment. After you do themath, I’m sure you’ll see that thisis an opportunity for you to winin the free-shipping game.David Hall is Vice President- Sales & Marketing for Cutting-Edge Solutions. Its eCommerceproducts, The Generator andPro-Active Websites, are utilizedby leading vendors and retailerswithin the music productsindustry. Contact him at dhall@pro-activewebsites.com.worry about bumps or breakingwhile, at the same time, chargingthem.To make a completely wirelessup-lighting system, Chauvet alsointroduces the Obey 4 D-Fi 2.4,which is an Obey 4 controllerwith a built-in D-Fi transmitter.The wireless controller is compatiblewith the Freedom series andeliminates the need to run cablesfrom your controller to yourfixtures.If you take a public opinionpoll and ask whether people love“freedom,” you’ll get as closeto unanimity as you’ll ever findabout anything. It is appropriate,then, that enthusiasm forthe Freedom series has beenremarkably high. “People lovethat they’re true wireless,” declaredAirriess. “You don’t haveto worry about cabling, and youdon’t have to worry about findingpower.” It could be said that, inthe lighting space, the time hascome to—pardon the cliché—LetFreedom Ring.The MSRPs for the productsare Freedom Par (RGB): $369.99;Freedom Strip (RGB): $369.99;Freedom Charge P: $419.99; andFreedom Charge S: $419.99.Freedom Par and Strip areavailable now. Freedom ChargeP, Freedom Charge S and Obey4 D-Fi 2.4 will be available laterthis fall.under the hood(continued from page 54)who wants a convenient, easyto-useup-lighting system that is100-percent wireless,” Airriessdeclared. “The main thing isthey’re affordable, intenselybright, lightweight and compact,but they also have a lot ofbattery life.” And, the productsgive users a great deal ofcontrol over how they use them.“We give them a lot of options,”Airriess affirmed, citing IRCcontrol and the ability to pickspecific colors and programsfrom the unit itself. “Mobileentertainers get requests forspecific colors, so having thistype of control over these unitsis perfect.”The series comprises morethan just those two products,though, so it’s important also tomention the Freedom ChargeP and Freedom Charge S. Theformer is a durable, rolling roadcase that safely transports andcharges Freedom Par fixtures,whereas the latter transportsand charges Freedom StripMini fixtures. Each one canaccommodate four fixtures,transporting them withoutAmericAninstrument cable

fiVe minutes withBob YerbyVice President, Sales & Marketing, Remo, Inc.By Dan FerrisiBob Yerby, Vice President, Sales & Marketing,has had a pretty incredible career withRemo, Inc., spanning more than 20 years andnumerous divergent roles that encompassed abroad spectrum of responsibilities. Speakingto Yerby, his passion for both the music industryand Remo specifically could not have beenmore evident. In this in-depth interview, Yerbybrings us back to the beginning of his career,sharing funny anecdotes and fond memories.He also traces his history with Remo, talkingabout the experiences he’s had and elaboratingon what makes Remo special, both onthe product front and in terms of corporateculture.I hope readers get as much information andenjoyment from the discussion below as I gotfrom the conversation.The Music & Sound Retailer: Let’stouch on your background. Share thehighlights of your own story as it pertainsto the music products industry. Recountthe path that you’ve traveled, bringingus up to the present and where you aretoday.Bob Yerby: How I got my start in the industrywas interesting. It was in the summerof 1990, and I was taking summer jobs duringschool. An opportunity opened up in the studiocartage industry in LA. My first employerin the cartage industry was Drum Doctors.Clients included Vinnie Colaiuta, Jeff Porcaro,Curt Bisquera, Ricky Lawson and Jim Keltnerto name a few. As a young personcoming into the industry, I had theopportunity to do studio cartage forsome of the best drummers in thebusiness. It was a pretty amazingexperience for me. I found myselfin a reality check pretty early on.As a young drummer, I practiceda lot, played the Hollywood Stripcircuit with different bands andattended the Dick Grove School ofMusic. When I first got a look atthe studio session industry, it was abig eye-opener. I was watching andworking for guys who were at thetop of their game at a very youngage. This was before the digitalrecording era and the sessionindustry was really cooking. Guyswere recording to two-inch tape and ADATs.It wasn’t like Pro Tools is today, where youcan copy and paste parts together. These guysneeded a good pass on every take. At thattime, Jeff Porcaro, Vinnie Colaiuta and JimKeltner were first call drummers doing one ortwo sessions a day at different recording studiosaround Los Angeles. It was challenginggetting around town to all the downbeats forthese sessions on time. [Laughs.] I remembercrashing a company van at a McDonald’s.My colleague and I cut the corner too closeand took out the side of the van…just tryingto make it from Ocean Way over to Capitol.[Laughs.]Later that same year, Vinnie got the Stinggig, Jeff Porcaro went out with Toto andbusiness slowed down. I wasn’t able to getthe hours. Ross Garfield, who still runs DrumDoctors, had been talking to Remo aboutan opening in research and development. Ihappened to get a call from Herbie May, whois now our Director of Engineering and R&D.He wanted me to come in for an interview. Isaid, “I’d be honored to come in for an interview.”I went in for the interview in October of1991. I was hired into research and development.The first job assignment he gave me isone I’ll never forget.It was my first day and Herbie comes inwith a stack of 20 14-inch heads. He said, “Iwant you to take these into the torture chamber,”which was our testing room, “and playon each of these heads for half an hour.” I’mthinking, “Wow! What a great gig!” [Laughs.]I did different types of drumhead testing,from playing to manual pull testing for durability.In 1992, I began the development of ourworld percussion instruments: the advent ofthe djembes, tubanos and other shaped shellinstruments. I was involved in making the prototypes.That involved getting the prints fromthe engineers and executing prototypes intoproduction. In 1994, I then became a QualityControl Supervisor. After the products werein production, I was in charge of final inspectionsfor products that were ready to go tomarket. A year later, I applied for a job in ourcustomer service department. After gettingthat position, I took a lot of the things I hadlearned from R&D, production and qualitycontrol to customer service. This was a greatexperience, working directly with customers.I handled the DW account, Remo artists,dealers and distributors. A few years later, Iaccepted the role of Artist Relations Manager.I was responsible for developing relationshipswith the world’s top drummers and signingnew talent. This was instrumentalto my growth in the industry.Being responsible for an artistroster like Remo’s, you are workingwith a lot of different typesof guys. I found it challengingand exciting to be correspondingwith the different personalities.Six years later, I went intoproduct management and wasappointed Product Manager fordrumheads and accessories,responsible for developing newproducts ideas and innovations.Two years later, I was appointedNational Sales Manager. Thiswas another important learningcurve for me in the industry. Iwas responsible for dealer and32 OCTOBER 2012

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A vintage photo of the Remo factory.Remo passionately advocates music making.distribution networks…establishing moresolid relationships with customers in NorthAmerica. I was then appointed Director ofSales, where I was responsible for global salesfor Remo, Inc. I’m currently the Vice Presidentof Sales & Marketing, which I’ve been forthe past five years.The Retailer: That’s a pretty incrediblerun within one company, especially beingable to gain such a broad perspective as aresult of working in so many positions.Yerby: I celebrated 20 years back inOctober and, looking back, it’s been a wonderfulride. I’ve really learned a lot about R&D,manufacturing and quality control, along withsales and marketing in the music productsindustry. In addition to MI, I’ve also learneda lot about recreational activities, as well ashealth and wellness benefits with the use ofdrumming as a tool.The Retailer: In terms of what you areresponsible for day-to-day within Remo,what are your key contributions? What isthe best part of your job?Yerby: In the economic climate that we arecurrently in, driving sales is my top priority. Wewant to make sure we have really good salesprograms in place and are always paying attentionto customer needs. We also want to keepour fill rates high, and support our dealer anddistributor networks with the proper marketingassets to keep the product moving through thechannels. I really enjoy the leadership role inour department. Our team is the strongest thatit’s ever been. I think our marketing team isreally talented. We have a smart, young groupof people who can really execute. I enjoy thecreative process of making sure our marketingis up to date and relevant.The Retailer: Let’s talk about RemoA contemporary shot of the Remo factory.in broad strokes. Give us a 10,000-footview of the company, discussing some ofthe key characteristics and qualities thatit embodies. Tell us about the company’sgrowth and development over its history.Yerby: Remo, Inc., is a drumhead companyfirst and foremost. Remo Belli was thefirst to successfully take a working syntheticdrumhead design to market. There were otherdrumhead efforts and ideas out there priorto Remo’s (Ludwig and Slingerland, to bespecific), but his original design is still usedtoday by all drumhead companies. That’s thepoured open channel drumhead. We wouldnever say we were the first. For the record,snare and bass drumheads were mentionedin the DuPont Mylar patent that was issued in1953. The first known patent for the drumheadwas issued back in 1958 to a gentleman namedJames V. Irwin, but the design was technicallyflawed. Remo’s original design in 1958 wasinfluential because it worked. It could go tothe proper tension levels that could stand upto all playing situations in that era. This is whywe are most famous for the drumhead.Fast-forwarding into the 1980s, we beganR&D in drum sets, hand drums and tambourines.In the early ’90s, we started developingthe world percussion product line that hasbeen very successful in areas of show business,recreational drumming and education.Currently, our company has a tremendousresponsibility to drummers and drum manufacturersall over the world. We take pride inmaking the highest quality drumheads andsetting the standard for the global drumheadmarket.We are also very responsible in other areas,such as recreational music making and wellness.In our view, anybody can play a drumand should play, because it’s fun and healthy.Remo Belli has planted the seeds in two keyareas: recreational music making, along withhealth and wellness. Health Rhythms, forexample, is evidence-based protocol on naturalkiller cells (specialized white cells) that seekout and destroy infected cells, with drummingas a tool. It’s amazing what we’ve learned inother areas, such as autism, learning disabilitiesand social disorders, with the use of thedrum.The Retailer: When you look at Remoas it currently exists, what would you sayyou’re the proudest of? What makes thecompany stand apart, not only from itscompetitors but also from all companiesin the music products industry?34 OCTOBER 2012

Yerby: I’m most proud of what we have accomplishedover the past 55 years. The evolutionof the drumhead…creating different sounds forall areas of drums and percussion. Our accomplishmentsin the areas of recreational musicmaking and Health Rhythms are phenomenal.I’m very proud of what we do on the humanitarianside. I’ve been able to witness incrediblethings. For example, we were sponsoring thedrum circle at the National Association of SchoolMusic Dealers (NASMD) convention in San Antonio,and a person in a wheelchair was observing.We clamped a Paddle Drum to the armrestof this person’s wheelchair and he began tohit the drum. The smile and emotion that wasgenerated was so powerful that it was difficultfor me to keep my composure. The vibration…the sound of the drum…and this physically challengedperson being enabled to participate wasjust unbelievable.The Retailer: In our music-centricindustry, a great number of creativeindividuals often work for manufacturers.Would you say that the Remo team isa very creative one, where the productsthey’re involved with on a daily basis areactually a big part of the team’s lives outsidethe office?Yerby: Absolutely. We have some reallycreative people who work in the sales andmarketing department. I’m still the SeniorProduct Manager for drumheads, developingprototypes and coming up with new ideas. Ourtesting programs involve employees who aregood drummers, artists and drum techs. Betweenour marketing and R&D departments,we can develop great sounds for the marketvery quickly. In world percussion productdevelopment, we’ve got some great percussionistswho work here, as well. When we’redeveloping sounds for drums and percussion,we know we have something great before itgoes to market.The Retailer: Shine a light on some ofthe most recent product releases fromRemo. Going forward, what are you goingto be pushing most aggressively? What iscoming soon that you might want to preview?Why do these represent importantadditions to the marketplace?Yerby: We have some interesting productscoming out in 2013 for drumheads and forworld percussion. These products are still inthe development stages. Last year, we hadgreat success with the new Clear VintageEmperors, Powerstroke Pro Bass Drumheads,Global Frame Drums and the Mondo Cajons.In the past few years, drumhead productlaunches have been really good for consumers.We’ve been able to create great-soundingdrumheads that last a long time. In tougheconomic times, you want to create productsthat give consumers more bang for the buck.It’s stretching their dollars. I think we’ve donea really good job creating products with greatdurability and sound quality.The Retailer: What is your philosophywhen it comes to working with dealersand the dealer channel? Would you saythat working closely with dealers is a bigpart of Remo’s approach to business?Yerby: Our relationship with the dealer baseis very important. The independents, drumshops and large retail chains need our support100 percent. We want to make sure that ourdealer and distributor networks are solid. Wewant to provide dealers with good sales programsand quality customer service to providesufficient stocking levels, and inventory turnswith good margins. We are contacting dealersconstantly just to make sure products are turningthrough and business is OK.The Retailer: Both in the U.S. and globally,economic times during the past fewyears have been difficult. How well hasRemo weathered the continuing economicstorm? What proactive steps has thecompany taken to minimize any economyrelatedpain?Yerby: Our approach is to make sure thatthere are consistent deals out there thatdealers can take advantage of. Obviously,everyone has to look at the bottom line andcontrol costs, whether you’re a manufacturer,a distributor or a dealer. We all want to be asproactive as possible to keep product movingthrough the channel. These economic conditionsare unprecedented, and Remo is in afortunate place. We have a great brand equityposition in the market, which is not somethingthat can be taken for granted. We have to keepup our momentum and make sure that we’reacting as the best partner we can be in thiseconomic climate.The Retailer: What does the futurehold for Remo? Do you foresee any majorchanges or shifts in terms of the productpipeline, market segments, business relationshipsor company strategy? What canwe expect to see?Yerby: Dealers can expect to see moreinnovations from us. I think we’re immenselystrong in these areas. Our ability to developprograms and new sounds for different markets,such as show business, recreational musicmaking and education, along with healthand wellness, is unwavering. These attributeswill be the key to our success going forwardinto the future.The Retailer: What are your closingthoughts?Yerby: When I first joined the company in1991, I didn’t envision myself 20 years laterbeing where I am today. It has been a greatride and a wonderful learning experience.I find myself very fortunate to have RemoBelli and Brock Kaericher as mentors. I lovethis company and take great pride in workingwith some of the best people in the musicbusiness.LIGHT UPTHE HOLIDAYSAlfred’sInstrument Packs• Award-winning music instructionBook, CD, DVD, and software• High-quality instrument• Deluxe accessoriesReceive them in timefor the holidays!ORDER TODAYTeach Yourself to Play SeriesAcoustic Guitar Starter Pack (00-39304) NEW!Electric Guitar Starter Pack (00-39425) NEW!Ukulele Starter Pack (00-37379)Kids CoursesUkulele Starter Pack (00-39306) NEW!Guitar Starter Pack (00-37377)The Complete Idiot’s GuideAcoustic Guitar Starter Pack (00-37375)Contact your Alfred Sales Rep orvisit alfred.com/starterpacksfor more information.NEW!Web: alfred.com/dealer | Email: sales@alfred.comPhone: (800) 292-6122Music & Sound Retailer

mi spyBluegrass And MI Sleuthin’It was time to polish my spyglassin preparation for a longjourney to the land of horses andbluegrass. (That’s bluegrass as inKentucky bluegrass, not the styleof music.) But, I’ll bet there isplenty of music there, as well.My assignment, if I chose toaccept it (which I did), was toshop four music retail stores inLexington KY and report back toThe Chief on how the stores performed.I have to admit that I didspend some of my time lookingfor bluegrass, only to find out thatI was in the wrong season.The weather was still warm—OK, it was darn hot—but TheChief wanted this done and Ineeded to carry out my mission.The strict deadline that he’dimposed forced me to shop in theheat of the summer. It was, as Isaid, too late to take in the famedblue colors of the state.Lexington is a beautiful citysurrounded by impeccably wellgroomed horse farms. You couldeat off the stable floors. I foundpeople to be warm, kind and laidback.Doo Wop Shop443 SouthlandLexington, KY 40503After a little bit of confusion onthe GPS and hitting a McDonald’sfor a huge sweet tea to get methrough the heat, I stopped at myfirst destination: Doo Wop Shop.I walked in and found two youngmen manning the store. I figuredthese two would know what I neededas The Chief gave me the assignmentof looking for a keyboard. “Itshould be like what you’d play ina rock band,” he had said. I don’tknow a lot about that, but I figuredI could use the old “my daughteris looking for a keyboard for mygrandson” routine. It is somewhattrue, as he is taking keyboard inschool this year. So, my daughtermight be looking for one.The store was cute in that itlived up to its name, with a classiccar sitting out front, “Doo Wop”neatly painted on it. It was a coolride. The store was in a plaza, wellmarked and easy to access from amain road.My first impression? Therewas a lot of merchandise. It was agood thing. Not blow you away organized,but not irritatingly “can’tfind what you want,” either. It wasclean and a good size. This is oneof four Doo Wop Shops.I was greeted nicely as I walkedin with a “How’s it goin’?”“Good,” I replied. “How aboutyou?”“Not too bad,” he said. “Whatcan I do for you?”I told him I was looking forkeyboards. The keyboards wereright beside the sales counter, sohe came around and stood therewith me. I initiated a little moreconversation, saying I was lookingaround and pricing keyboardsfor my daughter and that mygrandson was interested in beingin a rock band. I could tell he wasnot really up on his keyboards,but did not think too much aboutit. He could have been new or abrass player, etc.He asked if I thought he (mygrandson) wanted a weightedkey. “We have several here withweighted keys,” he said. Healso pointed out that there was asynthesizer, as well. He asked myprice range, to which I candidlyresponded, “I have no clue.”He suggested the Casio Privia,saying it was the most popular andit had built-in speakers so that hewould not need an amp, but couldadd one in the future. “That CasioPrivia there is going for about,”—get that…“about”—“$785 new andthey rent out for $50 a month.” Headded that they were nice keyboards.Then, he pointed out a high-endRoland (FP4F) and, in his words,it went for about “two grand.” Hesaid he would not recommendstarting with it. He added that itwas an awesome keyboard andthat he would highly recommendit if my grandson ever got to thatlevel. That one rented out for $125a month.The most inexpensive keyboardwas the Casio CDK 2100, which,he said, “goes for about a hundred,I think.” He said it rents for $8 or$9 a month, saying it as though itwas a question. He then had mepush down on the keys to showme the difference in touch of aweighted keyboard and one thatwasn’t. At this point, the othersalesman came over and said thatthe Casio was $119.95 and rentedfor $8 a month. Now we had thatcleared up!I asked if these keyboards couldbe set to make different soundslike a synthesizer. He said yes, likeorgan sounds and piano sounds,and he thought it had a soundbank with percussion.I asked about the warranty andhe said it was just the manufacturer’swarranty and that Doo Wophad a 30-day return policy. I alsoasked if something went wrongwith it and I needed the keyboardfixed where I would need to takeit to be fixed, querying whether Iwould have to send it away. He saidthey had a number for a repair guy.He did suggest the Privia withthe built-in speakers and playeda few notes so I could hear that ithad a good tone to it. The other36OCTOBER 2012

salesman also pointed out thatthere was a PX130. The first salesmansaid, “Oh yeah…it goes forwhat, $300?” Salesman two said itwas $540 to $560 and it was stillthe Casio series, just with fewerfeatures. There was also an M-Audio Pro Keys 88 synthesizer anda Roland GW8, selling for $1,100.They did have a selection: nothuge, but enough to get a goodidea of what was out there and theprice ranges. I asked if they hadlessons at the store and he said no,but he could give me the name ofa teacher they would recommend.The second salesperson seemed tobe more knowledgeable about thekeyboards and prices.The first gentleman yawned alot—rough night, I guess, or I wasboring him with my questions—but he was pleasant. Not that Iam really picky, because I am alaid-back, like-to-be-comfortableperson, but they could have beendressed just a little better. It washard to distinguish if they workedthere or were just hanging out.I thanked them both, told themto have a good day and they said,“You, too! Come back and see us.”I would consider buying there.They were friendly, helpful andpleasant, just not zoned in on theexact prices.I then drove to my next destination,which was also in a plaza butwas not as well marked. It tooka little bit of maneuvering to findit. The GPS kept telling me I wasthere, but the store’s sign, fromthe road, was not especially visibleand, yes, my glasses were clean.phone for quite awhile as I waschecking out the keyboards.I was doing everything aninterested customer would be doing:writing down prices, intentlylooking at the keyboards, holdingthe tags in my hand and readingthem and all the time continuingto look out at the counter,figuring, sooner or later, someonewould come and ask me what myinterest was.At this point, Sales 1 was offthe phone and sitting there at theEXPRESSJP BOUVETRoland ® 2011 V-Drums ®Contest Winnercomputer. Someone else had comein and Sales 2 was helping that person.I continually positioned myselfso they could see me, hear me andnotice that I was writing thingsdown. I was definitely interested. Ibegan to approach the counter andSales 1 to ask for help when thephone rang and he answered it.I was walking all around tryingto get their attention, all the timewriting down brands of keyboards.Some were marked with prices andsome were not. There was no realrhyme or reason to the system…no consistency that I could see. Imay not know keyboards well, butI did take merchandising classesat the Yamaha Corporation. Thiswould not have passed the test.I continued to watch the timeas minutes passed and still noone seemed interested in what Iwanted to buy. There was a Yamahakeyboard package—PSR E413with headphones, stand, benchand sustain pedal with a three-yearwarranty for parts and labor—sell-YOURSELFWillis Music161 Lexington Green CircleLexington, KY 40503I walked through the door ofWillis Music and was greeted bysalesperson one (Sales 1) sittingbehind the counter. He softly said,“Hello.” I asked, “How are you?”He made some loud groaningsound that did not resemble anywords I recognized. He continuedto sit behind the counter, whilesalesman two (Sales 2) was helpinga customer close by.The store was set up so that thekeyboards and pianos were in aroom with a big opening in sightof the sales counter. I wanderedaround for five minutes and thegroaning man continued to sitthere. Eventually, the phone rangand he answered it. He spoke withthe person on the other end of theMusic & Sound RetailerWith its ultra-quiet pads and pedals, and the ability to playwith headphones, the HD-3 V-Drums ® Lite from Roland ® letsyou rock out on the drums anytime and anywhere. This superfunkit delivers a ton of great sounds and expressive playability,plus other features like computer connectivity and a space-saving,all-in-one design that’s effortless to set up and store.Learn all about this awesome compactdrum set at RolandUS.com/HD3.DT-1 V-Drums TutorThis interactive software companion forany V-Drums set makes it fun and easyto learn the drums. With play-along songsand patterns, notation and game screens,and instant feedback on playing accuracy,the DT-1 puts you on the fast track todeveloping excellent drumming skills.

ing for $399. There was a RolandV Combo Keyboard, VR 700, listprice $2,329 selling for $1,999.99or renting for $80 a month.I decided to move closer toSales 2. I was physically standingat the case and counter where theharmonicas were when salespersontwo came over and asked athird customer standing there whathe was looking for. I stood in theline of sight waiting for him to saysomething, such as, “I’ll be withyou in a moment,” but nothing.The phone rang and Sales 1answered it. So, now, he has beensitting there about 20 minuteson and off the phone, while I, thepotential customer, was waitingfor help. Sales 2 was playingharmonicas and talking about illnesseswhile I was leaning on thecounter watching. I was still nothelped. I would like to say that itwas an honest mistake, but I feltthat I was ignored. In total, fourcustomers were, at some point,waited on by Sales 2, while Sales1 sat at the counter, answered thephone and then disappeared as Istood waiting to buy an expensivepiece of equipment.I had been in the store for23 minutes. I heard Sales 2 saysomething about going somewhereand I assumed he wasgoing to help the harmonicacustomer to their car with a purchase.There was silence in thestore at the count of 26 minutes.I walked over to the first piano,an upright, and leaned on it whilestaring at Sales 1 back at thecounter. He didn’t seem to bedoing anything. Once again, as Istarted over to ask for help, thephone rang and he answered it.That is when I saw Sales 2 wasoutside smoking. He was therefor approximately 12 minutes,while I was waiting for some help.I continued to move so theycould see I was still there andlooking at them. Sales 1 answeredthe phone again andthe other was still outside. I dobelieve the calls were not ofa personal nature, but he wasfriendly and laughing while I waswatching and waiting. I continuedto watch the man outside smokeand walk around on the sidewalk.He could see me, I’m sure.I was writing down more priceswhen I realized a couple of thesigns had Christmas trees onthem. I have heard of Christmasin July, but I would bet thesewere still there from last December.I saw a Yamaha Arius Classic(list price: $2,199; purchase price:$1,799.99) and a Yamaha Synthesizer(list price: $1,299; purchaseprice: $999.99) and renting for$40 per month.Now at the 38-minute mark,Sales 2 came in and sat down atthe counter while I was standingabout 15 feet away and Sales 1had disappeared again. He satthere and messed around on thecomputer and the phone rangas I was walking toward him toask for help. He answered it andspoke, with Sales 1 not in sight.(Even with my spy surveillancetechnology, I could not find him.)After Sales 2’s phone call ended,he went straight to anothercustomer that had come in whilehe was on the phone. I was notbetween him and the customer,but I was within three or four feetof him when he did walk by. Hedid glance my way, kind of likehe was trying not to look at me, ifyou know what I mean.I had been in the store for 45minutes, with plenty of time foreither person to help me. I wasin sight, most of the time. In allhonesty, they both had seen mewalk in and browse around.I did not interrupt them whilethey were with another customeror on the phone. I did not createa scene as someone might if theywere ignored and wanted to buysomething. As a true spy, I felt itwas important to let them act naturally.But, I did do what probablyany potential customer would doat this point: I walked out.No one stopped me, asked ifthere was something they couldhelp me with, apologized thatthey did not help me or evenflinched a muscle as I walked byand strolled right out the door.I normally am not an impatientperson…but 48 minutes? I thinkanyone would have been a littleirritated. In 12 minutes short of anhour, no one had said a word otherthan the original hello and groan.Walking to the car, I thoughtthat it was too bad that they didnot feel the need to at least addressthe fact I was in the store.The store had a lot of inventoryand seemed like you could findjust about anything you wouldneed as a musician or future bandmember. It was a good-sizedstore with a good selection ofkeyboards, pianos, instruments,music and more.Guitar Center3801 Mall Rd.Ste. 150Lexington, KY 40503The next location, GuitarCenter, provided a great improvementin customer service. I wasgreeted in a friendly manner bymore than one salesperson andwas walked back to the keyboardselection. The salesperson wasasking me questions to qualifyjust what I was looking for andhow I was going to use it.It was recommended that I buya keyboard with 88 keys fullyweighted. He played a Casio CDP120 that listed for $599 and soldfor $399.99. He said it had a goodsound and had jacks for an amplifieror PA system. If I wanted tostep up, the Yamaha P95B listedfor $899 and sold for $549. Hesaid it had a great sound andplayed it. Another step up wasthe Casio PX (list: $899; sellingfor $699), which he also played.He added that, if I wanted to stepup to a Yamaha Work Station, itwas $1,000. He also showed me aRoland Synthesizer and demoedit: a JUNO-Di at a cost of $699.The salesperson recommendedthe weighted keys because it hadthe feel of a real piano and wasequipment that my grandsoncould grow up with. He addedit should have all 88 keys so hewould not be missing notes. “Itdepends how seriously you arelooking to get into it,” he said.The first one he showed me, theCasio, would be good to startwith and would last awhile. If mygrandson really got into it, thena Work Station would be what Iwould want.Guitar Center did not offer lessons,but offered names of teachers.He said they had very goodwarranty programs. “Two- orthree-year coverage,” he said. Itcovered anything that happened,including broken keys or accidents.He explained that Yamahahad a one-year limited warranty,but would not cover accidents.“You have 60 days to bring itback to the store. If somethinghappens after that, you call thenumber and the company pays forshipping to send it back for repairor replacement.” He handed methe pamphlet on Guitar Center’swarranty and asked when mydaughter planned to come in. Isaid I wasn’t sure. So, he handedme his card and said she couldcall him or see him when shecame in.He was pleasant and helpful.The store was organized andhad a lot of stock. Several peoplespoke to me while I was there. Iwould have considered purchasingthe product he had suggested.Gist Piano Center3901 Harrodsburg Rd.Lexington, KY 40513After a brief iced tea break in myair-conditioned car, I pulled intoGist Piano Center. I was greetedupon opening the door with a verypleasant and upbeat, “Hello.” I wasasked what I was looking for. Thesalesperson asked if it was for me.I said no and that it was for mygrandson. I explained that he hadtaken some keyboard in schooland now, of course, wanted to bein a rock band.38 OCTOBER 2012

She pointed out two full-sizekeyboards that she thoughtwould be good, saying, in a funway, “This way, he will have allthe appropriate keys.” She addedthat the keyboards she was showingme had weighted keys and asimilar touch to an acoustic piano.The salesperson showed me aYamaha that she recommendedfor beginners and said it was verybasic and had a few differentsounds on it. She demonstratedseveral sounds, plus the built-inmetronome and recording option.Upon demonstrating the RolandFP4, she said it had hammeraction and would be most similarto the feel of an acoustic piano.She had me try it, so I could feelthe difference. She explained thatthere were springs in the keys ofthe Yamaha and, over time, theycould wear out, making a differencein the touch.Also, the key was more consistentin touch as you pressedit down closer to the keyboard,whereas the Yamaha got tighteras you moved toward the topof the key. It just made a differencein the playability, she said.You could use a flash drive inthe Roland if you wanted to playMIDI files and it was possible tocombine voices.The salesperson continued todemo while explaining. She alsosaid the display was just a little bitbetter to see on the Roland andthat it had “supernatural” soundin it, saying it had to do withdynamics. “The keyboards areelectronic instruments and, whenyou keep your finger on the key,it continues to play the recordedsound over and over again,whereas the Roland sound diesout like an acoustic piano.” Bothcame with a sustain pedal.The Yamaha was $549 and theRoland package price was $1,988,and that included a month oflessons and headphones. Thebasic price for the keyboard was$1,699. Both of them had a standto hold the music.She said they did not havelessons there at that exact time,but would have them on site verysoon. “We have a ‘partners in education’group with the teacherswe work with all over Kentucky,”she said.And, she explained that shecould set my grandson up with lessonsand that the teachers wouldbe on-site. “We just did an extensionon the store and put in lessonstudios. We are still finishing upthe touches on that and then therewill be lessons here,” she said.As far as warranty, she said,with the Roland, it was five yearsand, with the Yamaha, it was oneyear. If something went wrongwith the keyboard, they havepeople they recommend in thearea to fix it.She was recommending theYamaha for a beginner, but didreiterate the fact that the Yamahahas springs and the touch wouldchange over time.She gave me her card and saidthere was a lot of information ontheir Web site, including videos towatch and plenty of other things.They do not rent the keyboards.The important thing to keep inmind, she said, was this: “Mostpeople will quit playing when theystart on keyboards, because theydon’t get the right keyboard. Someare smaller and the keys are notthe appropriate length.”She shared with me that theway to tell if they were the appropriatelength was to take a dollarbill and measure it, showing methat the key should come to thegreen line. “Shorter keys becomea problem, especially if he wouldplay on an acoustic piano orsomeone else’s piano. His feelingof touch is going to be wrong andit is going to be super frustrating.Also, look for something withweighted keys and that has 88keys,” the salesperson explained.She thanked me for coming inand I was to let her know if shecould be of more help. “It is excitingthat he wants to play,” shesaid. She explained that, if I waslooking for teachers, I could findtheir profiles, phone numbers,addresses and teaching philosophyon the Web site. I told herI was checking prices, and shesaid it was good to do my homework.When I left, I thanked herand she said, “You have a greatday.” I found this salesperson tobe the most knowledgeable ofall the stores and very upbeatand friendly, truly wanting me tomake the correct choice.The SaleSo, now it is time for this Spy tochoose the winner. I don’t think Ican pick a winner! Doo Wop Shophad a decent selection, but thesalespeople could have had a littlemore knowledge. I did like thestock and the fact that they had thetwo Casios and suggested the onewith less features, saying it wouldbe good for someone starting out.Willis Music in Lexington is outof the running completely. GuitarCenter did a good job and hada good selection. The salesmanwas knowledgeable and pleasant.It was difficult to compareprices, because there were somany different models. However,for the features offered, they werecomparable.As I was spying, I had no ideawhere I would buy. However, afterwriting this, if the price were comparablewith the other stores…drum roll please…I would like dealing with GistPiano Center. That’s because ofthe salesperson. I felt comfortablewith the information she gave meand felt that they would take careof me. She was honest, in-depthabout the products and seemedto want my grandson to enjoy theinstrument. I would go with theYamaha because of the price fora beginner, knowing that, if hebecame serious about playing, Gistwould be there to fill future needs.However, I feel that GuitarCenter would be great, as well,and I probably would not hesitateto purchase the products they hadfrom that salesperson. I also wouldhave purchased from Doo Wop,but would have wanted a betterprice quote and a little more indepthinformation.As an actual consumer, I wouldrepeat my visits to three of thestores and go over prices andfeatures one more time beforemaking the final decision.I think most of us like pleasant,upbeat salespeople. Gist also had itall together when it came to socialmedia, Web site, QR code andeverything else.Gist just knew their stuff!Music & Sound Retailer 39

shine a lightSenseney Makes SenseBy Rebecca ApodacaOne of the dreams of almost every store owneris to grow a store and, eventually, pass it on to afamily member or an outstanding employee, or sellit to a worthy successor. Many times, that is whatit remains…a dream. In this case, however, thedream came true.The business started in 1978 as Hume Musicwith six partners. By 1984, Denny Senseney, a formerband director, bought out the partnership andthe name changed to Senseney Music. Becauseof his sharp business mind in retail, his businessthrived. As a bassoonist in The Senseney CommunityBand, Lori Supinie came to work for Senseneyin 1995 as his Controller/Accountant. Eventually,she became Business Office Manager and CFO.With a financial business background and herexperience in band, singing in a choir, and performingchurch and classical piano, she purchased thebusiness after 13 years, when Senseney retired in2008. The store moved in 1996 from 10,000 squarefeet into a two-story, 26,000-square-foot formerbank building, including a vault, which now holdschoral music. A second vault is utilized as a truecash vault.Although Supinie stated that she is primarily aschool music dealer, I have never interviewed amusic store owner who has a more complete andfull line of products and services than SenseneyMusic has. There are music books and programsavailable for newborns, toddlers, schoolchildren,all-age-group piano classes, a community band,rock band camp for teens and ukulele lessons. Themerchandise the store carries includes band andorchestral instruments, Fender and Taylor guitars,amplifiers, drums and percussion, Yamaha acousticand digital pianos, accessories, and printed musicfor choral, instrumental, vocal, piano and guitar studentsand teachers, as well as downloadable printmusic from Hal Leonard and Alfred. There is a fullystaffed repair shop; sales of software; gift cards; asidewalk sale; an Extreme Restringing Day, wherecustomers buy the strings and a staff member putsthem on for free; and online rentals of Conn-Selmer,Jupiter and Gemeinhardt instruments. All Supinieneeds is an international section and she could takeover the world!The store’s strong point is in developing customerrelationships, outshining the competitionand acting like several different stores under oneroof. “I feel the relationships [departments] havecrossover into other departments,” said Supinie.Music education and advocacy is a passion forSenseney Music. There is plenty of competition inthe area, with mom-and-pop stores, combo dealersand a Guitar Center. She said that, when GuitarCenter moved in, it increased interest in guitars,and Senseney Music outshined in service, qualityand a competitive price. Its diversitySenseney Music, Inc.is another strong point. Sometimes,2300 E. Lincolnpiano sales are up and then down.Wichita, KS 67211By having so much to offer, thePhone 316-262-1487store can just shift its emphasis inwww.senseneymusic.comanother direction as trends change.lori@senseneymusic.comIt has increased its road reps thatLori Supinie, Presidentgo out to the schools. SenseneyHours: Monday to Thursday: 9:30am toMusic has school band rental nights6:30pmof 75 to 80 scheduled nights, takingthe instruments to public andFriday and Saturday: 9:30am to 5:30pmprivate schools with a rent-to-ownprogram and selling the parents an accessory pack. Retired band directors are hiredto help with recruiting prior to the band rental nights over a territory that encompassesthe bottom third of the state. The rental fleet comprises about 2,200 instruments.Senseney also supports groups such as the Wichita Symphony and smallerones, putting staff on their boards. It uses the Tri-Tech AIMsi software to track itspiano teacher loyalty program, offering five percent in points for every dollar spenton print music.Staff members like DeAnn Diller, who has worked there for more than 30 yearsmanaging keyboard sheet music, are offered a 401(k) retirement plan and split thepremium for medical insurance. Sixty staff members work on either a full- or parttimebasis. As a “life-long learner,” Supinie has benefited from show seminars andNAMM University. She has presented classes at the show’s Idea Center, coveringtopics such as budgeting and social media.Being a female business owner, Supinie thinks women do business a bit differentlyas compared to men. “I think we are more perceptive of people and try to understandothers’ side of things, and are more collaborative,” she explained, adding, “I(continued on page 22)40 OCTOBER 2012

The NEW YAMAHADTX400 SeriesIt pulses you with a beat that’s all your own – calling you to jointhe universal groove. The DTX400 Series is your passportinto the world of drumming.Combining Yamaha’s expertise in drums and technology,the DTX400 Series features dynamic acoustic drum and percussionsounds, plus modern rock drums and electronic tones. Drummers ofall levels will enjoy the full size kit and durable steel rack system.Customize kits to match your style, and practice with 10 interactive trainingfunctions with Voice Guidance - it’s like having a talking drum teacherbuilt in! Play along with the musical practice songs or AUX inputand develop the chops to play on acoustic drums. These kits combineaffordability with renowned Yamaha quality for a value that can’t be beat!NEWDTX400KNEWDTX450K• DTX400 Drum Trigger Module with 297 high-quality sounds• 7" Drum Pads designed for greater playability and durability• Large 10" cymbals and Hi-Hat cymbal• KU100 Silent Kick Unit for quiet play anywhere• 10 Preset kits (all of which can be overwritten)• 10 interactive Training Functions with Voice Guidance• 10 play-along songsDTX400K$499 .99All the features of the DTX400K plus:• TP70S 3-zone snare pad for head, rim-shot, side-stick• KP65 kick pad with Yamaha FP6110 bass drum pedal• HH65 hi-hat controller allows “half-open” hi-hat soundsDTX450K$699 .99Estimated street priceEstimated street price©2012 Yamaha Corporation of America. All rights reserved.

sales guruAvoid Distractions!By Gene FrescoWhat is the greatest cause that makes a salespersonfail? Distractions!We have many distractions in life: personal problems,financial problems, our love life, our family,indebtedness…and now we have the greatestdistraction of all: the computer.It’s a temptation that cannot be resisted. Everyone of us has one on our desk. There are gamesto play, horoscopes to read and many other “evils”we must learn to avoid.The computer can be a blessing or a curse. If weuse it wisely, we can increase our sales and this“distraction” can become the best thing that hashappened to us.If you have made it a point to acquire the e-mailaddresses of all your customers or have invitedthem to join you on Facebook or Twitter, then youcan use your computer to keep in touch with themon a daily basis.You can write a blog on a monthly basis andgive your customers important information aboutyour store and its upcoming events. You can givethem information about keeping their instrumentsin working condition. You can give them informationabout upcoming sales.In the social media era that we live in, you mustlearn to use it every way you can.Don’t let it be a distraction; make it an effectivesales tool.I know that, to some of you, selling musical instrumentsis just a “day gig” and playing in a bandis your real profession.I’m sure you give your best to the band bypracticing every chance you get and playing yourheart out at the gig. But, you must expend thesame effort in selling.Then, there are those of you for whom selling isa profession, and you want to succeed at it.To all of you, I say, “Don’t be distracted!”If you want to succeed in selling, youmust have a definite purpose.You must do all the things you haveread in my columns on a daily basis.Selling can be very financially rewarding.I also want to say that selling canbe fun.I can’t think of any profession that ismore fun than selling is. Every customeris different, presentinga unique problem thatmust be solved. Every selling is situation is different, whether it is selling a $500 guitaror a $100,000 sound system.The daily challenges in selling are awesome, and I look forward to the next problemto be solved.This is how you must feel about selling. And, if you do, you will be successful.Selling in the music industry is the most fun of all! You’re not selling vacuum cleanersor insurance: You’re selling an art or, I should say, the tools that can create art.Music is very important in our lives. Humankind has been making music for centuries(if not millennia), and it’s still very important to our well-being. We need musicwhen we are happy and when we are sad. The medical community is exploring howmusic can be used to help patients get better more quickly.I want you all to look at the big picture and realize how important the things you doare.I am asking you to understand the service you provide, and to provide it to the bestof your ability.There are only 24 hours in a day. You probably work eight hours a day. Every minuteor hour you are distracted by your computer is time wasted, unless you are using it toincrease your sales.I want you all to Google “Elmer Wheeler.” This will be a great use of your computer.Elmer Wheeler is my personal sales hero, and I want him to be yours.I have learned 90 percent of what I know about selling from him, and the other 10percent I learned by applying his knowledge in the field.Salespeople are not born; they are made.We all had our sports heroes when we were kids, and we would copy the way theyplayed the games we were into back then.I want you to copy the way Elmer sold. If you do, when you master his sales knowledge,you will be a great salesperson.I’m sure, if you read my September column, you are planning to make your lastquarter of the year a great success. Think big and make this the best last quarteryou’ve ever had.Keep your distractions to a minimum and keep your eye on your goals.Here is a story from the road that you might enjoy.I had a dealer who had an old Gibson guitar and case, which were pretty beat up.He had them for three years and couldn’t find a buyer. He put up a sign, reading “Notfor Sale,” and he sold them the same day for more than he ever expected to get (andcharged extra for the case).So, I guess, if you have something you can’t sell, put a “Not for Sale” sign on it. I toldyou selling is fun!With all the electronic gadgets available today—smartphones,iPads, texting, etc.—it’s easyto become distracted. Face-to-face communicationis becoming a lost art. Don’t be distracted.Zero-in on your goals and get the job done.Check out “Elmer Wheeler” and let me knowwhat you think. I have never met Elmer, but hiswritings changed my life.Write Dan Ferrisi, the Editor, if you have anyquestions about selling. He will forward themdirectly to me.I wish you good selling.42 OCTOBER 2012

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veddatorial15 Years Is An EternityBy Dan VeddaAnyone with more than 20 years in this business remembers a timewhen GC was in California, Ash was in New York and Amazon was inthe jungle. Truth be told, we still had plenty to worry about. Therewere still catalogs, shady competitors using bait-and-switch tactics,sales reps shaking down dealers, incessant price grinders with no storeor brand loyalty…the Good Old Days were no worse than today, butnot much better, either.If you take a long view of our industry, you’ll see that we’ve alwayshad an uphill climb for one reason or another. But climb we did,through the invention of radio, talking pictures, WWII, the accordionbust, school budget woes, the death of the home organ market and somuch more. There were good times: if you bought into guitars rightafter The Beatles appeared on Ed Sullivan in the ’60s or if you soldsynths and other tech stuff in the ’80s, for example. There are stillplenty of opportunities now, if you’re willing to adapt your businessmodel to trends—and adapt again when the trend has run its course.But I save old articles, a habit from the days before digitization. Icame across a listing of the top retailers from 1997 that shows howmuch we’ve had to adapt in 15 years. Comparing that roster to a similarlisting from 2012 is somewhat unsettling.First, the similarities: The top two retailers are Guitar Center andSam Ash. To make the list, you only had to do a paltry $3M in businessin either year.That’s it for the similarities.Back in 1997, GC was careening through its acquisition/expansionphase with a vengeance, and Ash was expanding, as well. Those of uswho had one in our market saw what happened to combo sales. If youhad GC and Ash open near you, the shakeout was harrowing.In 1997, some major players were still on the map—businesses thatlater either failed spectacularly, were acquired by the big guys or both.MARS was there…and while they’re only a meteoric memory,their flameout weakened the dealers and manufacturersthat encountered them. Who else? Manny’s…Musician’s Friend…Thoroughbred…Woodwind & Brasswind…Daddy’sJunky Music…BrookMays…West L.A….and the litany goeson: major concernsthat left the retaillandscape or became thechattel of one of the biggies.In the Cleveland market, Lentine’swas a $14M concern at thetime. Gone.The real problem, though, is that, evenignoring the acquisitions, the failed businessesalone left millions up for grabs, and little of it fell intothe hands of the smaller survivors. There are reasons forthis: Small stores were already battered when the opportunityhit, and stretching further was impossible for many. A secondreason is that big begets big. If you like to shop at a big store, you’lllook for another one to fill your needs, because that’s what you value:size, selection, vibe, etc. But the biggest beneficiaries of the fallout—and, in 1997, I don’t think you can really cite them as a cause—werethe Internet merchants. To have that vacuum just as onlinesales were taking off certainly helped to fuel the rocket.Fast forward to 2012, and many of the top 15 companies areInternet-based, from the good folks at Sweetwater to namesthat didn’t exist even a decade ago. GC, in the meantime,has gone from $200M+ to more than $2 billion—a factorof 10. Ash quadrupled, leveling off at about 20 percent ofGC’s volume. Past those two, the drop is dramatic.But the most recent rating doesn’t tell the most dramaticpart of the story, because it leaves out one majorplayer that I think should at least occupy the numbertwospot. It’s never been transparent, and it thriveson having information that others do not have.Does anyone believe that Amazon isn’t near thetop of the list?They are crafty, the Amazons. They let ususe their storefront. They watched everytransaction for our products; found thebest, most profitable, fastest-movingitems; and, soon, “ships from andsold by Amazon” was a bylineeverywhere. They make iteasy for manufacturers touse Amazon as theirdistribution center.They know what wewant before we want it.And they’re selling mountains ofmusic products.Perhaps some of that is “found” business.We’ve talked about the number of people who don’t thinkof music stores when they look for music products. I’m suresome amount of sales would otherwise be missing from balance sheets.But, to me, the unsettling part is that we don’t know anything. Wedon’t know how much they sell or what percentage of revenue thatrepresents to the manufacturer. We just know there are sales we don’tget. Lots of them.Looking back, it would have been easy to predict that most of thesmall stores would be gone, crowded out by the big chains, mail orderor the Internet. In reality, although many have gone, there are stillplenty of less-than-$5M stores around, and the low end of the listingis, if not unchanged, at least similarly constructed. But the numberof big failures—many of them at the hands of lenders calling notes—decimated the largest operations in our industry. Manufacturers couldonly look on in horror as each bankruptcy slashed at their accountingdepartment, strengthened by additional loss of revenue as a big dealerfolded. They’ve been bailing furiously, which is why so many smallerdealers are moaning about credit strictures and personal guarantees.I don’t blame them for selling to Amazon and others: With all thefailures, they needed money…NOW. In your business today, would yourather call a thousand customers hoping to generate $1M in sales, ortake a check for $1M…NOW? Survival often dictates the latter.What’s next? I won’t project 15 years forward, but, short term, Iexpect interesting things on school band, Internet sales tax and otherfronts. We’ll watch together the next few months. Wear a helmet.46 OCTOBER 2012

November is International Drum MonthAre you ready forNEW customers?The Percussion Marketing Council continues to create newdrummers for the entire industry and this means NEWCUSTOMERS for you. This November we’re providing specialincentives for all beginners to visit your store by offering a FREEBeginners Pack to help them get started.Coupons for the free Beginner’sPack will appear invarious publications ormay be printed fromPlayDrums.com and redeemeddirectly throughthe PMC.There’s one small catch. Yourstore must validate the PMC coupon. Whenyou do, that’s your opportunity to meet andcreate a brand new customer, courtesy of thePercussion Marketing Council.Scan this to find a dealer near you.Visit your local music store and have a store employeesign this coupon. Then mail it to the address below.SEND ME: (select one) Hand Percussion Pack Drum Stick PackBeginner’s Pack courtesy of Alfred Music Publishing, Hal LeonardCorporation, Hudson Music, Vater, and Zildjian.sampleName: ______________________________________________________________Address: ______________________________________________________________City & State: _____________________________________ Zip: __________________Phone: ______________________ Email: ____________________________________Employee Signature: ____________________________________________________Show the retailer this ad and ask for the store’s business card. The store’s businesscard must accompany this completed coupon. Your free Beginner’s Pack willarrive in 6-8 weeks.Deadline Dec. 31, 2012. Mail this coupon to: Percussion MarketingCouncil; P.O. Box 33252, Cleveland, OH 44133Offer valid in Continental US only. One coupon per household, please.While supplies last. Coupon can be downloaded at Playdrums.comThe PMC Members indicated below are your partners in helping to grow yourpercussion business. We’ve created educational programs that connect with students,teachers, schools, teens and parents.Also, our membership experts have created a “Perfect 10” RETAILER TIPS that can helpyou cash-in on this year’s International Drum Month events.Visit www.playdrums.com/idm “Retailers” section to fi nd these special tips.For direct links to all our members and their products visit the PMC’s website: www.playdrums.comTMThe Percussion Marketing Council is a non-profit 501-c corporation dedicated to the advancement,understanding, and enjoyment of drums and percussion.We’re Building Your Market, But You Need To Get Involved.Visit www.playdrums.com for complete program information on:Vans Warped Tour—FREE Drum LessonsDuring the 2012 summertour, the PMC gave over700 free drum lessons tofi rst-time teens, wanting toplay drums.PERCUSSION INTHE SCHOOLSOver 60 in-school generalassembly percussion concertswere presented, impacting over25,000 students experiencingpercussion for the fi rst time.Learn how these programs benefi t you or how to get involved at www.playdrums.com or email kbdustman@aol.com2012 NAMM Foundation Grant Recipient. Copyright 2012 Percussion Marketing Council; P.O. Box 33252; Cleveland, OH 44133

TheRetailer's MallFor advertising rates and deadlines...Call Rob Iraggi 516-767-2500 x519or email at riraggi@testa.comSenior ManagerPortable PA MarketingJBL Professional has an immediateopening for a Senior Marketing Managerto lead product development and marketing efforts forthe Portable PA segment of its business.The successful candidate will have a Bachelor’s degreeand at least 5 years experience in marketing, marketingcommunications and product development. MBA orother advanced training desirable. Previous experiencein the Pro Audio and MI business is required.The position is based in Northridge, California with occasionaltravel required. The candidate should be highlymotivated, passionate, and driven to excel.For consideration please apply atwww.harman.com/CareersOn-Board OverdriveNo Battery Needed!631-376-2284 • blackiceoverdrive.comAcoustics First ®Toll-FreeNumber: 888-765-2900sound and noise Control MaterialsWeb Site www.acousticsfirst.comWWW.Q-MIC.COM703 591-7070Beautiful Rolltop Desks,19” Racks & More!AGGRESSIVE WHOLESALE PRICING10,000 USED Guitars & Amps in stock30 Top Quality Name BrandsAll instruments “Ready to sell”Monthly and Daily SpecialsMention this ADFREE GUITARwith qualifying order“the Rolltop People”(574) 255-6100www.hsarolltops.comFine Wood Furnishings for the Music, Audio &Video Systems in Your Studio, School or Church48 OCTOBER 2012

TheRetailer's MallFor advertising rates and deadlines...Call Rob Iraggi 516-767-2500 x519or email at riraggi@testa.comOrange USA is hiringexperienced Sales Reps.Please send resume toeric.sands@orangeusa.comBecome aHardLuckKingsDealerTodaymark@hardluckkings.com(805) 405-4096www.hardluckkings.comBuySellTradeConsignFRETTEDINSTRUMENTSToll-Free (USA only)888-473-5810 x102or 517-372-7880 x102swerbin@elderly.comwww.elderly.comOrange 2012 MSR HW.indd 1Hard Kuck Kings 10-2012 MSR classified.indd 14/12/2012 5:03:39 PM8/30/2012 1:36:30 PMMusic & Sound Retailer 49

Drumming up sales(continued from cover)upper-mid price points, the latterof which seems to have replacedthe former high-end market formany retailers. Mike Robinsoncommented that “consumers whoformerly shopped in a price rangeof over $2,000 are now shoppingin the $1,500 to $1,800 point andare being more frugal,” addingthat KHS retailers have also seena slight demographic shift as theeconomy continues to struggletoward recovery.“A large percentage of themarket used to be occupied bycustomers in their mid- to late-20s, but recent graduates aren’tfinding work easily. They’re nolonger supported by mom anddad and don’t have the discretionaryincome necessary to afford anew drum set. The 35-and-olderdemographic is still showingsales, as many in this bracketare still gainfully employed andstill have some discretionaryincome,” said Robinson. “They’restill more frugalthan they were fiveto six years ago,and they’re shoppingin a lowerprice bracket thatstill offers professionalquality,in hand.’but they are lessaverse to paying bycredit or partingwith their cashas compared tothose in their early20s. Entry-levelkit sales are stillholding up as thecustomer is not theplayer but, rather, mom and dad.”To help tap into the lack ofavailable credit among thosein their 20s, KHS launched afinancing program for retailersthat began over the summer.Through a partnership withFirst Mutual Financial, customersare able to get flexible termsup to 60 months and a 12.99percent simple-interest rate witha minimum $1,000 purchase.“There is no cost or commitmentfor retailers to take part in theprogram, and they can set upfinancing programs directly withthe consumer right at the counter,”said Robinson. “People arelooking for help. They don’t wantto pay the astronomical APRs andservice fees of major credit cards,but they still want that new drumset. The desire is there, but theyneed creative ways of achievingthe dream.”Another way customers havegotten creative is to spice up theirexisting drum kits with excitingnew accessories, holding themover while they wait to put downthe money on that new kit thatcaught their eye. At Sabian, thishas translated into an increasein high-end sales and profits thatare “nicely ahead of our targetsfor this year,” said Peter Stairs.Looking at the company’s currentsales trends, Stairs noted, “Thiscould be because the low endof the market is possibly moresensitive to market conditions,or it could also indicate a trendto buying up. Most likely, it’s acombination of both to some degree,but where we are is that ourlower-end products are a bit soft,and our high end is strong. That’snot a bad place to be.”Mitch McMichen posited that,‘The challenge retailers and manufacturersboth face is how to get customers into thestore and then out the door with a productalthough economic troubles haveaffected everyone, they mightnot have hit the core of the drummarket quite as hard. “In 2008,when everything went really bad,it mostly affected people witha lot of investments,” he said.“Most drummers don’t reallyhave much of a stock portfolio.So, for them, not much changed.They heard that things were badand it gave them pause, but theyare just regular people, so theycould go on with their lives.”McMichen has seen an uptickin sales in both of his accessorybrands. In fact, both of his companiesare in the middle of theirbest years ever. McMichen pointsto the lower prices on Meinl percussionand TreeWorks items asone of the keys to success.“For TreeWorks, our itemsare typically under $200 and, forMeinl, there are many productsfor $99 or less. That’s a price pointwhere you don’t have to ask permissionfrom your spouse to makea purchase. It can fit into yourbudget easily,” said McMichen.Get CustomersInto The StoreHaving ascertained the pricepoints that move the most drumkits, cymbals and accessories, thechallenge retailers and manu-facturers both face is how to getcustomers into the store and thenout the door with a product inhand.“Many dealers we know whohave both brick-and-mortar andonline operations are reportingthat there have been noticeableshifts to their online business,”said Stairs. “I think that a lot ofit has to do with the consumer’sdesire for an easy, seamlesspurchase. They are gettingmore used to sitting at acomputer to research andbuy products across anincreasing amount of consumerproduct categories.”With online retailers oftenoffering lower prices,free shipping and no tax,it’s no surprise that customerswould rather logon than go to the store.But McMichen has analternate theory explainingthe pervasiveness ofthis trend.“Musicians love going tothe store and getting theirhands on stuff. It’s an expensethey enjoy incurring, and thingslike the price of gas are a smallprice to pay,” he said. “What sealsthe deal for online consumersisn’t price; it’s the anonymity, thetime saved and the selection. So,the best way to combat onlineretailers is to have a killer selection.”Although this approach mightseem counterintuitive at a timewhen, as Stairs noted, “distributorsand dealers are watchinginventory levels and dollars veryclosely,” Meinl’s dedicated salesstaff works diligently to help itsretailers maintain what McMichencalls the Long Tail approachto merchandising.“There are some blockbusterproducts and then, from there,the products drop off but neverget down to zero,” said McMichen.“The many products thatwe offer that aren’t blockbusters,when you put them together,they add up to a lot. But, in orderto reap that benefit, you have tohave them in stock.” His salesreps not only guide retailersthrough the process of creatinga product mix, but also install thepoint-of-purchase displays necessaryto maximize floor spaceand keep these products in thecustomer’s eye.50 OCTOBER 2012

“It’s a huge undertaking. If youlet it lapse, your great selectionbecomes just a normal selectionand then you lose the magic,” saidMcMichen. “Buying is just the firststep. It’s important to maintain thatgreat selection and continue torestock, even if you feel nervous.We tell them that upfront.”KHS tapped into the powerof the Internet and is using it todraw customers into its brickand-mortardealers througha new custom drum programcalled MyDentity. The site allowsusers to design their own drumset and then connects them toa participating retailer to maketheir purchase. Once purchased,the kit is built and shipped withinonly 30 days.“We’ve concentrated heavilyon MyDentity because it servesthe $1,000 to $1,200 price range,where no custom-drum optionscurrently exist. It’s also inresponse to general trends withinthe larger consumer market outsideof the music products industry,”said Robinson, who pointedto the car industry as an example.“With products like the Scion andthe Mini Cooper, customers havea big range of fixed options thatgive them a customized feel whencombined, even if the productisn’t necessarily personalized.There are a large number ofpermutations, and they can createsomething that’s completelyunique to them and fits with theirpersonality.”He continued, “Consumershave come to expect a customexperience and they wantindividuality. It’s a widespreadphenomenon that has been goingon for 10 or 15 years, but hasn’tbeen widely acknowledged oracted upon by major manufacturerswithin the music productsindustry.”The MyDentity program hasnot just tapped into the consumer’sneed for individuality; it’salso a conduit for the retailer toexpress its own distinctiveness,which came as somewhat of asurprise to those at KHS.“We expected the majority ofactivity to be at the consumerlevel, but we’ve found several retailersare using the design softwareto make custom drums toput on the retail floor and sell tocustomers,” he explained. “Theytell us the program gives themcontrol to design drums that areappropriate for their local market.No one knows their customerbetter than they do. They are thebest judges of local tastes.”the 7th annual independent retailer Roundtable(continued from cover)table this month.As has long been the trend, wedrew on the expertise of membersof the Independent MusicStore Owners (iMSO) group.This year’s participants areChris Basile, South Jersey Music(Sewell NJ); Allen McBroom,Backstage Music (Starkville MS);Don Tegeler, Tegeler Music(Clinton IA); Bryan Loy, ParadiseMusic (Franklin NC); and LisaKirkwood, Discount Music (JacksonvilleFL).The conversation took place inmid-summer. Add your voice tothe discussion by e-mailing me atdferrisi@testa.com.The Retailer: Since ourprevious roundtable backin 2011, I suspect all yourstores have evolved at least alittle bit, whether in responseto economic conditions orgeneral market trends. Explainsome of the changes thatyour store has undergone inthe past year.Chris Basile: Especially inthe past six months of this year,we’ve tried to change: again, tosurf along this ebb that we’re in.Trying to change the businessmodel. So, we revamped our lessonprogram completely on howwe advertised it, to bring new studentsin. And, instead of advertisingthat we have the lowest pricein the area and the best teachers,we actually gave an introductoryprice for the first month oflessons. We’ve been running apromotion for many years wherewe give a free guitar away if yousign up and pay for three monthsof lessons, and that was always abig part of our advertising. Well,we dropped that down to smallerprint, and showed a first monthat $69. And that has enabled us tobring in some new students. Welost quite a few students last yearbetween the end of April throughAugust because of school beingout and summer vacations. Thisyear, we’ve lost a very small percentageof students and pickedup a lot of new students becauseof that one-month promotion.Now here’s the problem: retainingthose students. It seemslike the parents look at that firstmonth and go, “OK. I’m gettingit for a little bit less. We mightget them for the second month.”And then, all of a sudden, they’redropping for July and August. I’mwriting that off to, again, summervacations. So, we saw that startingto happen in June and, what Idid was, I came up with an add-onpromotion that any student whostays throughout the summer canpay just $50 a month and choosetwo lessons through the month,and schedule those around theirvacations. Well, we held on to abunch of students who were planningto leave and, actually, a fewdid come back because we ranthat in an e-mail promotion, also.So, just taking that one big partof our business—lessons—andtrying to rework that to keep thestudents has seemed to hold usthrough the summer.Don Tegeler: I’m trying to domore social media-type things.That has gotten us more in touchwith our younger customer base.I don’t knowif anybody outthere is familiarwith Pinterest…apparently, it’sthe next newsocial thing andthey say it’s thefastest growingcommunity sofar. Unlike Facebook,Pinterestis suppose to bemore businessfriendly allowingus to startmarketing in asocial environmentwith a lotless restrictionsthan Facebook.Bryan Loy:We have beenpushing repairwork andservice work, encouraging peopleto drag out grandpa’s old guitarthat’s been under the bed for 50years and that nobody has beenable to do anything with. Theycan bring it down and let ourcrew of professionally trainedservice people get in and do thenecessary repairs. Bring out theold Fender super amp that’s beensitting in the closet for 40 years—you probably forgot how goodthose things sound—and get itin circulation again. Sometimes,it’s not very repairable. And, if it’sjunk, we can salvage the parts offthat. If I buy the thing, I mightbuy it for about $50. But, we’regetting a lot—just a lot—of repairwork coming into the shop rightnow. Like, we’ve had maybe five‘I’m trying to domore socialmedia-typethings. Thathas gotten usmore in touchwith our youngercustomer base.’amps come through here justthis week alone. So, maybe itgoes back to that tough economyagain. We’re seeing people,instead of buying new guitars,bringing in the old stuff so thatit can be refurbished and usedagain. That is making us somemoney. We are making somegood money on repair work. Ihave a pretty good crew in rightnow, and a shop set up at home.And, if we make them happy, wehope they’ll come back the nexttime they need something fixed.Or, if they decide it’s time to buysomething new, we hope we’llstick in their mind.Lisa Kirkwood: Again, what’sworking really well for us is beingable to carry used inventory. Par-Music & Sound Retailer 51

CompanyAd IndexPgACE PRODUCTS GROUP..............6ALFRED PUBLISHING.................35AMERICAN DJ.......................... C-IVBEHRINGER...................................23CASIO.........................................C-IIICE DISTRIBUTION.......................28CHAUVET LIGHTING...................12CHAUVET LIGHTING...................26CHEM-PAK.....................................50D’ADDARIO...................................31DJ TECH / JAMMIN PRO..............43GALAXY AUDIO...........................3FOCUSRITE NOVATION...............9JBL PROFESSIONALBY HARMAN..............................33KHS AMERICA..............................17NAMM........................................14-15ONBOARD RESEARCH................11PETERSON ELECTRO-MUSICALPRODUCTS..................................29RCF..................................................38REMO..............................................10ROC -N- SOC..................................50ROLAND.........................................37SABIAN...........................................7SENNHEISER.................................25SOUND ENHANCEMENTPRODUCTS..................................53STRING SWING.............................39TKL PRODUCTS......................... C-IIVOCOPRO.......................................13YAMAHA........................................41YORKVILLE...................................5ZILDJIAN........................................27While every care is taken to ensure thatthese listings are accurate and complete,The Music & Sound Retailer does not acceptresponsibility for omissions or errors.ents don’t mind as much spendingmoney on a used drum set ora used guitar, just in case theirchild decides not to stick with it.That’s what we hear often. “Justin case this isn’t what they reallywant to do.” In addition, we carrya lot of parts and pieces. We havemore than 17,000 used parts inour drum department. So, if acustomer needs something fromvintage to this year’s model, ifyou need the throw-off, we haveit. And, so, a lot of people willcome into our store looking forthe small part and, fortunately forus, before they leave they spenda little bit more money on extrathings. So, that’s working for us.The Retailer: It’s importantfor independent retailers todevelop strong, personal tiesto their respective communities.What do you do to fortifyyour store’s value to its communityand its neighbors?Basile: I am totally onboardabout being in our community:not only for my business, but I’vebeen involved in the communitysince I was a young teenager.So, that’s carried through withme all the way into my adult life.We work very closely with themarching band in our town here.It’s a marching band of about340 students; that’s very largefor the area. There’s somethingcalled Band Boosters, wherethe parents get together to raisefunds for traveling for the bandand some other things that theydo throughout the year that theschool district won’t cover. So,as part of that, we offer a bandbooster program. We gave everystudent who came into the storea plastic discount card. All theydo is present it when they comein to buy their reeds and theiroils and everything else that theyneed—and they can buy guitarsor anything they want—and weoffer a 10 percent discount. Outof that, the student gets the eightpercentdiscount immediately,and two percent of that sale goesto the Band Boosters as part oftheir fundraising.Another community event inwhich we participate is the townSuper Saturday event in May ofeach year. This event is a largecommunity event in the park. Itbrings out lots of vendors and haslive music all we set up a tent on a10x10 space. We bring some merchandisesuch as ukuleles andacoustic guitars, hand out flyersabout the store, and I give awayT-shirts and other swag that ourvendors provide free of charge.We probably had 5,000 or 6,000people comethrough that dayand it is greatexposure for ourbusiness. We doa lot of advertisingin ad bookprograms forsporting eventsand dance recitalsand things likethat. Even if it’sjust a businesscard-sized ad, wetry to do something.It’s to getour name outthere, but alsoto show just howcommunity-based we are. Andwe’re constantly giving stuff awayfor auctions and charity events.Again, it gets our name out there,and it also shows that we want tobe part of whatever they’re tryingto fundraise for. There’s also thefeel-good factor that we’re helpingthe community out. We alsoparticipate in the Strings for Foodevent each November as part ofiMSO.Allen McBroom: Back inNovember, we participated insomething iMSO promotescalled Strings For Food. Andpeople could come in and bringin canned goods that we woulddonate to the local food banks,and we would restring theirguitars for free. Manufacturerslike D’Addario and Curt Mangancontributed strings for this effort.We contributed labor. And thepeople in the community contributedfood. We had 51 guitarsrestrung in our shop in one day,right before Thanksgiving. Wecollected over 600 pounds offood. And the food bank wasstunned when we showed up withit, because they were out. They’dactually been out for three days.The local Catholic church runsit, and they were out. Without agroup like iMSO, it would neverhave dawned on us to do a promotionlike this on our own. Butthe brainiacs who are involved iniMSO come up with these ideasthat they share among the group,and they benefit us. That’s a great‘We got greatnews coveragein newspapersand on TV. Thatdidn’t hurt myfeelings any,either!’piece of community involvementwe had that we were thrilledabout. We enjoyed it. We’re lookingforward to November again.We just can’t wait to do this.We do other things. We contributesound systems for cancerresearchevents and for all kindsof local events. We do soundset-ups and contribute constantlyto the local community. But, wegot more personal satisfactionand joy out of that one communityevent that iMSO generated. Ijust can’t say enough good aboutit. Oh, and we got great newscoverage in newspapers and onTV as a result. That didn’t hurtmy feelings any, either!Loy: We did Strings For Foodlast year and had a great timewith it. If I remember correctly, itwas about 380 pounds of food and40-something guitars restrung.We didn’t do as well as Allendid, but it was really good for acommunity this size, I thought,for the first year. But anotherthing I’ve done, which I’m goingto try to resurrect this year, issomething called Rockin’ For TheHungry. You find a venue in town,like a movie theater you rent forthe night—some sort of placethat has a stage and where youcan set up a sound system—andyou sell tickets for either a $5donation or five pounds of food.And you get three or four of thelocal area bands that want todonate their time and play a set.You get like four hours of music,with 45-minute sets and 15 or 20minutes of teardown in between.You do that, and you get donationsfrom your suppliers. I hadT-shirts from Dean Markley andseveral different other things thatI threw out to the audience. We52 OCTOBER 2012

had a really great time with that inyears gone by. And you get localmerchants to give away thingswhile the bands are changing.You can auction things off, andthe money goes into the local foodbank. That seemed to have a positiveeffect. Since I have moved tothis town, I haven’t done that. But,this is something we are planningon reinstating this year. It gets thelocal high school-aged bands outthere. It gets them some exposure.You screen them a little bitto get the quality bands…the onesthat can play the best and are themost enthused about it. They’llbring all their friends, and theirfriends will bring food because it’scool, and they don’t have to spendmoney.Kirkwood: We’ve found thatBattle of the Band events don’twork for our location. But, one ofour high schools has a classicalguitar orchestra, where the entireorchestra is made up of just classicalguitars. It’s a phenomenalshow. The headliner one year wasTommy Emmanuel. We sponsorthat every year; we do that for acouple of different reasons. It’sa great educational program.It’s huge in the area for teachingchildren the appreciation ofmusic. And it’s a great night forus. I think, in general, just on theday-to-day basis, our customersreally love it when they walk inour door and we greet them byname. We’ll say, “How’re you doing,Tom? How’s your daughter?Did she finish the third gradeas strongly as she thought shewould?” If you just learn a littlebit about them, I think that goesfurther than anything else. So,that’s what we do on a large scale,because that makes them feelimportant on an individual level.If for no other reason, they’llcome back on a Friday and say, “Ihaven’t seen you guys for a week.So, I thought I’d come to see howyou’re doing.” And then, inevitably,they’ll buy some strings orpicks or something. I think justknowing your customer is vitallyimportant.Tegeler: Last year was our firstannual Tegeler Music BenefitConcert. We even set up a nonprofitbank account for the event.What we did, only using Facebook,was get 13 bands to donatetheir time for free. We held amost popular band contest at $1a vote. All the bands brought intheir friends, and whoever gotthe most votes won a trophyand earned bragging rights fora year. We also raised moneythrough donations at the gate,through food and beveragesales, and raffles. Last year, weraised money for MDA. Thisyear, we’re doing Multiple Sclerosis.And we’re going to picka new non-profit to help everyyear we do the concert. Since wealso have a production company,we were able to set up a big,concert-style system includinglights for the local musicians touse. They just love to get on thebig stage in our park adjacent tothe Mississippi River and rockout. The concept is to turn theseyoung local players into rockstars for the day.We threw the event togetherin three weeks last year, becauseit was a last-minute idea.In about eight hours of time,we raised $3,600 for MDA. So, Ithink it was a huge success.The Retailer: What are thelatest happenings with iMSO?Basile: We’re moving along.iMSO is constantly growing.We still are seeing maybe oneor two new members a week,on average. iMSO’s main focusand mission is our forum. It’swhere dealers can come andtalk about their businesses, askquestions of other business ownersand take advantage of themany years of experience thatare there from the other musicdealers. That is our strongestresource, and we will never letthat go. Our forum, our iMSOforum, is our strongest point. It’sour sharing network. That is ourstrongest resource. With morethan 38,000 posts chock full ofinformation, no independent musicdealer should not considerjoining to find better or otherways to improve their business.The iBuy program is alwaysexpanding and growing, andwe’re adding new vendors constantly.We’re working hard toget more of our dealers active inthe iBuy and using it on a regularbasis. We’re listening to themand trying to correct some of thethings that they identify. We’retrying to move toward makingit easier. It marked its first yearin May, so it’s still in its infancy.But, it’s growing and it’s growingquite nicely. And it’s proving to bea nice resource for our group anddealer network, also.Kirkwood: We’ve launched anew Web site to make it easierfor people to find us. It’s musicstoreowners.com,and it’s a nicestarting place. You can followthrough quite easily to find theinformation you need to find outabout our group. On our forum,as of today, we have a total of38,205 posts, and most of thoseposts are very educational forany store owner who wants tolearn about lessons, repairs andhow to bring more people intoyour store. What do you do whendays are slow? How do you usesocial media? And, so, it’s suchan informative place; and theinformation is just there for thereading. All you have to do islog in and read it. So, become amember; it’s quite educational. I,for one, am on the forum everyday reading something. You wakeup every day, and you can learnsomething new. We have greatmembers who love to share theirknowledge.McBroom: If you’re readingthis article in The Retailer, andyou find these viewpoints andthe openness of this discussionrefreshing, you can have a doseof this every single day by joiningiMSO, which is free and does notdetract from your bottom line.You can read the forums everyday. You don’t have to post, butyou can participate by reading.Stay informed, and realize you’renot in this alone. Those forumsare there to help you…to makeyour life better and to make yourbusiness better. This can helpkeep you encouraged and firedup about what you come to workfor every day. This is just a snapshotof the daily activity on theiMSO forums.Music & Sound Retailer 53

under the hoodChauvet’s Freedom Series54By Dan FerrisiThe word “freedom” is among the mostpowerful in the English language, calling tomind philosophical principles of liberty and thevery human desire to be unchained; however,less lofty but just as meaningful, it also refersto the idea of mobility and being able to roamabout without having to be “plugged in.” It is thissecond definition that Chauvet’s Freedom series,which includes Freedom Par, Freedom StripMini, Freedom Charge P and Freedom ChargeS, taps into. The Music & Sound Retailer spoke toNick Airriess, Chauvet DJ Product Specialist, togain insight into the Freedom series’ conception,the products’ technical abilities, to whom theyare targeted and why they represent importantadditions to the market.With the Freedom series, the company soughtto reach a more budget-conscious market—weddingDJs, bands and other mobile performers,for example—looking for a blend of high qualityand affordability. The company also wanted toemphasize 100-percent, true wireless technology.According to Airriess, “We wanted to make surethat these were completely wireless: battery,DMX, remote control…everything.” Finally, easeof use was also at front of mind in conceiving theFreedom series, the idea being that anyone whodoes mobile gigs can glance at the manual andbe ready to roll.The first two models to be released—FreedomPar, a par can wall wash, and FreedomStrip Mini, a strip-type wallwash—set the tone for aseries that truly embodiesinnovation. They have abuilt-in D-Fi 2.4GHz transceiverso they can send andreceive signals. Anothertechnical commonality thatthe products, and many ofChauvet’s fixtures, haveis compatibility with IRC:Infrared Remote Control.Airriess also zeroed in onDMX outputs, mentioningin particular the Linkoutput. “You can actuallyconnect multiple fixturestogether to make uniqueeffects, without having toaddress them separatelyon DMX,” he explained.“They can make patternsand programs and thingslike that that match eachother when they’re set inmaster/slave mode.”The Freedom Par is apar wash light that can also be an effect light. It has a beam of 21° and a field of 39°, meaningthat it covers a wall very effectively. “Again,” began Airriess, “I can’t emphasize enoughthe 100-percent wireless technology. It has a battery. It has wireless control, that being theIR remote control, the wireless DMX or D-Fi system. Or, you can just control it right offthe display on the unit.” It has 198 RGB LEDs,which serve to ensure adequate brightness, butit is also very efficient with respect to batterylife. The catalog promises six to eight hours ofusage, but, according to Airriess, “We’ve hadthem last upwards of 20 hours!” And, at nineinches wide, eight-and-a-half inches deep andeight inches tall, it couldn’t be more portable.Turning to the Freedom Strip Mini, it boasts192 RGB LEDs and has the same type of beamangle (very wide). “One nice thing about theStrip,” remarked Airriess, “is that it also has ourlinking technology, which enables you to plugone into another, or wirelessly have everythinglink down the line. You can have a color chasego down a line of, say, four Strips.” It has thesame battery and infrared technology alreadydiscussed, as well as an equally portable formfactor—two inches wide by 90 inches long andfive-and-a-half inches deep—that allows it tofit in many tight places. It is 6.2lb. (the Par is7.8lb.), reinforcing both products’ portability.So, to whom, specifically, is the Freedomseries being targeted? “We’re catering to mobileDJs, bands and every type of mobile entertainer(continued on page 31)OCTOBER 2012