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7 Turn it up to Eleven 9 AnIntroductiontoMarshall

11 BrandWords

13 Marshallness

15 JimMarshall

17 StakeholderMap

19 MarshallTimeline

21 CorporateIdentity

23 ProductPortfolio

27 MarshallMerchandise

29 ExistingProductswithMarshallness

31 WhatisaProsumer?

33 PastAdvertisingandMarketing

37 CurrentAdvertisingandMarketing

39 ParallelCompanies

41 CompetitorAnalysis

CONTENTS PAGE

45 SWOTAnalysis

49 STEVEAnalysis

51 MarketBarometerandPositioning

53 BrandStack

55 BrandEssence

57 SurveyAnalysis

59 OpportunityVenn

61 InitialDirectionExploration

63 ContextualChallenges

65 InitialAdcepts

69 IndividualPersonas

73 PersonaDevelopment

75 AdceptDevelopment

77 OurDirection

79 ChosenDirectionResearch 81 FinalAdcept

83 Lucy’sDirection

85 Max’sDirection

87 Dan’sDirection

89 Stuart’sDirection

91 Rob’sDirection

93 ProductOpportunites

95 References

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ThereisaphrasetosumupMarshallAmplification,“Turn it up to eleven”! After half a century ofproducing someof theworldsmost iconicguitaramplification equipment, Marshall have earnedthe distinction of being one of the founders ofRockmusicasweknowittoday.

The business grew from selling guitars anddrums in a small London shop, to modifyingamps by request. The unique sound producedhookedfuturestarssuchasEricClaptonandJimiHendrixontheMarshall“roar”.SuccessintheUKand Europe continued across the Atlantic, anddemandforJimMarshall’sampsgrew.Continuousexpansionofthecompanyhasseennewproductlinesproducedinalargefactory,andseveralhighlysuccessful collaborations with head-phone andradiocompanies,alongwiththerecentacquisitionof Natal Instruments, which further adds to theimpressive product portfolio. One man’s dreamcontinuestoinspireartistsandfansalike, leavingalegacythathasdefinedRock‘n’Roll.

TURN IT UP TO ELEVEN

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Marshall Amplification is one of the mostrecognisable music-industry companies in theworld.Theirproductscanbefoundathomeandonthemainstage.Theircustomersareprofessionals,orthosethatseektoemulatetheiridols.

ThelifesworkofJimMarshall,hisbrandhasbeenattheforefrontoftheamplificationbusinesssincethe late 1960s, and counts artists such as JimiHendrix,MotörheadandAC/DCascustomers.Thebrand isastapleofRockmusic; theirampstacksframe some of the biggest bands on stage, ondisplayinfrontofthousands.

Atpresent,Marshallfacesincreasingcompetitionfromotherindustryplayers,offeringlowerpricesand additional functionality for the digitalmusicage. These competitors are attracting a youngeraudience, influenced by pop-culture. Marshallneedstobepartofthis.

Marshallattractsaloyalfollowing.Itissynonymouswith the Rock genre, and an aspirational brandwithinthe industry.Althoughtheyofferproductsatseveraldifferentpricepoints,theirprofessional-grade amps and stacks are the most criticallyacclaimed.

Theirproductrangehassomethingforallabilities,offeringlower-costsolid-stateampsforbeginnersand hobbyists, to full-size stage equipment usedonstadiumtoursoneverycontinent.

“If I stand in front of my rig, if my nuts ain’t shaking then I ain’t satisfied . . . and the only stuff that can do that is my Marshalls!”

Kerry King, Slayer

The company’s growth has been a continuousprocess,fromitsLondonroots,toitscurrent70,000sq.ftMiltonKeynesheadquarters.Keyacquisitionsandcollaborationshavealsoincreasedtheprofileofthecompanyinrecentyears.ThecollaborationswithPurebroughtaMarshallbrandedDABradioto the market; and recently Zound Industrieshave launched the “Major and Minor” range ofheadphones; giving fans the chance to “carrythe magnificent burden of Rock ‘n’ Roll all bythemselves”. Marshall’s recent purchase ofNatal Drums has brought Bongo’s, Timbales andTambourinesintotheirproductportfolio.

Throughouttheirhistory,Marshallhasbeenattheforefront of the amp industry, from the humblebeginningsoftheJTM45,throughtoEricClapton’s“Bluesbreaker” and the integration of old-and-newwiththesolidcircuitryoftheJCM900inthelate1980’s, alliedwith the classicMarshall tone.Accoladesfollowedforthebrand,whichreceived

TheQueensAward forExport in1984and1992,andalsoforJimhimself,whocelebratedpersonalrecognitionwith a star on Hollywood’s “Walk ofRock”in1985.

In recent times, the Valvestate and Mode Fourrangeshaveintroducedfurtherdigitaltechnology,enriching the timeless qualities enjoyed byMarshallmusiciansforoverfivedecades.

Marshall’s near-future in the amplificationindustry looks secure,with a consistent demandfortheirhallmarkproductspromptingre-releasesof theirclassic lines. It is thechanging landscapeof Rockmusic and the impact ofMarshall’s newgenerationofcustomersthatwillchangethefaceofthecompanyindecadestocome.

AN INTRODUCTION TO MARSHALL

“The Marshall brand wordsprovide a valuable insight intothe public perception of theMarshall brand. By allowing ustodefine‘Marshallness’wecanthenexplorewhat theprojectsthatcouldtakeMarshallforwardintothenextdecade,whilststillshouting these brand wordsthathavebecometheheartandsoulofMarshall’sbrand.”

REVIEW

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BRAND WORDS

“Marshallness represents thespiritofthebrand,whatdefinesthebrandfromitscompetitors.With distinct Marshall stylingthat corresponds with thequality of the sound produced,theMarshallnessgivesaninsightinto the key characteristicsthat need to be maintained indeveloping furtherproducts forthebrand.”

REVIEW

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MARSHALLNESS

ThespiritofMarshallisbestrepresentedbytheirmostfamousadvocates,thehead-liningartiststhatare household names, and some of the greatestRockguitaristsofalltime.

These greatworks have been accompanied by aMarshallsetup,theriffsandthelyricsrecognisedby themasses; theseare themenwhoarepureMarshallness, embracing the tone, thedefinitionandthequalityofthesound,provokingthefeelingsofpure,unadulteratedROCK!

“IfIstandinfrontofmyrig,ifmynutsain’tshakingthenIain’tsatisfied…andtheonlystuffthatcandothatismyMarshalls.”Kerry King- Slayer

“I’ve said it before, and I’ll say it again; I won’tconsider trying anything else – something thatconsistentyoujustdon’tf**kwith.”Slash- Guns n’ Roses, Velvet Revolver

“Two 100-watt Marshalls. I set them full oneverything,fulltreble,fullbassandfullpresence,samewiththecontrolsontheguitar.Ifyou’vegottheampandguitarfull,thereissomuchvolumethatyoucangetit100milesawayanditsgoingtofeedback-the sustaining effect-andanywhereinthevicinityit’sgoingtofeedback.”Eric Clapton- The Yardbirds, Cream

“The fine Marshall line remains heavy as lead…solidassteel.Thebest.”

Billy F Gibbons, ZZ Top

“Old Marshall’s never die – just blow your f**kingheadoff!”Lemmy- Motörhead

“What does a Marshall sound like - strength, warmth, commitment, beauty and destruction... all wrapped up in a giant f**kin’ wrecking ball!”

Zakk Wylde- Ozzy Osbourne, Black Label Society

Marshallnessisthesound.Arawpowerharnessed.There is an undefinable character, and anunmistakableenergy.Greatartistsmanipulatethistone,craftingharmonieswithanepicpresence.

Marshallisheritage;JVM(aniconicMarshallamp)is an acronym for Jim VictoriaMarshall, VictoriabeinghisdaughterandcurrentmanagingdirectorofMarshallAmplification.

Marshallness is character. A focussed belief.Inspiredbyrawpassion.Motivatedbythemusic.

Marshallness is visual; instantly recognisable asthe backdrop to some of the greatest shows onEarth,anenduringpresenceacross thewholeofRockculture.Mightystacksamplifyeverystroke,projectingsoundtracksthatdefineeras;memoriesthatlastalifetime.

Marshallness is the sound that annoys theneighbours. Emulating idols, creating a sound,turning it up to eleven; because you can, andbecauseyouwantto.

A monolith. Shrouded in leather. It’s cornerscapped.Itisunmistakable;aflashofbrasscatchestheeye.

To gain a greater understanding of the legendthatisJimMarshall,aninterviewconductedwithMusicians Hotline in April 2003, illustrates andinsightintohisthoughtsofbeingtheforefounderoftheiconicamplifiers.

Jim,tellushowyoufirstgotyourstartinbuildingamplifiers?

I opened a drum shop in Hanwell, London, in1960where I solddrumsandgave lessons. ThedrummersItaughtwouldallbringtheirguitaristsin all the time and young players like PeteTownshendandRitchieBlackmorewouldalwayssaytome,“Whyonlydrums?Whydon’tyousellguitarsandamplifierstoo,Jim?Theothermusicshops in London all treat us like idiots becauseweplayRock andRoll, youdon’t sowe’dmuchrathershophere!”Myinitialreplywas,“Iknowalotaboutdrumsbutnotmuchaboutguitarsandamplifiers.”But,Idecidedtogiveitagoanywayand it turned out to be very successful indeedrightaway.“SomanyplayerscametomyHanwellshop, it was almost like a Rock and roll laborexchange because a lot of groupswere formedthere. Anyway, lads like Pete (Townshend),Ritchie (Blackmore) and Big Jim Sullivan - whowasand still isoneof the top sessionguitaristsinEngland-startedsayingtome,“noonemakesanamplifierthatsoundsthewaywe’d like it to.TheFenderBassmanissomethinglikeitbutnotexactly.”Theyexplainedtomeexactlywhatthey

werelookingforandIsaidtomyrepairman,KenBran, “let’s have a go at making the amplifierthey’relookingfor.I’vegotthesoundinmymindandIthinkwecandoit.”Kensaid,“I’magoodatrepairsbutIdon’treallyknowenoughtodesignanamplifierfromscratch.Iknowofthis18yearoldkidwhoworksforEMIcalledDudleyCravenwho’s brilliant, though.” So, I met with Dudleyand said, “Howwould you like to join the teamthat’sgoingtodesignandbuildthefirstRockandrollguitaramplifier?”Hetoldmethathe’d lovetobutthathewasanapprenticeatEMI.Iaskedhimhowmuchhewasmaking andoffered himthe same amount I was paying Ken which wasover three times as much as EMI were payinghim.Heimmediatelysaid,“done”andjoinedtheteam! Dudley handled all the technical details;KenhelpedhimsoldertheboardwhileIdidthechassisworkandeverythingelse.UnfortunatelyI’ve lostcontactwithDudley.The last IheardofhimhewasinCanada.I’vetriedtotrackhimdownbut I’ve been unsuccessful I’m afraid. Anyway,Dudley built five prototypes, which I rejectedbecause they weren’t quite right - they didn’tquitemakethesoundIhadinmyhead.ThenhemadenumbersixandIassoonasIhearditIsaid,“that’sit!That’stheMarshallsound.”Itsoundedexactlylikethesoundtheboyshaddescribedtome,yousee.WeputthatampintomyshopthatSaturday for people to hear and it didn’t evenhaveacabinet, itwas just thechassis!Wetookordersfor23thatfirstday.

JIM MARSHALL

“With Jim Marshall beingthe epiphany of the Marshallbrand, we found it necessaryto explore his thoughts andattitudes towards the brand.JimisregardedastheGodfatherof the iconic amplifiers, thebrandgreatly reflectshisethosas expressed in this interview.,allowing us to gain a greaterunderstanding towhyMarshallissuchasuccesstodate.”

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WhowasthefirstmajorendorsertouseMarshallAmplificationandwhen?

Well,Idon’tknowifyoucancallthemendorsersbecauseIdidn’tgivethemanything-IneverhaveandIneverwill!Thatsaid,theplayersI’vealreadymentionedlikePeteTownshend,RitchieBlackmoreandBigJimSullivanwerepartofthefirstorderof23 amps.A lot of other groupswhowerebig atthetime, likeBrianPooleandtheTremolos,alsostarted using the JTM45 straight away too. EricClapton and Jimi Hendrix were two other veryfamousMarshallusers intheearlydaysbuttheybothcamealongalittlelater.Ericusedtopracticeinmyshopandhewasoneof thefirstguitariststoaskmetobuildacombo.Hewantedonesoitwouldbeeasyforhimtoputthewholethinginthebootofhiscar.ImetJimiHendrixthroughoneofmydrumpupils,MitchMitchell. JimiwasplayingatRonnieScott’s inLondon,thegrouptherewasusingaMarshallandsohehadtotoo.HelikeditalotandhetoldMitchhehadtohavesomeandthathealsowantedtomeetmebecausewesharedthesame name - as youmay know, Jimi’s full namewas James Marshall Hendrix, you see. WhenMitch brought him into the shop the first thingJimi said to me was “I’ve got to use Marshalls”and I immediately thought, “Bloody hell, here’sanotherAmericanguitaristwantingsomethingfornothing.” But straight away Jimi said, “I want topay foreverythingat thegoingrate.All Iwant isservicewhereverI’mplayingintheworld.”

Marshall has recently celebrated its 40-yearanniversary.WhatdoyoufeelhasattributedtothesuccessofMarshallAmplifiersover thepast fourdecades?

Hardwork, the quality of the product and goodpeople. I’ve never minded putting in 16 to 18hoursadayandIstillgettomyofficeat6o’clockeverymorning because I can get somuch donein those first two hours before the office opensand the factory starts up. In fact, I believe thathardworkkeepsyouyoung - I’msobusy Idon’thavetimetothink,“Oh,I’mgettingold!!”I’vealsogotmarvellouspeopleworking forme-notonlyinEnglandbutallovertheworld. I’mveryproudof my distributors and dealers in every countrybecause they all do a fantastic job and, likeme,are verypassionate aboutwhat theydo. Funnilyenough, most of the people in the worldwideMarshallfamilyaremusiciansandI’vealwayssaidthat musicians should rule the world! After all,musicisthemostcommonlanguageintheworld.

Tellusabitaboutyourkeyemployeesordesignersthat have attributed to the R&D at MarshallAmplification?

Well,goingback therewasDudleyCravenat thestart; then a chappy named Ken Fleg during the‘70s;thenSteveGrindrod(nowwithVox)andrightnow I’vegotwhat is,withoutadoubt, thefinestteamofengineersintheworld.Thisteamisleadby

mytechnicaldirector,BruceKeir,andwhatBrucehasdonewith IanRobinsonand LaurentVeignaloverthepastseveralyearshasjustbeenfantastic.

Marshallisnowreissuingseveralmodelsfromthepast.Whatwasitaboutthoseampsyoufeelhavemadethemdesirabletoday?

The sound, of course! The amps you are talkingabout are all relatively simple amplifiers to use,especiallybymoderndaystandards,andallhaveaunique,signaturesoundthatmanymodernplayersstillwant.Mydesignershavedoneafantasticjobof making the reissues sound and feel like theoriginalsdo.

In closing Jim, what do you feel is the mostimportantaspectthatyouhavelearnedspanningyour career andwhat “words ofwisdom”wouldyoushare?

Work hard, make a great product and surroundyourselfwith good people because you can’t doeverything yourself. Having said that, you mustalways be in it yourself as well...you have to beinvolved.It’snogoodsittingbackinanofficeandthinking thatotherpeoplearegoing to runyourlifeforyou-youhavetosteeryourowndestiny.Another thing I believe you should always do iskeepyoureyes,earsandmindopentoeverybodyandeverything.Nooneknowseverythingandyoucanalwayslearnsomethingnew.

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STAKEHOLDER MAP

PROVIDERS

Suppliers

Partners

GOVERNANCE

Audit

Regulatory

Boards

JimMarshall VictoriaMarshall

BENEFICIARIES

SteeringGroups

Customers

Novices Semi-Professionals Professionals

CelebrityEndorsements

Employees

Retailers

INFLUENCES

Media

TradeUnions

InterestGroups

Sponsorships

Retailers

STAKEHOLDER IDENTIFICATION

1960ThefirstMarshallmusicshopopensinLondon

1964Marshallopensitsfirstfactory

1984MarshallmovedtoMiltonKeyneswith90staffand50,000sq.ft.

1970Forashorttime,Marshallampswereavailableinarangeofcolours

1981MarshalllaunchestheJCM800series

1984MarshallisawardedtheQueen’sAwardforExport

1962MarshallisfoundedandJimMarshallproduceshisfirstamps

1965MarshallmovedtoBletchley,Buckinghamshiretocopewiththeincreasingdemand

1968Withmusicalendorsementsandgrowingpopularity,a14,000sq.ft.purposebuiltfactorywasopened

1969Mesa/BoogiebeginstooperateindirectcompetitionwithMarshall,producingamplifiersforguitarsandbases

1946FenderMusicalInstrumentsCorporationfounded,buildingstringinstrumentsandamplifiers

1950GibsonintroducedtheGAseriesthatbecameacompetitorofMarshall

1970TheRandallAmplifierCompanywasfoundedasadirectcompetitorofMarshall

1957Peaveyboughtouttheirfirstamplifierintheirproductrange

1974Marshallintroducedthefirst100Wattamp

1975DesignforthefirstMasterVolumeampwascompleted

1982Thefirstsplitchannelampsarrive

50’s 60’s 70’s 80’s

The sixties (1962-1967) was the “Jurassic” period of Marshall and the time of the JTM’s

The seventies (1967-1981) was the era of the JMP’s

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MARSHALL TIMELINE

1987Marshallreleasesthe25/50silverJubileeamptocelebrateJimMarshall’s50thanniversaryinthemusicbusiness

1991MarshallintroducesthehybridValvestatelineofamps

1992Withits30thanniversary,MarshallisawardeditssecondQueen’sAwardforExport

1994JimMarshallbecomesthesecondrecipientofGuitarPlayermagazine’sLeoAwardforinnovationinguitarequipmentdesign

2000TheAVTseriesisintroduced

2002Marshallcelebratesits40thanniversaryattheNationalAssociationofMusicMerchantsinCalifornia

2003JimMarshallcelebrateshis80thbirthday

1985JimMarshallwasintroducedintotheHollywoodGuitarCentreWalkofRock

1990Thefactorywasextendedto70,000sq.ft.andtheworkforcegrewto220

1990Releasedafew“specialedition”amps,includinga“SlashSignature”model

1986SoldanoCustomAmplificationbecomecompetitorsofMarshall

1966Line6,aDigitalAmpcompany,startsoperating

90’s 00’s

“ByexploringMarshall’sbiggestmilestones and competitorlaunch, we have been ableto define the rise and fall inMarshall’s life and determinehow they have kept thecompanyintheirmarketleaderposition periodically. Marshallhas a heritage of 46 years,producing the aspirational andiconicampcollection.”

REVIEW

The eighties (1981-1989) was the era of the JCM800’s and the first anniversary amps

The nineties (1990-1999) was the era of the JCM900’s and the re-release of amps

The noughties is the realm of the JCM2000’s

Initial contact with Marshall Amplification wasmadeon2ndDecember2010,withtheintentionof acquiring the Marshall corporate identityguidelines. At the time of writing however, wehavenot yet received these. Therefore,wehaveanalysed existing Marshall media and gatheredinformedopinion.

TheMarshallbrandmustbeonethat is instantlyrecognisable. As a strong, solid brand, it isextremely important that the identity of thebrand is clear and consistent throughout thebrands operations. A cohesive corporate identityimprovesbrandrecognitionandtheeffectivenessofmarketingactivities.

Adversely, inconsistent use of the corporateidentitycancreateconfusion,andhasthepotentialtocausedetrimenttotheimageofthecompany.

LogoThe Marshall ‘signature’ logo is its mostrecognisableprintasset.Withalmost50yearsof history, the script acts as a final “seal ofapproval” for the company’s actions. Thefact that the logo is a stylised interpretationof Dr. Marshall’s signature implies there is apersonal connection between the customerand the company founder. On all Marshalladvertising the logo ishighly visible,often inthe footnotes of print-media, or depicted ontheimagecontent.

A white variant of the logo appears mostprominently on the amps produced. As the vastmajority ofMarshall’s equipment is black, whiteprovides the greatest contrast. The letterformofthe logo, and its high contrastmake recognitioneasy,evenatlongerdistances(suchastheviewofthestagefromthecrowdatafestival)asthecurvedletter forms are different frommany other ampmanufacturers,whoadvertisetheircompanywithmorediscretion,suchasYamaha,orflamboyance,in the case of Orange Amps. Although a legacyversionof the logohasbeenused forseveral re-issuemodels launchedbyMarshall recently, it isthescriptedversion,whichholdsthemostvalue.

OnlineMediaThemainMarshallwebsiteoozesclassicRock. It isverydark,withwhitetextonablackbackground.Themainpointsofvisualinterestonthesiteareimagesoftheirproductportfolio,andquotesfromleadingRockmusicians, endorsingMarshall products. ThenotionofRockhistoryisapparent,withavariedandcontinued presence of icons of the genre aroundthe site. The products Marshall sell are endorsedbytheseleadingartists,astheyhaveusedthemontours throughout their careers, or theirmusic hasbeen influenced and enhanced by the distinctivetoneMarshallproductsarefamedfor.

However, Marshall’s latest collaboration is withtheSwedishmanufacturerZoundIndustries.Theyhavecreatedanewrangeofheadphones,placing

theMarshallbrandinanewmarket.ThewebsiteandcorporateidentityforthisoffshootofMarshallismarkedlydifferenttotheamplificationwebsite.Thereisstillaclassicaesthetic,withtheuseof2colours, off-white and a black. There is farmorewhitespace on the site, with more “breathingspace”foreachitem.ThissiteisstillidentifiableasaMarshall,butisalotfresher,withacontemporaryfeel. We expect the main Marshall page to berefreshedinasimilarstyleinthefuture.

The headphones site is highly reminiscent ofthe monotone advertising literature Marshallproduced in their formative years, perhaps todemonstratethestartofalonghistoryforthisnewproductdirection?

Inessence,Marshall’spublicpersonaexudesRockpersonality,andcredibilityisgiventotheirproductportfoliothroughtheirlinkstogreatRockartists.

PrintMediaPosters and advertising produced for Marshallproductsatpresentareaimedspecificallytowardsaparticularproductorcontext,ratherthanaspartofastandardisedtheme.Metal-Rockthemesarethemostprominent,asaresultofMarshall’slong-standingconnectionwithMetalgroups.

In contrast, the company’s recent “Signature”seriesproductadvertising isstylisedbytheartisttheyarededicatedto.Forexample,thePaulWeller

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CORPORATE IDENTITY GUIDELINE

version is markedly different to the Megadethinspiredprintmedia.

Theadvertisingportrays thecontent in itsnativecontext.Stylesvarydependingoncontent,withthelogoandcontactdetailsatthefootoftheposters.ThemainaimismakepostersandadvertisementsinstantlyrecognisableforMarshallenthusiastsandexistingfansoftherelatedmusicgenre.

ProductLanguageMarshall products have a form-factor that isrememiscent of many amplifiers on the market,as there are similar acoustic and packagingrequirements to be met. Marshall distinguishestheirportfolioinseveralways.Firstly,theyofferabroadrangeofproducts, includedlimitededitionand heritage line-ups that are styled slightlydifferentlytotherestoftheline-up.However,the‘classic’Marshallstyleiseasilyrecognisable.

Recent collaboration products have adopted this style,namely the Pure Evoke 1-XT DAB radio, and the newMarshallMajorandMinorheadphoneranges.Theblackleather-effectcoveringandcontrastingwhitelogo,thebrassfasciaandmachineddialsarethekeycomponents.Secondly,theprotectivecapsonthecornersoftheirproducts,andthefamiliarrubberhandleaddtothecharacteroftheMarshallrange.Intricaciessuchasdialsthatgofrom0-11aredetailsappreciatedby those thatare familiarwithMarshallandaddsextradepthtoaproductoffering.

MaterialsThecoveringsofMarshall’sampsaremade fromTolex, a plastic-based fabric with a leather-graineffect. Thismaterial is hard-wearing, suitable forampsthatareregularlytransportedbetweenuses.Several different types of Tolex are used, withwider mesh variants to cover the speakers, andsomeperiodreproductionmaterialfortheVintageSeriesamps.

Brass is used as an accent colour to distinguishMarshall’sproductsapartfromtheirrivals,andisalsothemetalfromwhichtheirdialsaremachined.Brass contrasts well with the black coveringandwhite logo, and provides the brandwith anidentifyableaestheticidentity.

Other colours are used to compliment specialedition and re-released products, to complimentthe artist or styles of the time. However, thereareusuallyonly threemain tonesused, tomakeproducts visually interesting, but not distracting,especiallyifplacedonstage.

ColourPaletteBlackisthecommoncolour,withbrassandwhiteasmainaccents.Thereisalwaysablackandwhiteelementtothedesigns,butsomeeditionsusewhiteasthebasecolourwithsomesilver-greyorblue-redcontrasts.TheMarshallscriptlogoisalwayspositionednear-centre,andcontrastswiththebasecolour,tocreatemaximumimpact.

“ByreviewingMarshall’scurrentproductprotfolio,wewereabletogainamoreindepthknowledgeof the types of products thatthe consumers have beenaccustomed to in recentdecades. This will help in thedevelopmentoffutureMarshallproducts when consideringmaintaining theirbrand identityandcharacteristics.”

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Signature Series ArangeofproductsunderwrittenbyvariouswellknownworldwideartistssuchastheMegadeths,DaveMustaineMegastackAmps,andother suchamplification products by Lemmy Kilmister ofMotorhead, Paul Weller, Jimi Hendrix and KerryKingofSlayer.

LimitedEditions&Specials This range of products features items that haveshaped Marshall and music as we see it today.The 1932C range celebrating 85 years of Dr JimMarshallOBE is aprimeexampleof this, aswellas the JTM45/100 Limited Edition, all valve 100wattheadandadualmodeheadthatwasmadeinconjunctionwithSlashofGunsandRosesfame,allofwhichusesthesametechnologyandtechniquesastheyweremadebackin1965.

JVMSeriesThe JVM series is the most comprehensive andprofessional range of “all valve” multi channelampsavailable,givinggoodperformanceandtoneatanaffordableprice.

JMD1SeriesJMD1 is a good combination of state of theart pre amp technology and studio qualityeffects with Raw EL34 valve power, makingit one of the most technologically advancedcomprehensive amps to date that has beenmanufacturedbyMarshall.

VintageModernTheVintageandModernrangegivesagoodtonereminiscing back to the 1960s and 1970swith ahotoption togiveyou theharderRocksoundofthatera.

Class5TheClass5isseenasthepurestofthepurewitha100%valve tonequalityallof itsown,givingalow wattage and big tone for its size in a true“Bluesbreaker”styleofsound.

HazeSeriesStudiosoundqualitythatisportablefortheroad,featuringpurevalveandfootswitchingtechnologyall combined inapackage thatgivesout smoothandrichtonesperfectforRhythmandBlues.

HandWiredPoint-to-PointPerfectionThehandwiredrangeofproductsdrawsupontherichexpertisethathasmadeMarshallthelegendthatitistoday.ItfeaturingDagnallTransformerscombinedwithtraditionaltechnologyandcraftsmanship.

ModeFourThemodefourintegratestwoampsinonedesignwithacombinationofmodernandclassicstyles,completewith theMarshall attitude all in one package. Bothampshavetheirownpreampsandarenotsharedastheyarebasedoncompetitorsmodelsmakingforthatpurecomplete350wattsofMarshallsound.

VintageSeries The Vintage Series offers faithful reproductionsoftheclassicoriginalsthatmadeMarshallwhatitis todayandwhat it is known for, featuring suchmodels as the JTM 45 (the first model that JimMarshallproducedin1965)andthelegendaryJCM800 100Watt head (considered to one the bestproducts evermanufactured byMarshall). Othercertainmodelsalsofeatureanaddedserieseffectsloopandtruebypassswitchsothetraditionaltoneisnotaffected.

MASeriesA range of all valve amps that are currentlyconsidered to be the most accessible on themarket, featuring pure British valve poweramplificationofadmirationofmanyBritishartistsandmusicians.

DSLSeriesTheDSLSeriesorDualSuperLeadincorporatesanampthatwillgiveoutanysoundwhethercleanorcrunchyisrequired,allhavedualchannelsthatarefootswitchable.

TSLSeries TheTSLseriesisthenextgenerationfromtheDSLseriesandtheyareallmembersoftheprestigiousJCM2000rangeallfeaturingtriplechannels,100%pure valve power and incorporating musicianfriendlyfeaturesthroughouttheTSLrange.

PRODUCT PORTFOLIO

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RackProductsBritish valve power at its best, the ‘roar’ thatMarshallarefamousfor,isknownthroughouttheworldbyallmusicians.

MGSeriesWith 11 products within this range the MG Seriesincorporatesthelateststateofthearttechnologyinadigitalsolidstateformatwithananalogueprogrammer,idealforwhateveryourlevel,frombeginnertoprofessional.

ExtensionCabinetsThelegendaryMarshallstackisknownallovertheworldanditisattheheartofallthingsRocknRoll.Thefirst stackwasbuilt by JimMarshall in 1962andfromthereontherehasbeennolookingback.

EffectsPedalsA range of 8 guitar effects pedals all featuringsolidmetalcasingandapassivebypassensuringaqualitywellbuiltproducttoeverymusician.

PackagesThe Packages feature the Rockbox and Rockkit,givingallbuddingRockstarsahighquality,awardwinningmusicianspackageatanaffordableprice.

VBASeriesThe best in valve amplification that is available,builtforheavydutyroaduse,suchastheVBA400,aprofessionalbassplayers’valverig.

PRODUCT PORTFOLIO

AVTTribute AVT or Advance Valvestate Technology is thecombinationofvalveandmoderntechnologyasahybrid,within theAVT range there is an amp tosuiteveryones’needs.

AcousticMarshalldonotjustdesignproductsforallthoseMetal,RockandBluesloversbuttheyalsodesignandmanufacturearangeofawardwinningacousticcombos,illustratinghowdiversetheirdesignteamreallyare.

MBSeriesAfteraskingBassplayerswhattheyreallywanted,Marshallcameupwitharangeofcombinationandspeakerextensioncabinets,builttowithstandlifeontheroad.

MicroAmpsArangeofMicroAmpssoevenwhenyouarenotathomeorinthestudioyoucanstillhaveaMarshallwithyouwhereeveryougo,therangeconsistoftheMS4&MS2. TheMS2MicroAmpmeasures14x11x6CMsandMS4MicroAmpstackmeasures25x11x6bothofferingamightysoundpackagefortheirsizeandreallyhastobeheardtobebelieved.

“The Vintage Modern is raw, classic tone pure and simple.”

Ray Tord, My Chemical Romance

“Reviewing our selected targetmarketwillenableus,asagrouptobeabletoidentifyappropriatedirections in which to take thebrand,andtorepositionitwithinthe time period of 2015-20.Defining the market is key indevelopingadesigndirectionsoastocreatearangeofproductsthatwill promoteMarshall in asuitableway.”

REVIEW

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WHAT IS A PROSUMER?

Theterm ‘Prosumer’ isaportmanteau formedbyblurring the distinction of thewords producer orprofessionalwithconsumer.The termwascoinedbythefuturistAlvinTofflerin1980inhisbook‘TheThirdWave’.Heused theterminology todescribea possible future type of consumer who wouldbecomeinvolvedinthedesignandmanufactureofproducts,sotheycouldbemadetosuitindividualspecification.Thetermhassincetakenonmultipleconflicting meanings such a mass customisation,whereeverybodybecomesaprogressiveconsumerandintheoryamemberofanichemarket.Therewouldno longerbeapassivemarketuponwhichconsumergoodswhere‘dumped’.

The research thatwasconducted togainabetterunderstanding of the ‘Prosumer’market segmentcould be summarised as a serious, enthusiastconsumer, not a professional, but someone whohas similar interests and skills to a lower levelprofessional who requires professional-levelfeatureswhicharecombinedwithconsumer-levelusabilityandprice.Inotherwordsprosumersmaybedescribedaspeoplewhoborderlinebetweenbeingconsumers and professionals, people who wanttoobtaingoodsofabetterqualitythanconsumeritems,butcannotaffordtheprofessionalpricetag.However these inferior ‘Prosumer’ goods cansuccessfullybeappliedinthetwoseparatemarkets.Synonymswhich,asagroupwebelievereflectbasicProsumerprinciplesarewordsincluding;amateur,enthusiast,hobbyistandsemi-professional.

The Prosumer market is often referred to as agolden group of consumers. A lucrative marketsegment that is often over looked and is onlyrecognisedbyafewvisionarycompanies,whoareactivelyprosperingbyapproachingthisrichcoterieofspendersinthisemergingmarket.

Prosumers are not hard to find or identify. Butcapturing this desirable segment requires asystematicprogramofresearch,development,andtestingofprosumerorientatedofferings.

Marshallareconsideredtobea‘Prosumer’brand,offeringhighend,professional-level products at apricethatitaffordabletoitsconsumers.ThisallowstheblanketusersforMarshall torangefromRockbandprofessionalstogarageenthusiasts,thereforegiving all skill level and practice levels the sameMarshall experience. Marshall’s product rangehas higher and lower pricetags depending on thequality of the product. However, it is the lowerendaffordablepricedproductsthatareMarshall’sgreatestsellers,illustratingthatamateur,enthusiastorhobbyistmusiciansholdalargesegmentofthe‘Prosumer’marketforthisbrand.

“I plugged into a Marshall 25 years ago and from my first crunchy riffs to my latest screaming leads, my Marshall’s were always right behind me, lot’s of them! There will always be imitations, but in the end there can only be one, the only one, Marshall!”

Yngwie Malmsteen

“Bystudyingparalllelcompaniesthat have similar values andheritage toMarshall,. Thiswascompleted to see how theyhave diversed and how theirrelationships in termsof brandvaluesaresimilarwhenappliedto a different product portfoliorange.Thecompaniesexploredrelate to Marshall in term sotheirtargetprosumermarket.”

REVIEW

27

Harley-DavidsonHarley-Davidson is one of the most well knownMotorcycle brands in the world. For over acentury, H-D has produced motorcycles for theopen road, encompassing the American Dream.Harley-Davidsonrepresentsawayoflife,signifyingfreedom, exploration, rebellion and defiance.FromitsBar&Shieldlogotoitsdistinctivesound,look and V twin engine, the brand displays aprominentattitude.Withareputationforquality,and a history of producing iconic motorbikes,Harley-Davidson has defined the rebel lifestyle,withstrongconnotationstowardsRockandMetal,comparisonswithMarshallareeasytodraw.Thecompany’sFortune500statusisafurtherindicatorofastrongbrand,andonethathashadtoadapttofollowtodaystrends,whilststillflyingtheflagforitsoriginalvalues.

RollingStoneForover40years,Rollingstonehasbeencreditedwith bringing a balanced portrayal of news andpolitics,alongsidestyleandfashioncontent.Thisformathasbeensaid tobridge thegapbetweengenerations, with content appealing to a broadcirculation. As a freethinking publication, borneof San Francisco’s 1970’s countercultures, thereis anunmistakable identity to themagazine thathascontinuedthroughoutitshistory.Thelongevityof themagazine, and the confidence inwhich ithas kept its original ethos is very similar to theMarshall story. Thebelief in a particularmethod

or portrayal has retained a near-cult followingforboth,asthecustomerknowswhattoexpect.People read Rolling Stone for the same reasonasothersbuyMarshallequipment;because theywanttoidentifywitheverythingtheystandfor.

KitchenAidKitchenAid was founded in 1919, makingprofessionalfoodmixersforindustry.However,thepublic valued the cast-iron construction and no-nonsenseperformance,bringingthebrandintothedomestic environment. A series of colours addeda fashion edge to the products, now marketedas a premium appliance for the modern kitchen.Thedesignhasremainedtrueforover90years,atestamenttotimelessdesign.TheArtisanSerieswasdesignedinatimeofeleganceandfantasy,anditsappealcontinuestobeadmired.FutureKitchenAidmodels have failed to have the same impact asthe original, with the classic still commandingsignificantdemand,muchinthewaythatMarshall’searlyampdesigns,popularisedbyearlyRockgreatshaveremainedpopularwithartistsandenthusiastsaimingtoreplicatethefeatsoftheiridols.

RobertsRadioHarryRobertsenteredtheradiobusinessin1932,quickly establishing a reputation for buildinghigh-quality portable radios. A family business,the company’s growth now sees Roberts’sradios in over 2000 locations. Having receivedRoyalWarrants, his efforts gained the highest of

endorsements.Tosaveadvertisingcosts,Robertsproduced a series of ‘specials’ in their formativeyears, to gain free column inches. A history ofproviding a quality product that offered reliabilitymade their iconic radios instantly recognisablewithconsumers.However,inlateryearsthebrandsnewerrangesfailedtowinpublicacclaim,slowingthe company’s growth and process. The ‘Revival’rangewasRoberts’foraybackintothemainstream.EclipsedintermsoftechnologybyitsEasternrivals,therangefocusedonaretroaestheticandqualitycomponentstoraisesales.Leathercoatedsets,inamultitudeofpasteltoneslettheradiocomplimentanyroom,andtie-inswithfamousfabricdesignerssuch as Kath Kidston and Christopher Kane, aswellasiconslikePaulSmithhasmadetherangeacontemporaryhit.

JackDaniel’sThe Jack Daniel’s Company is an internationallyrenowned American brand of Bourbon whiskey,distilled in Lynchburg, TN. Daniel used music todraw crowds to his salons by forming the SilverCornetBand,alinkthatisstillseentoday.Recentcollaborations, including a range of acousticguitars,ampsandaccessorieswiththewellknownAmericanamplifierproducerPeaveyhavebroughtasenseofSoutherncharm,blendingvintageRocktoneswithgrittybluesjams.Associationsbetweenbrands that embody a musical style, and thosethatmanufacture the equipment inevitably raisebrandappreciationandrecognition.

PARALLEL COMPANIES

29

COMPETITOR ANALYSIS

RandallTheRandallAmplificationCompanywasfoundedin 1970 by Don Randall after a lifelong interestwithinradioandaudioamplification.

DonRandallgainedemploymentaftertheSecondWorld War working for Radio and TelevisionEquipment, a company that supplied electroniccomponents. As a manager, he discovered thatLeo Fender had set up a business making lapsteel guitars and small amps in low productionnumbers.

In1946LeoFenderbecamekeentoexpandandacceptedDonRandall’soffertosellanddistributethe Radio and Television Company’s currentrange of guitars and amps. Proceeding in 1953,the Fender Sales Corporation & Fender ElectricInstrument Company was formed with DonRandallinchargeofsalesanddistribution.

In 1969 Don Randall exited Fender and set uphis own company, The Randall AmplificationCompany. Today Randall is regarded as aworldleaderinguitaramplification,withendorsementsincluding Good Charlotte, Tommy Lee, Nirvana,DamagePlanandMetallica.

The Randall Amplifier Company is now ownedby U.S.Music Corporation and today has threemain lines that fall within its product portfolio;amplifiers,cabinetsanditssignatureseries.

Line6Line 6 are a relatively new company to theamplificationmarket.Thecompanywasfoundedin themid nineties byMarcus Ryle andMichelDoidic,whowerealreadyquitewellregardingduetotheirinvolvementwithAlesisindevelopingthedigitaltaperecordingsystem,ADAT.

In1996 theAXSYS212was launched, theirfirstdigitalmodellingguitaramplifier.Theadvantageof this type of amplifier is that it recreates themajorcharacteristicsofmusicalinstrumentsandprofessional audio gear. Line6 laterwenton toreleasetherenowfamous“POD”,adigitalbasedampmodeller.

Line 6’s line of products include the emulationof various guitar amplifiers, guitar cabinetcombinations,generaleffectsandmicrophones,guitarsandothersuchfrettedinstruments.

In2008thecompanyacquiredXwireacompanythat had already developed a digital wirelesssystem for guitars, resulting in developingthe technology introducing a line of wirelessmicrophonesystemsin2010.

TheLine6BrandisalsoinstrumentalwithinGuitarHero World Tour gaming, with their productsbeing found on stage and within the “MusicStudio” ofGuitarHero, gamers can create theirownsongsusingaLine6stylizedPOD.

FenderTheFenderMusicalCorporationarepossiblyoneofthemostwellknownmanufacturersofmusicalrelated equipment. They are world famous fortheir guitars with such names as Telecaster,Stratocaster and Precision Bass, just the namealoneisassociatedwithallthings“RockandRoll”.

Foundedin1946,theFenderbrandhasvirtuallytouchedthemajorityofmusicgenres.Aimedatprofessionals,amateursandbeginnersalike,todaythe Fender Musical Instruments Corporationis one the world’s leading manufacturers,distributors and marketers aimed primary ateverythingaguitaristorbassistneeds.

Thecorporationholdssub-brandssuchasFender,Charvel,Squier,Gretsch, Jackson,Tacoma,SWR,EVH, Guild, Groove Tubes and Kaman MusicCorporation, which is the largest distributor ofMusicalInstrumentsandaccessoriesintheUSA.Throughout Fender’s history, professionalcollaborations have built a strong companypresence, most recently the Hendrix Fendertributetourin2010.

Artists and bands that have been associatedwith Fender include; We are Scientists, HankMarvin,StevieRayVaughan,KaiserChiefs,RichieBlackmore,JeffBeck,BiffyClyroandElvisPresley.All boosting the Fender name and consumeradmirationfortheproduct.

31

COMPETITOR ANALYSIS

MesaBoogieMesaBoogiebeganinasmallshopwhichrepairedand modified Fender Combinations, with theirmodifications they produced a better soundquality. Some of the early buyers of such ampsincludeartistsKeithRichardsandCarlosSantana.

Randall Smith began his career at Prune Musicin San Franciscowith his business partner DavidKersner. Early customers to this joint ventureincludednamessuchasTheGratefulDead,HoldingCompany,BigBrotherandCarlosSantana.

In 1969, Randall Smith took a Fender Princetonamp andmodified it as a joke, themodificationconsisted of replacing the amp and speaker tomake it louder,CarlosSantana trialled thenewly“Hot Rodded” style of amp, which packed thestorefrontoutwithlisteners.SantanaremarkedtoRandallhowthelittleampworkedsowell,“Man,that little thing really boogies!” With that theBoogienamewasborn.

Randall continued to convert Fender Amps untilFender became suspicious as towhere all theseparts were ending up and ceased their supply.ThefirstMesaBoogiecustommadeproducttobemadewasforbassistPatrickBurke.Otherproductsfollowedsuchapre-ampforasetofpowerampswhich included an extra tube from this initialconceptwouldleadtothemanufactureofanewguitarampin1972.

GibsonGibsonbeganin1902inKalamazoo,Michigan,byitsfounderOrvilleGibson,originallymanufacturingMandolins and Acoustic guitars. Today GibsonGuitarCorporationisbasedinNashvilleTennessee,USAwithinitsownstateoftheartmanufacturingfacilityaftermovingin1984.

The companymanufacturesacousticandelectricguitars,ampsandassociatedequipment,aswellasotheritemssuchaspianos,drumsandevenjukeboxes.Theyproduced theirfirstelectricguitar in1936whichisconsideredbymanytobeoneofthefirstmanufacturesofelectricguitars.

Within the Gibson brand there are many sub-brands including Epiphone, Kramer, Valley Arts,Tobias, Kalamazoo, Steinbecker,Magic, Nordiska,Wurlitzer, Maestro, Hamilton, Electar, SunshineandBaldwinPianostonamefew.

Gibsonareconsideredtobeoneofthemajorplayerswithinguitarandassociatedmarketstodate.Gibsonhavereleasedmanysignatureseriesstyledproductsassociated with prominent artists such as BB Kingand Les Paul which today are highly collectable.Gibson endorsements include; Katy Perry, BadReligion, Teenage Fanclub, Jeff Beck, Jethro Tull,David Gilmore, We Are Scientists and Pendulum.GibsonGuitarsasabrandalsohavehadvariousfilmappearances inproductionssuchasTenaciousD inThePickofDestiny,andSchoolofRock.

“Marshall amps and speakers have stood behind me on every continent in the world and I have never found anyone better to have at my back.”

Lenny Kilmister, Motorhead

Ascanbeseenwithinthisanalysisofthevariousmajorbrandsandtoday’scompetitors,theyhaveallbeenconsideredaspinofforemulationofeachotheratsomepointintheirdevelopment.Someofthemajorplayershaveevenhadadirectworkingrelationship with each other before becomingcompetitors to each other in the amplificationequipmentmarket.

Theendusers and listenersof the soundqualityis a link that ismaintained throughout the aimsof each individual competitor. Many will favourcertain brands for certain outputs and productsbut when it comes to amplification equipmentthere isonlyonename,Marshall, forworldclassamplification equipment that has sound andreliabilityatit’score.

33

SWOT ANALYSIS

StrengthsMarshallisamarketleaderwithintheamplificationindustry.Theirreputationisbaseduponbuildandsound quality that has resulted in a mass cultfollowingofmusiciansworldwide,becomingawellregardedbrandname,theMarshallempirehasanemployeebaseofover400people.

Beingafamilyrunbusiness,thehistoryandheritageof Marshall is a fundamental component of thecompany’s success and brand loyalty. Illustratingstrength and structure in the company’s roots,customersbelievethatMarshallistrustworthyandhonest, with a great customer service. Marshallhavearealempathyfortheusersoftheirproducts.

Professional endorsements promote the brandinawaythatmakes it iconicandadmirationaltothe prosumer market. The likes of Jimi Hendrix,The Who, AC/DC and Guns n Roses, representtheaspirationallevelofmusicalqualitythatmanyMarshallusersaspiretoliveupto.

Currently,themanufactureoftheMarshallproductrangehasexpanded toMiltonKeynes,containedin a state of the art factory,making it themostrecognisedproductlineinRockmusic.

WeaknessesTheunchangedbrandandproductportfolio thathasstoodthetestoftimesince1962,issomethingthatneeds tobe re-evaluatedwith the changingtimes,emergingmarketsanddiversificationoftheconsumerbase.

AsMarshall is inalimitedornichémarket,beingspecialists in theirfield, theirproductdiversity isconstrained to the production of amplificationequipment. Limiting their audience to a specificuser need, the scope for product portfolioexpansion is something that can be explored.Marshall’s product portfolio expanding to 120piecesinitscollectionincludesampheads,speakercabinets, combo amps and stacks at prices thatrangefrom$100-$2,000.

The market has become heavily saturatedwith competitors offering similar and ‘copycat’products that endanger Marshall’s market shareandbrandisolation.Marshall’suniquesellingpointhas now become a trend setter for competitorbenchmarking, with similar companies offeringequaltoorsimilarproductswithslightlydifferentuserinterfacesandrequirements.

“I really like my old Marshall tube amps, there’s nothing can beat them, nothing in the world. It looks like two refrigerators hooked together!”

Jimi Hendrix

“A SWOT analysis has beencompleted to determine where the opportunities liefor the future of the Marshallbrand, based on the strengths.Identifying the weaknesses,threats and opportunitiesenableusasagrouptoexploreand gain focus on futuredirectionideas.”

REVIEW

35

SWOT ANALYSIS

OpportunitiesWiththe lowpriceendof themarketcontrolling70% of Marshall’s sales, there is scope forexpansionintotheprosumermarket.

Like the music genre ‘Rock ‘n’ Roll’, whichcontinuously keeps coming back into fashion.Marshall’sbranding isunderconstantreviewandredefined by new bands and endorsements toreflectcontemporarypoptastesandpopculture.

With Marshall’s loyal presence at a range ofdifferent music events in over 65 countriesworldwide, and its unmistakably strong branduniformity,theirproductsareeasilyrecognisable.

An intergenerational trend is emerging, withyounger generations becomingmore exposed tothe power of Marshall, through their presenceat gigs and festivals, through music videos andtelevisionappearances.

Marshall’s current product portfolio allows forthe opportunity to explore several unexploitedmarkets such as children who are too young toplay instruments, but old enough to enjoy ‘TheMarshallexperience’.

There is only one manufacturing plant left inDenbigh,aprimelocationneighbouringMarshall’sheadquarters,increasingefficiency.

ThreatsSitting inan industrywherethemanufacturing isoften being shipped out to cope with economicdownturn,keepingMarshallBritishisalwaysgoingtobeaconcernwithagrowingbusiness.

With new technologies such as digitalmodellingthat are forever evolving, a vast range ofcompetitors,suchasPeaveyandFender,areabletodigitallysamplethesoundarchitectureofotheramplifiers.ThisposesathreatbecauseprosumerswillbeabletoreproduceaninferiorMarshallsoundwithouthavingtopurchaseaMarshallproduct.

One of Marshall’s key concerns has indefinitelygottobewhetherornotthephilosophythatRockmusicistimelessandcanbeappliedtoafuturisticmarket.

With the Marshall brand being so successfulamongst the novice, semi-professional andprofessionalmusicenthusiasts,therehasnotbeenanimmediaterequirementtodeveloptheircurrentproductrangebeyondamplification.ThisresultsinMarshallrelyingsolelyonabackcataloguewhereonlyincrementalorslightprogressivechangescanbeacknowledged.

Inasaturatedmarket,whatdifferentiatesMarshallfromitscompetitors?

“I’ve had my Marshalls on tour all over the world and they have never let me down! Perfect everytime!”

Brian Nutter, Keith Urban

Social:WellbeingRockhasbeenknownforitsanti-socialbehaviour,theideasoftheteennextdoorjammingoutonhisguitarwithhisMarshallampblarringinthegarageormoshingoutinthenearestpit.

Alternatively, Rock can be classed as a social orengagingactivity.Concerts,festivalsandgigsbringthousandsofpeopletogether, tocongregateandenjoy the experience of the show or band ondisplay,listeningtothesoundsoftheirinstrumentsanddancingtothetunes.

Social:DevelopingacapablepopulationDesign for inclusion. Marshall haven’t reallycreatedproductsforthemassmarket,theyareanamplificationproducerthereforeit’snaturaltoaimformusicrelatedpeople,thatbringpeopletoplayinstrumentsathomeorinabandataconcert.Thiscurrentlylimitstheirtargetmarket.

Social:AttitudestowardsMarshallIt’s a brand that people recognise if they havean interest in music, not everyone recognisesthe brand. It’s a brand people can relate to buthave no general opinions on or their productsas they generally lie in the background. At aconcert people are engaged in themusic, in thesingerormusician,theydon’ttendtolooktothebackgroundandthinkaboutwhatamptheirusingunless,asmentioned,theyhaveaselfinterest,i.e.they’vegotone,orarethinkingofbuyingone.

Peopleagree it’s ahighqualitybrand. In2008 itwas awarded by being listed as one of the UK’scoolest brands. It had to meet certain criteria,qualitiessuchasstyle,innovationanddesirabilitywereallrequirementsofthebrandsthatmadethegradeandareattributesthatMarshallpridetheirampson.Thepanelalsotookintoaccountthewaythat the brands are perceived and marketed. Itwasnotedthat:“ThemosteffectiveadvertisementforMarshallProducts remains theamplifiersandcabinets themselves which appear on stagesworldwide.”CoolBrandspublication2007/2008.

TechnologyOriginally built as direct copies of Fenderamplifiers, Marshall amps soon incorporatedcertaintraitsoftheirownwhichmadethemmorefavourabletothoseseekingaheaviersound.Likemost professional-level amplifiers, big amplifiersstillusevalvestagesinsteadofsolidstatedevices(transistors),althoughMarshallalsomanufacturescheaper solid-state or hybrid devices. Valveamplifiersareconsideredtoproducea“warmer”tone than those of transistor amps, particularlywhen overdriven. Vacuum tubes also boastdifferentharmoniceffectsthantransistors.Thoughtechnologycontinuestochange,themostsoughtafter,bestsounding,andmostexpensiveampsusetechnologythatisconsideredquiteobsolete.Thesound of aMarshall 1959SLP or JCM800 amp isamongthemostrecognisedinpopularmusic,andthereisaconstantdemandforbothcuttingedge

andvintageamplifiers.Theyarenowsomeofthemostexpensiveampsonthemarket.

Marshall currently produces a number ofamplifierswhichareamixofmoderndesignsandvintagereissues.Mostmodelsattempttoincludethe“classic”Marshall“roar.”

EconomicMarshallAmplificationisafamilybusiness,stillrunby its founder, JimMarshall, although he is now83.Marshallwasawardedthe“QueensAwardforExport”in1984,andtheexportmarketisstillthemainsourceofitsestimated$40.7msalesforthecompany.

Marshalls largestexportmarket is theUS,whereitrivalsampsfromothercompaniessuchasMesaBoogieandLine6.

Marshallhas,overthecourseoftheirhistory,movedinto larger premises to cater for their increasingmarket.Atpresent,theyarelocatedinMiltonKeys,where they have been located since 1966. Theymovedintotheircurrentfactoryin1984.

Economically,Marshallhavediversifiedintosellingsolid stateamps,at lowerprices,asaway togetnewguitarenthusiaststoplaythesamebrandsastheiricons.Thishasbeenarunwayforsuccessforthe company, and has helped raise awareness ofthebrand.

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STEVE ANALYSIS

Marshallhavealsore-releasedmanyoftheirampsproduced in the 1960s and 70s period, whichwas the height of British Rock, and the “BritishInvasion”intheUS.

Thesereissuesareobviouslycheapereconomicallytoimplement,astheyaresimplynewproductionsofMarshall’sbackcatalogue.

Marshallmovedtotheircurrentpremisesin1984,coincidingwiththeboominsolidstateamplificationtechnology,denotingtheircomfortandconfidenceinthelongtermsuccessofinvestment.

Overall,Marshall are a company that hasmadeanimpactontheamplificationmarketasawhole,from the lower end, budgeting proportion, tothe high end market where their buyers areinternational artists. By continuing to specialiseonly in amps, Marshall have created a verysuccessfulbrand.

ValuesMarshall’s values lie greatly in their heritageand customer loyalty. With nearly five decadesof professional products delivered to satisfiedcustomers, Marshall have built up a customerloyalty profile that has created a trusted andunique following. TheMarshall consumers knowthatwhentheypurchaseaMarshallproduct,thereis no doubt about the quality, the performance,theprice.

Heritage plays a large part in the values thatMarshallpromotes,a familybegunbusiness thathasgrownintoasuccessfulinternationalcompanywhichfocusesongood,honestsound.

EnvironmentalNomatterhowmuchMarshallhaveexperimentedand tested,wood still remains themost suitablematerialonwhichtomountthespeakersfortheirextensiverangeofamplifiers,whichareindemandworld-wide.

“Wehadbeenconcernedforsometimeaboutthevolumes of woodwaste thatwere following thehistoricalroutetolandfill.Wenowrecycleinexcessof70%ofourwaste.”Martin Green - Environment Officer, Marshall Amplification plc.

The catalyst was the introduction by Shanks ofa Customer Relationship Manager to work withMarshall Amplification to reduce waste volumesbyanymeanspossible.Thispartnershipapproachto waste management has been effective intackling two key waste streams, sawdust andwood off-cuts. Shanks have introduced speciallyfabricated containers for the collection ofsawdust.Thisreducestransportationcosts,carbonemissionsandenvironmentalimpact.Aspartofacontinuedeffortto increaserecyclingandreducethe amount of waste sent to landfill, Shanksand Marshall Amplification plc have sourced an

innovative outlet for the wood waste that theproduction process generates. Sawdust totallingapproximately 60.5 tonnesper annumnowgoesentirely to composting whilst the wood off-cutsamountingtoaconsiderable170tonnesaresentto a wood laminate manufacturer where it iscompletelyrecoveredandrecycled.ThesavingsinLandfillTaxaloneamounttothousandsof£’sperannumand,astheTaxcontinuestoescalateyearonyearMarshallAmplificationplcwillcontinuetoreapthebenefits.

RESIDUAL DOMINANT EMERGING

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MARKET BAROMETER & POSITIONING

PRICE

QUALITY

We believe that Marshall lies between residualand dominant positioning within its currentmarket.Marshallappeartobeina‘comfortzone’positionwhere they aredominant in themarketof producing high quality consumer products,but have not pushed the brand to manufactureproductsoutsidetheampcategory.Thequestionhas to be asked as to whyMarshall has chosennot to develop their brand and products intothe other ‘fast moving’ sectors of the musicindustry.Webelieve that it isbecause theyhavetheir specialities in their sectorand thereforedonotwishtoproceedintotheareaofhighqualitydigitalandadvancetechnologyandthereforetheyarecomfortableintheirpositionasremainingthemostrecognisableamplificationmanufacturer.

The guitar amplifier market is highly saturated.Manybrandsarealsofounded,orbasedintheUK,placing Marshall in a very competitive industry.Manybrandsdescribe themselvesas“premium”,advertising professionals that use their amps.However,themajorityproduceampsatbothendsofthemarket,utilisingbothsolid-stateandvalvetechnologies,whichmakespositioningbrandsas-a-whole,adifficultprocess.Asarule,companieshavebeenpositionedinaccordancetotherangeoftheirproductportfolio.

Marshallhavebeenplacedinafavourablepositionin the industry. Their products are regarded asbeinghigh-quality,withacompetitiveprice.

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BRAND STACK

Black and Gold Trim Identifiers

Leather Grain Box Finish

GoldKnobs Marshall Script Logo DeviceVintageModern

ModellingFenderAmps

Started in a Shed Founder Jim Marshall Originally Sold Drums and Cymbals

Jimi Hendrix

TheWhoRetro-Looks

Eric Clapton

“Bluesbreaker”

ElectricGuitar Visible Quality

Celebrity Endorsements

Seen on Stages at Gigs and on TVRock

Known Primarily for Guitar Amps

Turn Volume up to Eleven! IronMaiden

Marshall“Roar”

“The Marshall Sound”

Valve(Tube)Amp’s

High Gain Bass, Middle,Treble

VacuumTubes

95,000sq. ft Factory

400+Employees

Local to Milton KeynesRe-Issues“CrunchDistortions”

SponsorLocalSportsTeams

1962

Founder Jim Marshall

Slayer

Unmistakable

Heritage

PERSONALITY

BELIE

FS & VALUES IDENTITY

PROPOSITION

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BRAND ESSENCE

WhyEleven?Just6simplewordsdefinetheessenceofMarshallAmplificationasabrand“justturnituptoeleven”.

The phrase sparks feelings within those familiarwith theMarshallway, and otherswhomay nothaveyetbeenenlightened!

It is clear that the mention of volume, placesMarshallwithintheaudiotechnologyindustry,asanequipmentmanufacturer.

However,thesemanticsofthenumberelevenarethemostpowerfulattributeoftheMarshallbrandessence.Asarule,scalesfrom1-10tendtosuffice.This range encompasses all areas- fromnothing,allthewaytoeverything.Eleven?

Eleven is more than everything. The soundemitted from a Marshall amp is of such qualityandpresencethatthestandardscaleisrestrictive.Byusingthenumberelevenasasemanticdevice,Marshall has broken the conditioned rationale.By numbering the dials up to eleven, there is asemioticassumptionthattheamplifierisabetterproduct than one with a dial from 0-10.Withinmarketing, this is a powerful vehicle. This hasshown to be true forMarshall, as the notion of“volume up to eleven” has proven synonymouswiththecompanysinceSpinalTapairedin1984,when Tufnel’s Marshall amp was “one louder”thanotherequipment.

BrandEssenceGoing one louder. The joy of creating a soundthatgivesothersgoose-bumpsshouldcomefromplaying with a Marshall amp. The temptationto want to do so is equally important. Marshallproducts want to be used, because they won’tdisappoint. A Marshall has to have this effect.Everytime.

In thewordsof Slayer’s KerryKing, “If I stand infrontofmyrig,ifmynutsain’tshakingthenIain’tsatisfied…” This feeling is intangible, but holdsa great amount of importance. The connectionbetween the user and product is created, anda relationship begins. The amp is the audibleexpression of musical creativity. The user musthaveenoughconfidenceintheequipmenttotrustitwiththeiremotion.

A Marshall has the legendary tone. It is thefundamental sound of Rock. They are theampsof choice for icons thatdefinedmusic forgenerations.Collaborations and endorsements from someof the biggest names inmusic giveMarshall anenviablelevelofcredibilitywithinthemarket.

The Marshall legacy adds to the brand value.The fact that the company is a culmination of alifetimesworkforitsfoundermakeseveryampapieceofhistory,withacharacterthatcanonlybeattainedfromsuchabusiness.

A Marshall is unmistakable. The aestheticcharacteristics of their products have a definedlanguage,andarestrictedpalette.Full-grainleather,brassfascia,cappedcornersandmeshfabricsarefinishedwiththestylisedMarshallsignature.Thesearerequirementsofeveryproductintheline,fromheadphones and pedals, to stadium-spec stackscostingseveralthousandpounds.

TheunadulterateddeliveryandexpressionofRockmusic is Marshall’s greatest attribute. It is thisthat has made the brand memorable. The styleofMarshall products reflects the golden-years ofRock.

“Marshall is by far the best there is and the only company I can trust to get the crushing tone I need.”

Corey Beaulieu, Trivium

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A survey was conducted to gain a greaterunderstanding of Marshall’s public perceptionwithinawidermarket.Theresponseofthesurveytotalled to 44 persons, all of which have variedknowledgeorexperiencewithMarshallproductsandareofdifferentagerangesandgenders.

77% of all respondents are familiar with theMarshallbrand,thisillustratesthestrengthofthebrandidentity,makingMarshallahouseholdnamethat is instantly recognisable. 64% have ownedorexperiencedaMarshallproduct, showing thatMarshallreachavastaudiencewiththeircurrentproductportfolio.

The majority of those surveyed believe thatMarshall is a timeless brand which conveysthe strength and consistency in their productdesign. Also highlighting the importance forfuture products to continue this trend. With95%associatingMarshallproductswith theRockgenre, 58% Metal, 39.5% Indie and 21% Pop,thisillustratesthetypesofbandsandartiststhatare most commonly associated with the brand,correlating to the power and quality of loudmusic thatall fourof thesegenresholdasakeycharacteristic.

When asked who they thought were themarket leaders of the music industry in termsof amplification, Marshall was selected 80% ofthe time, with the other 20% voting for Fender.

OthercompetitorsincludedMesaBoogie,Gibsonand Randall, representing the pure power thatMarshall has over this particular industry, whenconsidered as the market leader over someinfamous and global amplification companies.However, when asked where Marshall wouldrank in terms of technology with other existingbrands, 45% of respondents answered ‘levelwith’, with 21% opting for ‘slightly ahead’. Thisdemonstrates the scope that the company mayhavefordevelopingtheirtechnologytofitwiththemoderntimesandstayingonthetopoftheirgamewith thecompetition.This is something that canbeconsideredwhenconductingthedirection forMarshallin2020.

The three brand words that were asked of thesurveyparticipantsprovedtogivethekeyinsightintotheperceptionofMarshall fromaconsumeror prospective consumer point of view. Theseformedthebasisofthebrandwordmap,asampleofresponsesareshownbelow:

• DoestheBusiness• GreatOld-schoolSound• Rockin’ClassicFundaMENTAL• Classic,Big,Old• Quality,Loud,English!• F***in’SweetAmplification• Raw,F***ing,Power• Classic,Timeless,Dependable• Iconic,Innovative,Passionate

• Reliable,Professional,Popular• Sound,Quality,Stack• Retro,Ionic,British• Music,MarketLeader,Rugged• Classic,High-gain,Timeless• BlackandGold• Reliable,AestheticallyPleasing,Sun

When considering the purchase for futureMarshall products, 52% of those questionnedwould definitely buy a Marshall product in thenear future.With 12%making a purchase if theproductwasofhighqualityandMarshallbranded,showing scope for a future market populationbased on their values and representation of theMarshallbrandtodate.

Finally, when asked if the respondents played ainstrumentthatrequireanamp,47%answered‘yes’,themajority ofwhich played to a novice or semi-professional level. This outlines the need for suchproductstocontinuetobemanufacturedinthefutureand the need for further addition to the productportfoliotofurtherimprovethemusicalneedsoftheMarshall,andfutureMarshall,consumer.

SURVEY ANALYSIS

“Thepurposeoftheopportunityvennistodeterminewheretheopportunites lie in developingthe Marshall brand furtherwithregardstoawiderproductportfolio.The intergenerationalbridge is key to the directionthat we as a groupwill use totaketheMarshallbrandforwardinthenexttentofifteenyears.”

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OPPORTUNITY VENN

CRED

IBILITY

RELEVANCESTRETCH

DIFFERENTIATOR

Credibility

Maintaining Marshall’s existing brand valuesand consumer loyalty whilst expanding onproductportfolioandcompanygrowth.

Stretch

Increasing Marshall’s product range andmarket population to allow for a widerconsumermarket.

Relevance

CreatinganintergenerationalbridgebetweenMarshall’scurrentconsumersandtheyoungergeneration through the love and sharing ofmusicalike.

Differentiator

Maintainhighpositioningandmarketpresencewithin the music and audio equipmentindustrysothatMarshall remainsoneofthekeycompetitorsinsuchindustries.

Key Words to take forward:

Live is... Active, Interactive, Reactive, Engagement, Participation, Involvement, To do... to act... With attitude... To be there....

Loud is... Easily heard, Extreme volume, DeafeningEmphatic noise, Presence, Charisma, Powerful

Attitude is... Feisty, Cool, Confident, Aggressive, Relaxed, With a sense of style....

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‘Marshall:LouderThanLife’Marshall’sdaysasthedefinitiveampbrandareindecline.WhileMarshall’s legacytolivemusiccannever be forgotten and as Marshall continue toinfluence; in today’s ampmarket, other brandswho specialise in amp and digital diversity aretaking a larger chunk than Marshall would like.Marshall may not be as commanding as theyonce were, but one of it’s slogans ‘Louder thanLife’providesaclearandunequivocalmessageofintent to survive and throughdiversification intoother products that reflect theMarshall brand’scharacteristics and quality, it will succeed inrefreshingitsproductsandemergeliveandloud.

Marshall is an aspirational brand. It portraysmanycharacteristics: a sense of adventure, excitement,attitudeand loudness– theseecho the feelingsofbeingonstage.An importantaspectofMarshall isshowmanship, and with that comes confidence. Itenablesaregularperson/musiciantheopportunitytoemulatetheirRockheroesbyblaringoutmusicwiththesameequipment,eveniftheydon’tpossessthesameguitarplayingability.Overall,Marshallpermitstheaveragepersontobelargerthanlife.Itslegendaryauraandboldness transcend the limitationsof theordinary.Marshallis‘LouderthanLife’!

NotTheseDirections Marshall is Rock ‘n’ Roll. Themajority of peoplewould agree with this statement even if theyhad no use for or knowledge of their products.Marshallisahouseholdname.Thustheprospect

of extending the Marshall brand further andto project the ‘Rock n Roll’ lifestyle into a newdirectionisachallengingtaskduetothepitfallsofbrandslappingandnaturalprogression.AcoupleofMarshalldirectionsareshownbelowyetthesesolutionshavebeendiscardedonthegroundsoftheirpredictabilityandthestigmaof‘brandslap’.

1)ClothingMarshall alreadyproduces a rangeofmerchandisewhichconsistsof:shirts, jackets,capsandhoodies.The clothes have a limited market, appealling toMarshalladvocates,roadiesandguitarists.AsimpleandobviousstepthereforewouldbetoturnMarshallinto a lifestylebrand, incorporating a redesign anddevelopmentof their fashion line. Thenotionof aMarshallclothesrangeiseasytoimagine,theywouldbefashionable,comparabletothebrandidentityandfashionmovementofthesparklingStonesshirtssoldinshopssuchasTopShop.

However, this direction was dismissed as thegroupfeltthatthiscouldbecategorisedas‘brandslapping’. This direction was opposed becauseit was judged to be an inappropriate productdesigndirectionthatwouldconcludewithfashionproductsandthereforeunsuitableforouracademiccourseprofile.Inadditiontothis,theMarshalllogoisnotthemostlegiblebrandlogoandisdifficulttotranslate.Itmayworkononet-shirt,butitbecomesproblematicwhenscaling.However, in its favour,Marshallclothingwouldappealtothosehardcorefansenablingthemtoimmersethemselveswithin

thebrandasafashionstatement,thiswouldallowthemtoinstantlyrecogniseotherswiththesameinterests and encourage association without toomuchcommitmentormoney.Thegroup felt thecurrent merchandise, which includes T-shirts,fulfilledthisgoal.

2)Onlinemusicstore/Recordlabel AMarshallonlinemusicstorethatwouldemphasisetheRockmusicgenre,i.e.musicwithattitudewasproposed.Asanonlinemusicstore,Marshallcouldposition themselves as a ‘virtual record label’bringingnew,upandcomingbandstothepublic’sattention.While it was felt that this would be aprogressivestepforMarshall,itwasthoughttobe10yearstoolate.Theonlinemusicmarketisnowsovastandcompetitivethatthis idea isa ‘nogo’areaasAppleitunesdominatethismarket.

WhileMarshall has the potential to diverge intomanyfields,realistically,itischallengingtochooseany particular direction, Marshall being on theonehandsuchaclearlydefinedbrand,butontheother, full of potential, change and evolution. AtthispointthegroupconsideredMarshall’svalues.Marshall’sassociationwitha‘Rock‘n’Roll’lifestyleanditsboldstatementof“withattitude”arejustas imprinted in the heritage of the brand as it’samplifiers.Consequently, itwasdecidedthat thesolutions forMarshall should evolve around thekeywordsandcharacteristicsofMarshallinorderthattheproductscreatedincorporateandexpressthequalitiesthatformthishighlydistinctivebrand.

INITIAL DIRECTION EXPLORATION

51

Inorder to identifyanewdirection forMarshall,weresearchedintoseveralcontextual issuesthatcouldaffectsocietyandmaygenerateanewpathandnewopportunitiesforMarshall.

Security-IdentityTheft

Inthelastdecade,identitytheftandstreetcrime,has risen dramatically. People`s identity andpersonal information are valuable to criminals.Criminalswhofindout yourpersonaldetails canuse them to open bank accounts and get creditcards, loans, state benefits and documents suchas passports and driving licenses in your name.Dailynewsreportsofmurders,rapesandassaults,the rise in gunand knife crime,haveall enteredthe human consciousness, society needs safety,theissuesneedaddressing.CouldMarshallcreateproductsthatcouldtackletheseissues?Thesafetyof personal belongings, personal information,couldMarshallcreatearangeofsecurityproductsin a Marshall orientated way? Bands requireprotection, their possessions require protection,the scandal of the intruder in George Harrison’shouse isoneexample.Couldarangeofproductsbedesignedtopreventintrusion,tokeepidentitysafe? Initial ideas ranged from a safe designedto look like a Marshall Amp to store personalinformationandpreciousbelongings,other ideasevolvedaroundsurveillanceandswipecardaccesssystems,alldesignedwith‘Marshallness’.

UnisexMarshall

In order to widenMarshall’s appeal andmarketrange, is there an opportunity to break into theexclusivefemalesector.Marshallcurrentlyfocuseson verymasculine elements; themusic genre ofhardRock,thecolourschemeofblackandwhite,theendorsementsofmaleartistsandtheessenceof attitudeall portray amasculine look and feel.Couldthisrepresentanewopportunitythatwouldcreateeconomicbenefits for thebrand?Couldarange of products be designed to entice femaleconsumers thatcouldcounterbalanceMarshall’sassociationwithmen?Marshallcreatingproductsthatwould appeal to couples,men andwomen,butonesimmersedinMarshallvalues.

TheRiseinDigitalMusic

Thetechnologicalriseofdigitalmusicanditsillegaldownloading is reducing the numbers of truebandswhoplayinstruments,andperformliveandloud.Musicianshipand liveperformance isbeingreplacedbytheriseinacomputerisedgenerationof music. This will have an adverse effect onMarshallsalesduetothereductioninthenumberof people learning to play instruments whichwill reduce the market for amplifiers. Thus anopportunityhasbeen identified, toaimproductsthatwill generateanewburstofenthusiasm forplayingandlearningmusic,bytargetingtheyouth

in order that they growupwith an appreciationfor ‘real’ music to generate the passion for realinstrumentsandformbands.Inthiswayachild’sorteenager’sMarshallmusicalproductcouldleadtofuturepurchasingofMarshall’smainequipmentrangesandalifelongassociationwiththebrand.

Life

Thesocialissueofchildrenspendingfartoomuchtimelisteningpassivelytomusicinsteadoflearningtoplay instruments,creatingtheirownmusicandinteracting with others in groups could lead to arange of Marshall products that aim to engageyoung people and to get them to experience theproduction of music at first hand. The original‘MarshallMan’ is now over 60 years old and haschildren, ifnotgrandchildrenofhisown;couldarangeofproductsbe introduced to forge creativelinks between generations within families? Withthe Rock genre becoming ever more challengedinrecentyearsby increasingmusicaldiversityandstyles,Marshallneeds to reposition itself inordertobuildonitsloyalfanbasebyattractingayoungeraudience.ChildrenwouldbeintroducedtoMarshallproducts that incorporate the Marshall look andfeel;Marshallproductscouldbemadeavailabletoallagegroupsthroughinclusivedesignsorawiderrangeofproducts,inthiswayMarshallconnectsthegenerationsandcreatesalegacythatcanbepassedonfromfathertoson,mothertodaughter.

CONTEXTUAL CHALLENGES

“Music is Magic. Magic is Life”Whatever the Weather...

Jimi Hendrix

Instilled at birth ...

Amplified Through Life

53

INITIAL ADCEPTS

the start of a journey

March through life

March With Marshall

Born with Attitude...

Live & Loud

pass it on

Don’t take no s***All roads lead to...

55

...turning life up to

11, since 1963.

Insssssee AA BBBB...AAAABAee TTrruuB LiiiINITIAL ADCEPTS

“The initial adcepts representthe direction that the groupsee Marshall following inten to fifteen years time.The focus stems mainlytowards life, children and anintergenerational bridge,incorporating the youngergeneration into a new era of‘Marshallness’. The adceptswere discussed at length as agroupanddevelopedfurtherat

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OUR DIRECTION

Marshall Amplification oozes quality. Marshallvalues are high fidelity, high quality, highlyamplified sound with robust speakers that arevirtually indestructible and a reliable level ofperformance that can be trusted. Unfortunately,withthisdurabilityandthedeclineofRockmusic,thedemandfornewMarshallAmpsisnotgrowingas it once did. Market forces with the increaseof repetitive, digitally mastered, computermanufacturedsoundshavealsoreduceddemandfor Marshall Amps, as live musicians and liveperformances decline. Marshall would benefitfromanewdirection,onethatwouldcombatthedeclineoflivemusic,encouragepeopleofallages,butespeciallytheyoung,togetengagedinmusicmaking and to increase live performanceswhichultimatelywillrefreshandreinvigoratedemandforitscoreproducts,i.e.amplifiers.

Our direction, therefore, is to target a youthfulmarket, (as described on the contextual page)to challenge the passive listening to music byencouragingaction.Ouraimistodesignproductsthatwillengageayouthfulaudiencebyencouragingthemtoplayforpleasureandinthiswayencouragethem to learn to play instruments properly. Tocreateproductsthatareinclusivesothat,whilethetargetmarket is youngpeople, everyone,peopleofallages,allabilitiesandalllevelsofinterestcanusetheproducttoentertainthemselvesandtheirfamilyandfriends.Theultimateaimistogeneratemore livemusicians and to encouragemore live

events.Andso,our ideaistoproducearangeofMarshallproductsthataccommodatenotonlytheloyalfanbaseofMarshallbutreachouttothekeyplayersofthefuture,theyouth.However,soasnottonarrowourfieldtoomuch,wedecidedtobaseourdirectiononourMarshallsloganof:BornwithAttitude,withasecondarycaption:LiveandLoud.Ouraim is to createproducts thatwill appeal toyoungstersbutwiththeintentionofhookingtheminto an affiliationwithMarshall thatwill last forgenerations. In thiswayMarshallmay repositionitself in the marketplace by diversifying into anewproductrangethathopefullywillensurethesuccessofthebrandandensureitwillcontinuetogrowinthe21stcentury.

Placing products in a new market may sounddaunting to those atMarshall, yet it is essentialto recognise that none of the characteristics,values or identity associated with Marshall willbe lost, the product direction will be based oneverythingthathaskeptMarshallatthepinnacleof its market since 1962. The products will aimto incorporateall of theold traditional valuesofMarshall Amps, their look and feel, their robustreliability, their precision. The legacy ofMarshallproductswill connect the generations, to formatruly intergenerational product, as grandparentsandparentsbuytheseproductsfortheirchildreninthehopethattheyonedaytheywillplay...liveand loud...and that their children will be ‘BORNWITHATTITUDE.’

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OUR REFERENCES

Books

Doyle,M.(1993)A History of Marshall: The Illustrated Story of The Sound of Rock.Milwaukee,WI:HalLeonardCorp.

ElectronicArticle-InternetOnly

Gerhardt,G.(2008)‘Promsumers:ANewGrowthOpportunity’.Availableat:www.cisco.com/go/ibsg[Accessed10thOctober2010].

Websites

BassMiddleTreble(2008)Mapping Marshall.Availableat:bassmiddletreble.wordpress.com/2008/04/23/mapping-marshall-update/[Accessed18hNovember2010].

MarshallAmps(2010)Marshall Amps.Availableat:www.marshallamps.com[Accessed15thOctober2010].

MarshallHeadphones(2010)Marshall Headphones.Availableat:www.marshallheadphones.com[Accessed30thOctober2010].

PremierGuitar(2003)Jim Marshall.Availableat:http://www.premierguitar.com/archive/interviews/jim_marshall.htm[Accessed20thOctober2010].

SurveyMonkey(2010)Marshall Amplification Survey.Availableat:http://www.surveymonkey.com[Accessed5thNovember2010].

VintageGuitars(2010)Marshall Advertisements 1950s-1980s.Availableat:http://www.vintageguitars.org.uk/advertisements/marshall[Accessed:25thOctober2010].