MIPro Issue 180

Celebrating

HCYears

TheGOLDEN JUBILEE YEAR

1965-2015

• M

USIC

AL MERCHANDIS

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WO

RLDWIDE DISTRIBU

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John Hornby Skewes & Co. Ltd.

With thanks for the support from our valued trade customers.

FOR EVERYONE IN THE MI BUSINESS | ISSUE 180 | MAY 2015

© 2014 Samson | The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Samson Technologies is under license.

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ALSO IN THIS ISSUE THE SALES MAN P11 SECRET DEALER P33 MYSTERY SHOPPER P42

MUSICAL INSTRUMENT PROFESSIONAL • FOR EVERYONE IN THE MI BUSINESS

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BY NOW you’ll have heard all about the changes taking place at Musikmesse, and many of you will have already formed your opinions. But for those yet to catch up, here are the headlines: Next year’s show will be open to the public for the duration, while Musikmesse will be swapping halls with Prolight + Sound. Hall 8, however, will be dedicated to Musikmesse and will be strictly trade-only. As you can imagine, the announcement proved pretty divisive amongst exhibitors at the show, with many balking at the prospect of consumers swarming their stands for four full days. For some, the news appeared to matter little; claiming the expanded consumer element wouldn’t dissuade them from attending as usual. However, the majority of companies I spoke with expressed concern about the changing face of the show and its ability to service the trade

The onus is now very much on Messe Frankfurt to communicate its plans for B2B visitors to ensure it doesn’t lose its appeal. The organisation has promised that the show will not lose any of its business focus, what with the dedicated trade hall and a number of additional business features that have yet to be announced. So its number one task is to explain these features in detail to those uncertain of its future. If it can nail down these aspects of the show and reassure those who have been returning for years purely for business purposes, its transformation might not necessarily be as radical as its appears at

something of a facelift for the show, but who’s to say that’s a bad thing? After all, nothing ever changed by staying the same.

2016 might well be a very different prospect. If the trade feature is pushed to the periphery, it’s hard to see how organiser’s will be able to draw exhibitors from overseas. Perhaps a domestic consumer show would be the natural progression? Whichever way you slice it, the next 12 months are going to be crucial for the event.

Daniel [email protected]

Wind of changeEDITORIAL COMMENT

14

20

REGULARS: Analysis 6 • MIA 8 • Colin Rees 11 • Birketts 12 • Secret Dealer 33 • New Gear 45 • Backline 48

Rider on the stormWe catch up with Ride’s Andy Bell to talk gear, getting the band back together and the band’s future

JHS 50Year AnniversaryWe speak to John Hornby Skewes about some of the key

over the past 50 years

THE MAIN FEATURE

MIRC 2015With one month to go, we have more updates on this year’s MIRC and what the annual show has in store

Music educationSome of the education sector’s leading voices tell us how brands and dealers can get more young people playing

24 26

33 SECRET DEALEROur secret dealer tells us why we should think twice before spending money we don’t have

38 RETAIL ADVISORY BOARDOur board of retailers discuss how they connect with the education sector

42 MYSTERY SHOPPEROur man of mystery gives us the second installment of his Birmingham report 45 NEW GEARA look at some of the most eye-catching new products on the market

8 MIAPaul McManus draws attention to the similar struggles music and bike industries face

12 BirkettsRafael Ruiz discusses employment law developments seen in April 2015

41 The Hertford Guitar Studio informs us what the store has on offer besides retail

48 BacklineThis month’s back pages are devoted to a Musikmesse 2015 photo gallery

32 Guitar accessoriesThis month our retail essentials feature focuses on guitar accessories, and includes products from Vox, Perri’s and D’Addario

RETAIL FEATURES RETAIL ESSENTIALS

No. 180 • May 2015

IN THIS ISSUE

Follow us on Twitter @MIProfessional

A new dawn?With some major changes announced for next year’s Musikmesse,

2016 looks set to be a pivotal year for the Frankfurt show…

ANALYSIS

AS YOU’LL no doubt be aware, there were some big changes announced at last month’s Musikmesse regarding the future of the show.

From next year, Musikmesse is switching location with the halls traditionally occupied by Prolight + Sound and will be open to the public for the full four days. One hall (Hall 8), however, will be reserved exclusively for business use, offering the trade a dedicated space for exhibiting products and conducting meetings.

Furthermore, the event will run from Thursday, April 7th to Sunday, April 10th, while Prolight + Sound will run from Tuesday April 5th to Friday, April 8th. Musikmesse will also be shifting its opening hours, running from 10am to 7pm.

Understandably, this has caused a degree of concern amongst those who attend the show purely for business purposes. After

distribution agreement could possibly do without the increased noise and lack of privacy that comes with a hall full of teenagers and students.

Still, Messe Frankfurt has been keen to describe the changes as being part of a ‘new concept’ and equally quick to dismiss the notion that the show’s focus is now more heavily weighted towards consumers, promising several trade focused features for next year’s outing.

“The new concept focuses equally on strengthening the contact-making process between trade and industry and on the completely new contact areas between manufacturers and consumers,” said Detlef Braun, a member of the executive board of Messe Frankfurt.

Organisers will, of course, be doing their utmost to ensure that Musikmesse 2016 retains all of its historical B2B offering, yet it might have a tough job convincing those unable to see past the much expanded consumer element. Either way, 2016 is going to be a decisive year for the show’s future.

Clearly, organisers have thought long and hard about the new platform and feel that the best way to proceed is by splicing trade and consumer features to generate

a deft consumer/trade balance, it may well produce something special. Who’s going to argue with increased business opportunities and exposure to so many end-users; particularly for brands looking to break into the German market?

What’s key here is that both the changes and the organisation’s commitment to the MI trade is communicated with crystal clarity to exhibitors, especially those from overseas. If so, Musikmesse 2016 might represent a new dawn for the show. After all, a revitalised, reinvigorated trade and consumer event could well be the shot in the arm the industry needs.

“It’s vital that both the changes and the organisation’s commitment to the MI trade is communicated with crystal clarity to exhibitors.”

There are big changes afoot for Musikmesse 2016

BY DANIEL GUMBLE

I HAVE written a number of articles over the years about the changes music shops need to consider in their retail and customer service offers, if they are to remain a viable proposition on the modern high street. Much of this can be summed up under the theme of ‘eventing’, giving the customer a constant stream of reasons to visit the shop over and above that of ‘simply’ looking at instruments hanging on a wall.

Offering the whole lifestyle package in addition to selling the instruments is certainly a strategy that we see working to great success in many shops. Such as: • In store café/seating • In-store lessons or excellent links to local teachers• Rehearsal/recording facilities for bands • Running or sponsoring community music groups • School projects and school outreach programmes• General community projects that promote the shop • Regular in-store events • Celebration of local musicians• Instrument hire/loan options• Instrument repair and maintenance

All of the above are part of a real retailing proposition that gives today’s busy consumer a reason to make the effort to come to the music shop. The vast majority of punters still want to use a physical shop, BUT ONLY if we give them a compelling enough incentive to bother to drive to town, park etc.

The challenge remains in creating a retail proposition that encourages the millions who are thinking and dreaming about playing, to actually do something about it and come to our shops!

WHAT ABOUT THE BIKES?Cycling Weekly is a great magazine

recently did an excellent article on ‘The Changing Face of the British Bike Shop. The article started with a great quote we will all recognise:

“We have a curious relationship with our local bike shop. We’d

hate it if it disappeared, but sometimes we seem to do everything in our power to hasten its demise.”

The article discussed the “race to the bottom” in bike pricing and the real impact this has on the people working in the industry trying to make a living. It also talked about

to add value and services in the business to create a distance away from pure price comparisons.

Also mentioned was the anger that ‘showrooming’ causes - punters simply coming into a shop to ‘have a go’ before leaving to buy elsewhere. Sound familiar?

As an aside, those who run bike shops are often similar to those that run music shops; passionate people who are all active participants with the products they sell.

The great thing about the article was that it went on to show how

remain in strong contention in high street locations. It discussed the ‘new breed’ of bike shop that is starting to appear and the portfolio of services that the shops were now offering to the customer to draw them to the premises. Such as:

• In store café/seating • Big screens showing bike races • In-store workshops • Regular store-organised rides in the community • Regular in-store talks and events • Celebration board of local bikers The café in the featured store was noted as taking up more space than the actual bikes and the owner talked about the impact the café had on creating a community hub for all the local bikers and biker clubs to meet up (clearly the subsequent positive impact on sales was taking place).

WHAT ELSE?The parallels between our two industries are clearly in evidence, but it was the closing part of the article that also caught my attention. There was a discussion about the effect of sustained ‘showrooming’ and on how it may result in some brands no longer being stocked in bike shops, as

retailer. This was compounded by some brands being sold by certain online retailers for less than the average shop could buy them for. So, maybe it is worth having a chat with your local bike shop about shared challenges/opportunities?

As always, let me know if you have any thoughts or [email protected]

The Guitar Studio

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41

8 MIPRO MAY 2015 WWW.MI-PRO.CO.UK

The MIA is the trade body for the UK musical instrument industry, servicing and representing the interests of manufacturers, importers, publishers, retailers and supporting businesses.

MIA chief executive, Paul McManus, shares his thoughts on how bricks and mortar dealerships must adapt in order to remain prosperous in today’s market…

Bikes and musical instruments – a shared challenge?

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What’s your next move in the marketing plan?Why a detailed plan of action could be key for your business

SOMEONE FAR more learned than me once said: “If a business is not growing, it is already in decline”. Understandably, most people would take the line of not believing it, but were it to be true, what can a small retailer do to ensure their business grows? A discipline rarely considered by a small retailer is marketing, and marketing is all about presentation. It is how you appear to your public. Part of it is promotions; how to get people through the door, sell and display your products. Another branch is merchandising; how they see you, how easy you make it to buy from you. Another part is public relations; getting the message more widely known, and carving an image.

The other obvious route is to increase foot

split into two, the high street shopper and

becomes 100 per cent harder than it was. So to succeed in attracting new customers, we need to plan our marketing strategy properly not just leave it to chance. For that to happen, we need to think about what we want, how to do it, what are we prepared to spend, then plan how to achieve it. The primary objective of any retailer is to grow and expand the core of customers whose names you know, who frequently come in, spend happily and wouldn’t go anywhere else. This core needs to grow every week, for in so doing, the business gradually becomes more secure and not solely reliant on who

happens to come in that day. Service, value, a high level of customer care, communication, helping, not selling, are all factors that increase the core and marketing skilfully is another tool in the box.

Settling the objective is paramount to success. If getting more people through

look at the door. What will the customer

comfortable, exciting, relevant? Inviting means people are made to feel

welcome immediately. That necessitates total concentration on anyone who puts their face in the door, above what staff are presently doing. How many owners have been into a shop to make a purchase where staff are chatting and take no notice of you?

In-store marketing means signage, branding and good merchandising. Most retailers understand the need for a professional approach to these areas. Often, social media entries are forgotten and these are areas, which can bring massive amounts of business to your outlet.

Marketing means promotions and these do not have to cost a big budget if you do not want them to.

MAY 2015 WWW.MI-PRO.CO.UK MIPRO 11

COLIN REESSales trainer and business consultant.

[email protected]

COLIN REES is a veteran sales trainer and business consultant with many decades’ worth of expertise in the bicycle retail sector.

THE SALES MAN

“Marketing is all about presentation, it is how you appear to your public.”

APRIL IS often a busy time for employers, with legislative changes traditionally taking effect during this month.

A key development in April 2015 is the new right for parents to share leave in respect of a baby born (or a child placed for adoption) on or after April 5th 2015. Other family-related changes also took effect from the same date.

Shared Parental Leave The new right for qualifying

parents to take shared parental leave (SPL) is available for

prospective parents to opt into if they want to share a period (or periods) of leave following the birth of their child. Similar rules apply to those who adopt.

• The amount of SPL that can be shared between the parents is 52 weeks less the amount of maternity leave

already taken by the mother.

• Subject to certain qualifying requirements, SPL can be taken by either parent but the mother must have either have returned to work or given a binding commitment to end her maternity leave.

• Up to 39 weeks of leave can be paid, less any period of statutory maternity pay (or maternity allowance or statutory adoption pay) already claimed. Shared parental pay is paid at the same rate as the prescribed rate of statutory maternity pay.

necessary for exercising the right to take SPL are particularly complex and are likely to cause a great deal of confusion in practice. Parents seeking to take SPL must provide to their employer a notice of entitlement and intention to take SPL, as well as a ‘period of leave’ notice at least eight weeks in advance of taking the leave.

• Each parent can give notice to take up to three separate ‘blocks’ of leave and can take it either simultaneously or at different times with the other parent. An employer has to allow a request for a single block of leave but can refuse a request for discontinuous leave given in a single notice.

• Parents have the right to change their minds about when SPL starts or whether maternity leave ends in certain circumstances.

The rules also vary if the baby is

RAFAEL RUIZ, PARTNER, BIRKETTS

LEGAL MATTERS


“Parents have the right to change their minds about when Shared Parental Leave starts or whether leave ends in certain circumstances.”

Keeping it in the family: Employment law developments in April 2015

Legal expert and partner at Birketts, Rafael Ruiz, tells us about some recent developments in the world of employment law…


LEGAL MATTERS

born early or late, or if either parent or the baby dies.

Rights for adopters In addition to the new right to take SPL, adopting parents also now

to bring them into line with the entitlements available to birth parents.

• Adopting parents no longer need a minimum of 26 weeks’ service before they are entitled to take adoption leave; it is now a ‘day one’ right in line with the right to take maternity leave.

• There is a new right for adopting parents to take paid time

appointments. A joint adopter may

take unpaid time off to attend a maximum of two appointments, if the other adopting parent is taking paid time off.

• Statutory adoption pay has been brought in line with maternity

leave paid at 90 per cent of normal weekly earnings before reverting to the prescribed statutory rate (the lower of 90 per cent weekly earnings or £139.58 per week).

• Current adoption rights have been extended to couples fostering under a Fostering for Adoption placement.

Parental leave The existing right for eligible parents to take up to 18 weeks’ unpaid parental leave before a

with effect from April 5th 2015, so that the leave may be taken at any time before the child’s 18th birthday.

Statutory pay From April 5th 2015, the weekly rate of statutory maternity, paternity and adoption pay increased from £138.18 to £139.58. Shared parental leave is now

payable at the same rate.Statutory sick pay has also

increased to £88.45 per week (up from £87.55).

Business leaders, including the Federation of Small Businesses and British Chambers of Commerce, have been critical of the administrative burden imposed on businesses as a result of the new right to SPL.

In order to assist employers, Acas has published detailed guidance on the new right to SPL, which is available via the Acas website.

For further information, please contact Laura Jackson on 01245 211220 or via email at [email protected].

This article provides a summary, and is not intended to

be a comprehensive review of all developments in the law and practice, or to cover all aspects of those referred to.

Readers are encouraged to take legal advice before applying the information included in this article to

Neither Birketts LLP or the author, accept any liability for any reliance placed on the contents of this article.

“This year, the weekly rate of statutory maternity, paternity and adoption pay has been increased.”

INTERVIEW

ANDY BELL has earned himself a reputation as something of a journeyman on the UK indie rock front. Since the disintegration of melodic noise merchants Ride almost 20 years ago, he has continued to ply his trade with

rock bands, including Hurricane #1 and, most notably, Oasis and the

Still, it is for his work with the aforementioned ‘shoegaze’ pioneers that he is most famed.

Of course, the band’s staunchly dedicated following had been longing for a reunion for years, although a burying of the hatchet had always appeared unlikely, such was the acrimonious nature of the

songwriter Mark Gardener. Now, the pair have seemingly

turned a corner, having reformed last year and announcing a number

a 21st century Ride sound like? Has enough water passed under the bridge for, dare we say it, new

technological advancements in MI

bled their way into the band’s set-

some key insights into how things have developed since reuniting and what’s in store for 2015…

It’s been a long time since the band have played together. How have the initial rehearsals/sessions been going? Have things naturally clicked back

into place or has it been a strange experience?Things have clicked into place, which is cool, because you can never really know what’s going to change over such a long period of

place is still there. Rehearsals have been going well, which is getting me excited for the shows.

Have you begun experimenting with new ideas yet, or has it been a case of nailing a set list of existing material for the upcoming live dates?It’s all about nailing existing material. I would like to feel we

of nostalgia before we consider anything more ambitious. There is enough in the old songs to keep us

all buzzing, and we want these gigs to do justice to people’s memories.

So there aren’t any plans as of yet to record new material?No.

Why did you feel that now was the right time to get back together?It was a combination of things, but basically it became obvious that

the timing was perfect; almost like, if we don’t do it now, will it ever be the right time?

What do you make of the resurgence of so-called ‘shoegaze’ bands of late? Clearly

many young artists. Is it strange hearing so many bands trying to achieve a sound that you were producing more than 20 years ago?

those kind of guitar sounds, to the extent that I haven’t had to change my guitar rig much from how it

at the current state of guitar pedals and effects, there’s never been a better time to be a shoegazer. That industry has exploded since the 90s and had something of a golden age.

sized units that were only available in rack form in the ‘90s - like the Ultra Harmoniser, which I did use on many guitar sounds in the early Ride era, but you’d have to play the guitar in the control room of the studio to hear the sound. Strymon

Rider on the storm

“When you look at the current state of guitar pedals and effects, there’s never been a better time to be a shoegazer.”

Following last year’s long-awaited reunion, ‘shoegaze’ icons Ride have been at the heart of a renaissance for the genre. Daniel Gumble caught up with the band’s co-songwriter and guitarist,

Andy Bell, to talk gear, getting the band back together and what the future holds for one of Britain’s best loved bands…

are also smashing it.

Tell us about the gear you’re now using. Are you still using the same set-ups – guitars, amps etc – as before? And if so, what is it that has kept you tied to these set-ups?I used whatever crappy gear I could get in the early Ride days. I had some disgusting Vox Transistor combo in the very early days. Then

started making money, I settled on

which I had read Pete Townsend used. This worked for me because

I could get all my effects from their GP-16 rack unit I was using for the guitar sounds. All of this has now been consigned to history, as when

own guitar rig again from scratch, I had learnt a lot about guitar tone in the intervening period.

In the Ride days, as I mentioned, I was having to use the control room of the studio to achieve the sounds I was after, in conjunction with the producer Alan Moulder, and I wasn’t paying much attention to the raw sound coming

guitar amp known to man, and in the end settled on a very small wattage head so I could get the sound I was after without having to

4x12 and that’s it for the amp.

What about pedals? As you say, there have been a number of developments in the FX pedals market over the past 20 years.

sound of Ride at all?

of Ride, but it has made the sound

of Ride much easier to achieve. My sound now has a good tone coming out of the amp, but I do use quite an array of pedals, usually only a couple at a time. I’ve had to add some modulation from where it

largely the same. The modulation I’m using I can get out of the Strymon Mobius, which covers Leslie sounds, Chorus, Phasers and Trem, all controlled down to the

How about guitars? As a band that have regularly used Ricknbackers, can you tell us what it is that appeals to you about these guitars?Johnny Marr of The Smiths got me hooked on the Rickenbacker 12-string. And obviously George Harrison and Roger McGuinn. It’s

hard to describe the sound but it’s instantly recognisable and adds something to the records you can’t

all about the 12-string sound. In Ride we often used them as rhythm guitars, which sort of defeats their purpose, but again, it adds something, maybe more of a wall of sound feeling.

Going back to the beginning,

playing and writing music?

instruments?Yes, it was a ukulele and then a small classical guitar. I had lessons when I was nine but didn’t get on with them and taught myself.

Who were you earliest musical

How important were local music stores to your early development as musicians? Did you grow up surrounded by a thriving musical community and, if so, what role did it play for local bands and artists?Oxford was pretty barren. A few

record shops. No bands to speak of. There was a band called Here

sound; I saw them randomly in a park in 1985.

Do you think the Internet can ever replace the role of musical instrument shops on the high street?Holding a guitar in your hands for

about that, which you can’t get from sitting in front of a computer.

what you’re looking for in terms of music, instruments, inspiration and information.

Is it possible that, with music shops continuing to close in the face of online competition, a lack of physical shops for kids to visit could have a detrimental effect on the number of young people forming bands and making music?

imagine that, if this happens, the value and mystery of these things will increase, the harder they are

high street continues to have a shop selling musical instruments.

me that there were a couple of places in Oxford where I could go and look through the window at a few guitars.

“Holding a guitar in your hands for the

which you can’t get from sitting in front of a computer.”

Left to right: Laurence Colbert; Andy Bell; Mark Gardener; Steve Queralt

AS AN INDEPENDENT high street retailer, approaching a world collectively and unhelpfully referred to as ‘online’ can be a bit daunting.

For starters, you’re up against the non-specialist multiples and online-only retailers with their slick virtual shelves and advertising budgets.

Then you’ll have someone telling you that social media is what you need to concentrate on and, by the way, have you thought about email?

Of course you haven’t; you’ve got a shop to run.

But at the same time, ‘online’ can’t be ignored. The trick is to break it down into more manageable chunks. Get the basics

from there, based on the resources, expertise, budget and ambition you have. Here are your starting points…

1. Let’s assume that you already have a website. If you paid someone to build/maintain that site for you, ask them to give it an SEO health check. You might even be able to do this yourself if the site is built on Wordpress or similar. In short, make sure the site title and description accurately describes your business - this is the information search engines use to identify your site.

2. This takes us to social media. If you haven’t already got a Twitter account and Facebook page for your business, set them up now. And make sure your

matches the title and business description on your website and references your URL. Search engines

like Google will then recognise that and group everything together in their results. We’ll look at how to best use Twitter, Facebook and other social networks later on.

3. The other thing that Google can do in search results is show potential customers exactly where your store is using a pin on a map. You have to jump through a few hoops to set it up, but once done, it will make your business more visible to potential customers. For example, if someone searches for, ‘piano shop Kings Langley’ a map panel will show in results with pins for all such business in Kings Langley, including your own. Search for ‘Google My Business’ to get started. But back to your website; let’s think about email and blogs.

4. Email is often neglected in the scramble towards social media. It’s a bit

a brilliant and direct way to communicate with your customers.

start collecting email addresses - get yourself an account with, say, Mailchimp, create a sign-up form and put that on your site with a clear call to action.

5. In terms of blogs, writing your own content is top of the digital agenda today. It may seem like a chore to write 300 words, but consider that it’s actually a natural extension of something you already do - informing customers during purchasing decisions. Having a blog just means

you can start informing them before they even step foot in your store.

In short, a blog is a great way to pull people into your site, a) because it has something interesting to say that will attract customers, and b) because the likes of Google love original, regularly updated content and will reward you with higher rankings in search results because of it.

Again, if your site is built on Wordpress or some other

templated platform, then getting a blog up and running should be relatively straightforward. If not, ask your web developer what they can do.

If you can get all of the above done (or if you already have), then you’re ready to properly engage

with existing and potential

customers online - you’ll even be able to get

them to spread the word about how great

you are. I’ll be back next month to

show you how.

Stuart O’Brien, director of digital at content marketing services, social media strategy and event management specialist, Mimram

STUART O’BRIEN

STUART O’BRIEN is Director of Digital at content marketing services, social media strategy and event management specialist, Mimram Media. [email protected]


PRO AUDIO18 MIPRO MAY 2015 WWW.MI-PRO.CO.UK

PRO AUDIO COLUMN

Adam Savage,Editor,Audio Media International

J udging by the interest in our initial story on Audio Media International, it seems I am just one of a great many people who

w was disappointed by news of the original Windmill Lane Studios building in Dublin being demolished last month.

Although you could argue it was time for it to go – the studio itself moved to a new home years ago and the area was crying out for a bit of an overhaul – it still

saddens me that the place where U2 recorded their debut record is no more, soon to be replaced by – you guessed it – residential and

I’m not even a U2 fan, so maybe I shouldn’t care as much as I do, but it just seems that with so many other centres of musical

past few years across the UK (and Ireland!) for similar reasons, including numerous major London clubs and countless venues all over the country, we’re going to end up with very little left before we know it.

Or perhaps I should just accept it as a

sign of the times, stop dwelling on the past and draw optimism from all the good work that is going in to moving the audio industry forward lately.

One thing I immediately noticed about the pro audio market when making the switch from MI a few years ago was the constant drive for technological advancement and meeting the demands of the modern age – the other two articles in this section can be seen as examples of this – and, although, it can be a challenge to keep up with it all at times, it certainly makes it an exciting place to be.

“With so many centres of musical

across the UK, we are going to end up with very little left before we know it.”

Sennheiser introduces ‘Innovation

Campus’

MPG’s Preservation Pledge

Company now offers “the biggest and most modern centre for innovation in the entire audio industry,”

according to its CEO

A SPECIAL panel focusing on the theme of keeping digital music

Producers Guild (MPG) at this year’s Musikmesse/Prolight + Sound event, which took place in Messe, Frankfurt last month.

Producers Tony Platt, Gareth Jones and Stevan Krakovic (pictured) took part in the special session, which was aimed at highlighting the care that should be taken of recordings and session information

“In the days of analogue recording, the tape box and track sheet logged all the important information,” Krakovic commented during the panel session.

“In this new digital age we have become very casual. Too many sessions are badly labelled

and too much information goes unreported.

Some people even entrust their valuable music to cheap hard drives without paying any attention to how accurately it has been copied.

“We really need to up our game and get more professional.”

SENNHEISER UNVEILED its new Innovation Campus, part of the facilities at its HQ in Wedemark, Germany, to a number of high-

business and entertainment.

7,000 square metres, the Innovation Campus provides plenty of room for cross-functional

“The campus provides plenty of room for teams to carry out projects in the development and marketing of audio solutions.”


PRO AUDIO

‘U2 studio’ demolished

THE OLD home of Windmill Lane Studios in Dublin, where U2 recorded Boy and The Joshua Tree, has been knocked down.

The one-acre building in the city’s dockland area, which became known as the ‘U2 studio’ but was also used by the likes of Van Morrison, was bought by property investment company Hibernia REIT

begun gradual demolition work to transform the site into mixed-use

– part of a new urban development that will extend Dublin’s Silicon Docks to the Liffey River.

A Hibernia spokesman commented:

“In recent years the derelict site has become a focal point for anti-

has spread into adjacent streets. The studio itself has been empty for several years and contained no

previous use.“Hibernia is conscious of the

Lane and plans to retain a 20-metre stretch of the studio wall.”

Windmill Lane Recording Studios relocated to a new premises in Dublin’s Ringsend circa 1990, and in 2009 was taken over by a new team with an updated arsenal of gear, including Neve and SSL consoles and an Avid surround sound room.

teams to carry out projects in the development and marketing of

even accommodates a theatre

Flagship Store, enabling customers to gain hands-on experience of the brand and its products.

“With our new Innovation Campus, Sennheiser now has the

biggest and most modern centre for innovation in the entire audio industry,” explained CEO Dr. Andreas Sennheiser. “We have created the space to develop innovations that are targeted even more directly at the customer. This is apparent not only in the building’s architecture but also in a new way of working.

Groundbreaking ideas are created in cross-functional, international project teams that take pioneering audio solutions all the way to the customer. And our passion for audio technology can be experienced by everyone who visits our Flagship Store.”

Attendees included the mayor of the municipality of Wedemark,

Helge Zychlinski, and Sennheiser’s project manager for the Innovation Campus, Dr. Axel Schmidt.

In addition to a reception area and the Flagship Store, the public section of the building also has a small cafe and a 200-seat theatre, which boasts an exterior design inspired by Sennheiser’s classic MD 421 microphone.

“In recent years the derelict site has become a focal point for anti-social

that has spread into adjacent streets.”

The place where U2 recorded Boy and The Joshua Tree is being replaced by mixed-use retail,

INTERVIEW: JOHN HORNBY SKEWES


A 50TH anniversary is a key landmark in any industry, but it’s

and attracting business.

in recent times.

The big

50Celebrating its 50th anniversary this month, JHS has for many years been considered one of the

how the company has continued to thrive in an ever-challenging time for the industry, founder John Hornby Skewes himself talks to Daniel Gumble about

milestone…

“Music in schools is vital to our industry and its future; we should be lobbying politicians to ensure funding is maintained.”


INTERVIEW: JOHN HORNBY SKEWES

partners.

MI Pro, and “We never have and never will take anything for granted, particularly when it comes to our customers.”

Frankfur t Musikmesse - 1977

JHS PHOTO ALBUM


JHS: 50 years in picturesThis month, JHS is celebrating its 50th anniversary. So, to mark the occasion, we’ve compiled a commemorative photo gallery showcasing some of

decades…

Mr Skewes whilst president of the Association of Musical Instr ument Industr ies

Main Str eet Gar for th - 1965

Joe Brow n and JHS’s Nigel Walker plant a tr ee to mar k the op ening of the fir m’s new premises

Congratulations on getting to such an important milestone. All

the best for the future

from all at Andertons.Lee Anderton,

managing partner, Andertons

Bob Hop e British Classic Gol f Tou rnament - 1982A you ng Mr Skewes in toga att ir e

at a fancy dress event

Congratulations on getting to 50. Dawsons looks forward to welcoming you to the Centenarians Music Club in 2065.David Briggs,

Dawsons


JHS PHOTO ALBUM

Tennis icon Pat Cash with Mr Skewes at the 1989 BMF show

Congratulations. It’s been 50 years of working with one of

in the music industry.Richard Berger,

president, Grover Musical Products

Let’s all raise a glass and congratulate the whole company on its 50th anniversary.

Paul Brett,

guitarist JHS’s Alan Smith at the Licensing Awar ds

JHS MD Dennis Drumm with an MIA Awar d

The com pany’s line-up of ‘star s with reason ably priced guitar s’ at the annual JHS Event

Mr Skewes receives a Making Music awar d fr om Joo ls Hol land - 1995

MIRC 201524 MIPRO MAY 2015 WWW.MI-PRO.CO.UK

TO BEGIN with, we’ve got a number of stellar partners that will be looking to connect with the UK dealer network at this year’s show. Yamaha, including Line 6, has

for MIRC 2015, which returns to Northampton’s Whittlebury Hall on June 17th.

A regular supporter of the MI Retail Conference and Expo, the

to showcase its range of Line 6 products and connect with retailers.

“Yamaha is pleased to again be a key supporter of the MIRC conference,” said, Yamaha UK managing director, Mark Rolfe. “This year we will be attending in a bigger yet different way. We will be taking a room to promote the great range of Line 6 products and will be looking to reinforce the distribution network by partnering those positive and professional dealers who are looking to generate

increased revenues by selling and promoting the Line 6 portfolio.”

Meanwhile, Barnes & Mullins will be presenting products from

partner at MIRC 2015, Barnes

& Mullins recently agreed an exclusive UK and Ireland distribution deal with the US amp

its platform at MIRC 2015 to connect with dealers and showcase a selection of its products.

will be speaking to both new and existing customers.

“Casio are proud to be continuing support for MIRC,” commented Daniel Mason, B2C senior marketing manager at Casio. “The annual conference and expo provide the industry with an extremely valuable opportunity to see existing and new customers, along with presenting the latest range of musical instruments.”

Rosetti will present a variety of new products from its roster

will display a raft of new items from its array of guitar and brass and woodwind brands, including Rickenbacker and Hagstrom. It will also announce several new additions to its Adam Black range.

Elsewhere, Korg UK will be capitalising on the MIRC expo to showcase its Takamine range of

String specialist, Rotosound, will be exhibiting its new range of eco-friendly, protective foil guitar packs

along with its range of analogue guitar effects pedals.

Furthermore, building on the success of last year’s Showcase platform for start-ups and SMEs, Alfred Music, Joyo, Velta and Red

their participation. And if that’s not enough to whet

your appetite, we’ve got an ever-

for the morning conference (see overleaf), while every retailer who

bag containing a Veho Azuro 50W Bluetooth Soundbar worth £149.95.

Registration is simple and is now open at www.mirc-expo.com/dealer-registration. For sponsorship enquiries, please contact Karma Bertelsen on 020 7226 7246 or [email protected].

“We’ve got a number of stellar partners that will be looking to connect with the UK dealer network.”

Wednesday, June 17th 2015 • Whittlebury Hall, NorthamptonshireONE MONTH TO GO • ONE MONTH TO GO • ONE MONTH TO GO • ONE MONTH TO GO

KEY PARTNERS PREMIUM PLATINUM SPONSORS PLATINUM SPONSORS

We’re just over one month away from this year’s show, so here are some essential updateson what to expect at MIRC 2015...

Registration is quick and simple and is now open at http://www.mirc-expo.com/dealer-registration


MIRC 2015

GOLD SPONSORS SHOWCASE

For sponsorship enquiries, please contact Karma Bertelsen on 020 7226 7246 or [email protected]

THE CONFERENCEWe can now unveil our complete line-up of expert speakers for the MIRC 2015 morning conference...

SIMON GILSON, CO-OWNER, PMT

CARL WEST,SUPPLY CHAIN DIRECTOR, GFK

CORIN BIRCHALL, MANAGING DIRECTOR, KERCHING RETAIL

STUART O’BRIEN, DIRECTOR OF DIGITAL, MIMRAM MEDIA

SIMON GILSON, co-owner of UK MI retail giant

keynote address at this year’s MIRC.As joint leader of the UK’s largest MI retailer,

Gilson will be offering some unique insights at the morning conference into how his company has grown to become the high street behemoth it is today.

Commenting on his appointment as keynote

speaker at MIRC 2015, Gilson told MI Pro: “It is a great honour to be asked to speak to one’s peers on their specialist subject.

or golf, I guess I’ll have to stick to speaking about the industry! However, I hope to bring some fun, as well as some thought provoking insights into the realities of MI retail in the times we live in.”

GFK SUPPLY chain director, Carl West, will be taking to the stage as part of this year’s confer-ence. With more than 16 years’ experience in software and hardware sales as a vendor and in distribution, West boasts a wide-ranging knowl-edge across several digital markets and brings with him a great understanding of Channel; Dis-

the internal dynamics of the Retail and Vertical Reseller channels.

At the show, he will be discussing with the UK

West worked for Datrontech Retail, SimpleTech, Solarsoft, and Mediagrids. Additionally, he is the GfK representative for CompTIA and is a regular speaker at market conferences.

RETAIL EXPERT, Corin Birchall, made his MIRC debut last year, providing dealers with some unique insights into how they can improve their layout, display and product demo skills. This year, he will be looking to build on his 2014 address by offering yet more invaluable advice on how retailers can get the most from their business.

Roland UK, where he developed the concept of

the globe. The focus on product knowledge, display and demo readiness was regarded by many as an industry benchmark and changed how many MI brands now present themselves in music stores.

BRINGING WITH him a wealth of digital knowledge and expertise, Stuart O’Brien, director of digital at content marketing services, social media strategy and event management specialist Mimram Media, will be showing MIRC 2015 attendees how they can grow their businesses by complementing their bricks and mortar operations with an improved digital offering.

“I’m delighted to be part of MIRC 2015,” commented O’Brien.

“Having served as head of digital at New Bay Media for several years and developing many of its websites, including MI Pro, amongst many others, I’m very much looking forward to connecting with the wider MI community and demonstrating how retailers can grow their businesses online.”

KEYNOTE SPEAKER

SPECIAL FOCUS: MUSIC EDUCATION


LAST YEAR we worked with partners from across the music education sector to produce the Making Music report – a research initiative looking into teaching, learning and playing in the UK. The research indicated issues around musical opportunity and progression - highlighting the need for the music education sector to better support progression from

We have a dedicated team who work with retailers around the world, and Phil Jarvis, our publications sales executive, works

closely with retailers here in the UK. We provide retailers with information and resources that enable them to form meaningful customer relations. We feel that this enables retailers to be better informed in conversations with teachers, parents and learners.

We’re currently undertaking a programme to equip sheet music retailers with ABRSM branded display units, helping them to provide a focal point for our publications and other support materials for our exams.

ABRSM is a global company and our business is growing at different rates around the world. Since 1999, there’s been an increase of 2.3m children that say they know how to play an instrument.

We think that brands and retailers need to keep reminding

music, as well as promoting the value of learning an instrument.

ABRSM is always developing its digital offering to meet the needs of young learners through the introduction of high quality apps and resources such as Speedshifter, Aural Trainer and Melody Writer.

Music has had a spotlight shone on it like few other subjects and there is a continuing need for the sector to be working closely together in the name of music education. We hope that any future government would value the importance of music education and make funding for music

opportunities for progression.We are all part of the ecology

that inspires musical learning, participation and progression. As a sector, let’s work together to ensure that our offering is as clear and connected as possible so that anyone motivated to learn and make progress in music will have the best possible experience.

THE BIGGEST change seen over the last 12 months, in my opinion, is to do with the kinds of music education courses that prospective students are interested in. We’re seeing a particular evolution of the ‘Creative Artist’; a midway between the performer and producer, encompassing elements of Songwriting and Artist Development, too. This is, without a doubt, a generation of people who

LINCOLN ABBOTTSDirector of strategic development, ABRSM

OLIVER SUSSATDirector of marketing and technology, The Academy of Contemporary Music

ANDREW HIGGINSDirector of sales and marketing, Alfred Music

OVER THE past 12 months, we have seen a greater emphasis on technology. Interestingly I have seen highly experienced

20-something techie who knows a hell of a lot about technology, but probably never stood in front of a class of restless students in his life. It is as if teachers have

itself and need the technology to encourage the students.

To connect with musical

Today’s LessonThe education sector has forever been a key component of the MI industry, but with

involved with the sector and what they can do to get more young people playing….


SPECIAL FOCUS: MUSIC EDUCATION

want breadth in their education.We recently held an evening with

our sister company, Metropolis Studios, to introduce musical instrument manufacturers and retailers to the end-to-end proposition available at both ACM and Metropolis.

At ACM, we have approximately 1,500 young pro-sumers at any one time, whilst Metropolis hosts an innumerable amount of industry professionals every year, responsible for treating over 50 per cent of the UK chart.

We love showcasing new products to our students, staff and clients alike, and also engage in co-op marketing activities with artists/manufacturers/retailers in doing so. We’re always interested in connecting with more partners.

In light of the recession, thanks to a growing reputation for delivering high calibre graduates into the industry over the last 20 years, and the strength of the UK’s musical output throughout the last recessionary period (bolstered by ACM graduates such as Newton Faulkner, Ed Sheeran and, more recently, The Shires), ACM is going from strength to strength.

Regardless of the sector’s experience, for ACM, we are seeing

an increase in young people getting involved with music education. Our

year-on-year for a while now.We’d love to work with more

artists, brands and retailers in conjunction to make music education accessible to more young people. The US has a very strong history of brand-sponsored scholarships, for example, that support talented students in building lifelong, sustainable careers in music. But here in the UK, there’s a lot of work to be done in this area. We’re working with a select few partners, in this regard, but are always interested in speaking to more.

ACM is currently working with the government on several levels to make music industry education more accessible to talented young people. We are a steering member of UK Music’s Music Academic Partnership, a key partner of Parliament’s Rock The House competition and constantly working with various Government departments to ensure that ACM’s education provision not only meets, but exceeds, the quality standards they require of all Higher Education Providers. We’ll keep up the good work and trust that they will, too.

DAVID MATHER Marketing manager, Rockschool

instrument retailers we have visited, emailed, met at exhibitions and shows, including MIRC, sent customers to them and fed them data for their websites. We try to work with them in any way they need us to.

Currently, the market is very tough, but it is no longer a recessionary issue (if it ever was), it is about globalisation and pricing.

are tight.

new and young customers. Young people are technology savvy, and many things they can source at the best prices online, so having a virtual shop front is critical. I also think young people are selective about the music they choose to learn and it tends to make them rather narrow minded in their choices. This is also not helped by the categorisation of music, which is a phenomenon that has always existed to serve marketing and

is now being brought to bear on education too.

Service is key to attracting more young people to music and music education. A shop or seller who can point young people in the right direction for teachers, bands,

venues, rehearsal facilities, is always helpful. For brands trying to reach the right demographic is a challenge and shops can always advise on this and we are happy to support them in this with SOR or sample stock.

I think when governments start to pronounce on education they really do get the wrong end of the stick, even when they are trying to be helpful. However, taking music seriously as a subject in its own right would be a start: that it helps with maths and lateral thinking

all the others things they mention, is often overlooked. It is a great subject to understand and know about, either recreationally or professionally. Like languages, music is regarded as a luxury, when it is far more critical to mankind’s well being than that – children should learn music throughout their school career because it is a life-giving force in all its various shapes and sizes.

The most important thing we have lost in this global market is value: we must seek to uphold the value of the goods we sell, otherwise we will be working for nothing and, as we have seen, that is a road that always ends in ruin.

FEWER STUDENTS are studying ‘traditional’ instruments/classical music now in schools, and there has been a real push on contemporary music; particularly with singing/acoustic guitar, which has no doubt stemmed from the X Factor sensation.

Most music students are spurred on by the concept of a concert and/or competition, regardless of age or ability.

More students are looking to music technology for composing and music coursework for

Band/Logic/Cubase are in virtually every music department now.

Schools have moved away from ‘keyboard’ based sessions at KS3, and there is more of a trend for ukulele and guitar in large groups.

All music GCSE/A level

of world and popular music, as well as classical music, so this has sparked an interest in steel pan/African drumming groups.

The most popular level for candidates doing music exams is Level 1 (up to Grade 3), this drops a little at Level 4 as candidates tie this into GCSE music, and at Level 3 the numbers decrease even further as only the ‘serious’ players take Grade 6+ as they need it, often, for A-level music, and to get into university/college.

To connect with musical instrument retailers, we have targeted teacher-training

in-store with selected discounts and freebies.

was added to Rockschool last March (2014) in order to promote

The market has been tough for most of the music education sector and exam boards. We were down during the recession like the majority of the market but business has been steadily increasing through 2014/2015. But we are seeing a big increase in exam numbers this period.

The number of young people getting involved with music education is not diminishing;

harder for new customers during the recession, but there’s still a huge, receptive market for the

Whether we’re doing an expo or a workshop, the interest and enthusiasm is still there – music education is alive and kicking!

Brands and retailers could attract more young people to music education by offering:

• More advice and guidance for musicians starting out• More one-to-one tuition• More events, workshops and masterclasses • More literature and face-to-face time with schools• Adaptable technology that works with traditional music education resources

The government could do more in the name of music education. More money needs to be invested into the sector. They are cutting funding not just in music, but across all of the performing and creative arts. This is extremely sad, because it means that KS3 groups (Yr 7-9) are often on a carousel system and only get to learn music for one term a year; in some cases, just once in the three years they have before choosing GCSE options.

The government needs to change their attitude towards contemporary music education and realise that students don’t want to learn about classical music and read notation – some get just as much from working with a computer or playing on a guitar.

“Whether we’re doing an expo or a workshop, the interest and enthusiasm is still there - music education is still very much aliveand kicking.”

WEDNESDAY 17th JUNE 2015Whittlebury Hall,

Whittlebury, TowcesterNorthamptonshire NN12 8QH

SPEAKERS

Corin BirchallMD of retail and marketing consultancy group Kerching Retail

Carl West Supply chain director of international market research institute GFK

Stuart O’BrienDirector of Digital,

Mimram Media

Simon Gilson Keynote speaker Joint MD and Co-owner of leading UK retailer PMT

Registration is quick and simpleand is now open at http://www.mirc-expo.com/dealer-registration

For more information or to discuss partnership packages contact [email protected] or

[email protected] or call us: 0207 2267246

KEY PARTNERS

PREMIUM PLATINUM SPONSORS

PLATINUM SPONSORS

SHOWCASE

Can you afford NOT to be there?

mi retail conference & expo 2015

“It’s been great. The

conference was especially

good; all of the speakers

had something really

worthwhile to say.

I can’t fault it at all.”

Brian Cleary, Barnes & Mullins

“It’s been another successful

year for MIRC. Another great

conference and lots of footfall

for the expo afterwards.”Tom Harrold, Audio-Technica

“We’ve had a really great show. It’s

great to have all our dealers in one place

at one time.”Paul Brewis, Carlsbro

GOLD SPONSOR

P41

Mystery shopper P42

New gear P46 RETAIL

FIVE SECOND FACTS

The magic numbers in MI that caught our eye this month...

1 Only one month to go until MIRC 2015 at Whittlebury Hall, Northamptonshire 25 The Royal College

of Music has announced plans for a £25 million redevelopment

With PMT opening another store in Newcastle, the UK retail giant now has 11 premises throughout the country 11 Elixir has spoken

to 4,000 bass players as part of its extensive new string research

JG Windows announces major expansionNEWCASTLE UPON Tyne-based retailer, JG Windows, has announced it has recently acquired an additional 4,500 square feet of

store will now cover 13,000 square feet, making it one of the largest

Work is already being conducted

director at JG Windows, stated:

existing store, meaning that all of our customers will see more of

customers to relax in, as well as

technology, as well as taking many of our other instrument categories

As the longest established, and largest, store in its central location,

as one of the biggest names in the

The announcement follows last month’s news that MI retail giant PMT had cut the ribbon on a new

“JG Windows hopes that the expansion will cement its position as one of the biggest names in the market, in the North East.”

4

Expanded premises due for completion later this summer


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CREDIT: The notion of spending money we don’t have in order to help us later pay back that money that we didn’t have. It’s a curious notion, and one that the capitalist Western world

relied on to keep the wheels of business turning.

I really do; from a practical point of view, the ability to order and receive goods and account for them before processing payments makes my job much easier. And being able to sell goods without the customer needing to present the cash immediately opens up many sales opportunities that wouldn’t have occurred otherwise. The wheels of my business are greased immeasurably by the IOU of a credit account and a

But here’s the thing: I still owe the money I’ve borrowed. Not only do I take that responsibility with

the gravity it deserves but I’m also concerned with the

is both given and taken. And I’m even more alarmed by the informal stories I’m told by our reps over a cup of coffee on their visit. Few are candid enough to name

names, but each day I hear stories about how chasing owed money can be an

the bullshit and negotiating an outcome. To compound this ridiculous scenario, the offending companies then often have the audacity to cry foul when they can’t get new goods shipped (that they no doubt need to sell in order to pay off their existing debt). The only

rebuttle I’m offered is that ‘this industry has always been the same – not cash rich – run off the back of a fag packet’ as if that is some

Don’t get me wrong: this isn’t a sob story for our

the retailer’s side of the counter and our suppliers are big enough to stand on their own two feet. But I’m annoyed. Why? Well

got himself into a position where he believes the best course of action to get a bill paid is to feed the bad debtor more credit, then they don’t deserve either my sympathy or custom. However, I am

directly affected by this irresponsibility because:

- The feeding by the credit monster encourages over-supply to irresponsible companies; they believe the more they get the more they can sell. By some perverse logic this also often yields a better buy price as suppliers often see them as ‘key accounts’ who ‘do the numbers’. And as the

retailer burns down the hill we have to compete against their volatile pricing to pay our modest bills.

And when (as has happened on many occasions) that company inevitably goes bump and vanishes - or worse it is ‘bought out of administration’ (meaning

bought but the nasty bad bits vanish) - the supplier may cry and weep but ultimately that debt never truly vanishes, because the solvent, responsible

customers such as us absorb that cost for them by way of paying higher cost prices down the line to restore the supplier’s bottom line.

So, to those doomsayers who proclaim that this is the way it has always been, and must remain, I offer the following solution: Use settlement as your tool. And I don’t mean a poxy three per cent. I mean real,

paying the bill on time. Ten per cent, 20 per cent, even. And before you moan that you can’t afford such discounts, the answer is simple: put your goods price up to compensate. I couldn’t care less if trade is the same as retail, as long as my settlement gives me the margin I want.

If there are reasons you can’t; if the volume offered by these riskier accounts is impossible to live without

me cry a tear for you when you write your own tragedy.

Businesses must remember they will still owe the money they borrow from creditors

Why some businesses might want to think twice before spending money they don’t have…

“The feeding by the credit monster encourages over-supply to irresponsible companies that believe the more they can get, the more they can sell.”

SECRET DEALERTH

ERETAIL


FACTS & FIGURES

RRP: £49.00Operating Requirements: Windows 7 or later; Mac OS 10.8 or later; iOS Device: iOS 7 or laterQuantifying bit number/Sampling frequency: 24bit/44.1kHzInputs/Outputs: GUITAR In; HEADPHONE Out; USB ConnectorPower Supply: 2 x AAA batteries or USB bus powerBattery Life: Approximately 8 hours (alkaline)Accessories: 2 x AAA batteries, USB cable

Now arriving in the UK is the new Vox amPlug I/O, an easy-to-use

audio interface that plugs directly into the guitar.

The product comes complete with Vox’s JamVOX III software, adding greater value for money.

To use, players need simply connect the amPlug I/O to a computer via USB. Then they can start playing and recording with the JamVOX III software, which comes included.

The amPlug I/O is also compatible with the user’s favorite DAW or guitar amp simulator, thanks to its ASIO driver support.

Users can also connect the amPlug I/O directly to their iOS device (iPad or iPhone) by using the optional Apple USB Camera Adapter kit.

Additionally, the amPlug I/O features a built-in tuner with a highly visible LED display, and can also be used as a stand-alone tuner when it is not being used as an audio interface.

Other key features include a foldable plug mechanism that rotates 180 degrees for storage and can be adjusted

With its compact size and wide range of applications, the Vox amPlug I/O is a suitable addition to the modern guitarist’s kit.

ContactsAddress: Korg UK, 1 Harrison Close, Knowlhill, Milton Keynes, MK5 8PATelephone: 01908 304600

A new USB audio interface that musicians can plug directly into their guitar is now available from Vox

VOX AMPLUG I/O USB AUDIO INTERFACE

RETAIL ESSENTIALSMI PRO


Perri’s range of licensed Beatles guitar accessories comes in a variety of designs and

colour schemes.The company’s selection

of Beatles guitar bags are available in an array of different options, including Yellow Submarine, the Apple Logo, Sgt Pepper’s Lonley Hearts Club Band and The Beatles, which comes emblazoned with every classic album title design.

These 600D padded nylon guitar bags also come complete with strong zips, back pack shoulder straps, multiple pockets and reinforced handles.

Each design is available in acoustic, electric and bass guitar formats and are priced at £39.99.

The Beatles theme continues with Perri’s strap range. Designs include more references to the band’s classic albums, such as Revolver, Rubber Soul, and The White Album printed onto 16 different 2.5” leather effect vinyl straps (£29.99) and two 2” poly strap designs (£19.99).

Finally, Perri’s assortment of Licensed Beatles Pick Packs again covers the Fab Four’s classic album designs

packs of six picks (£5.29 each) or two packs of 12 designs (£8.99 each).

Perri’s Licensed Bags, Straps and Picks are distributed in the UK and Eire by John Hornby Skewes.

ContactsAddress: John Hornby Skewes & Co. Ltd, Salem House, Parkinson Approach, Garforth, Leeds LS25 2HR, United KingdomTelephone: 0113 2865 381Website: www.jhs.co.uk

The company’s wide range of licensed Beatles guitar accessories is available from UK distributor JHS

PERRI’S BEATLES BAGS, STRAPS AND PICKS

ALSO IN THE RANGE:Perri’s Licensed Bags, Straps and Picks contain designs for a plethora of bands and artistes including:

AC/DCBEACH BOYSDAVID BOWIEELVIS PRESLEYGUNS & ROSES

IRON MAIDENOZZY OSBOURNEPINK FLOYDQUEENRUSH





D’Addario has expanded its premium American Stage Cable line with

the introduction of the Killswitch cable.

Featuring a momentary ‘kill switch’ for silencing the cable during live instrument changes, the cable aims to avoid loud pops and squeals

D’Addario American Stage Series cables are designed to reproduce the natural tones of your instrument with zero interference. With high quality wire made in the USA, the low 28pF/ft capacitance is the ‘sweet-spot’ for uncoloured tone, while the 22AWG oxygen-free copper conductor provides enhanced signal transfer.

Full coverage comes from using 95 per cent tinned copper braiding, eliminating handling noise and rejecting interference. Using high-grade materials, custom designs, and precision US manufacturing methods, American Stage is engineered to deliver a professional performance cable, resulting in a pure, natural tone, guaranteed for life.

ContactsAddress:

Telephone: Web:

D’ADDARIO AMERICAN STAGE KILLSWITCH CABLE

KILLSWITCH CABLE RANGEPW-AMSK-10RRP £39.99

PW-AMSK-15 RRP £43.00



ALSO IN THE RANGE:STRAIGHT TO

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PW-AMSG-10PW-AMSG-15PW-AMSG-20PW-AMSG-30

RIGHT ANGLE TO

RIGHT ANGLE

PW-AMSGRR-10PWAMSGRR-20

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TO STRAIGHT

PW-AMSGRA-10PW-AMSGRA-20

PATCH

PW-AMSPRR-105

RETAIL ADVISORY BOARD

Adam MastersSouth City Music

Mark HedgeCookes Band Instruments

Nick DurantAllegro Music

Chris JonesCoda Music

Dave PasseraWembley Drum Center

Andy BushellMake Some Noise

Alex MartenRed Dog Music

Andrew BushellMake Some Noise

MAKE SOME Noise has offered complimentary

workshops to local schools. We discuss with the children

(usually aged 5-8) the different musical instruments offered by the school and give them the opportunity to Make Some Noise (shameless cash in).

We send a letter home with the children explaining what they have done during their school day, whilst offering the school an opportunity to earn via kickbacks to the schools for any orders the school

administrates for us to the tune of 20 per cent of the retail value. We also have customers coming directly to us. This is an extremely time consuming process and a very slow burn approach but I feel that ultimately it will pay off.

digit order from one school so that can only be a plus!

WE HAVE seen our education business decline over the past few

years. The business that we still get offered tends to come from teachers who have used us in the past and are able to channel orders our way.

I think that local schools tend to source equipment via the Internet these days, with the primary objective to obtain the absolute lowest price. There seems to be no desire to keep the business local, even with the service advantage that it might offer to them.

You could also be forgiven for thinking that there might be a ‘brown envelope’ system going on between schools and some suppliers, but perhaps that’s just me being cynical.

We do far better with independent music schools and we have built up some strong relationships, whereby we channel new players to them and they, in turn, send their pupils to us for their instruments.

We also do quite well with music colleges. We achieved this by approaching individual lectures, who were already customers, and holding events like open evenings with student performances in store. This has helped build strong relationships with both the pupils and the lectures.

Q

Connecting with the education sector can be crucial for some retailers

Mike PodestaCranes Music

OUR PANEL OF RETAIL ADVISORS...

How can retailers connect with the education sector to generate new customers?

“Since school budgets are being cut, school-based music lessons are under pressure.”


Richard ThompsonSheehan’s

Adrian BamfordNeath Music

Roy ChudobskyiNevada Music

Rupert BradburyJG Windows

Simon GilsonPMT

Dave BamfordSymphony Music

RETAIL ADVISORY BOARD

Mike PodestaCranes Music

OUR RELATIONSHIP with the education sector has always been

something of a uphill struggle. The assisted purchase scheme has worked well for us, but we have had to do all the work in

promoting it ourselves. The schools in our area make

little, or no effort, to make parents aware that they can get VAT-free instruments.

We have good relationships with several teachers but it’s

grasp the reciprocal nature of that relationship.

We may provide work-experience placements for schools, but still they don’t always consider us when they need to make purchases.

We regularly mail-shot the music teachers of all the local schools, but quite often they don’t even open the emails. It’s not their fault though; teachers are busy, many don’t understand business, nor do they think like business people.

Curiously, we’ve now begun to compete with the education sector. Since the school budgets are being cut, school-based music lessons are under a great deal of pressure and we’ve reacted by expanding into private music tuition. We may even end up selling these services back to schools in the future.

DUE TO to the size of our business, we aren’t logistically established to effectively penetrate

the competitive education market in our area. We don’t have the infrastructure to offer razor-low margins on high volumes of stock with the quick turnaround that this sector demands. Other businesses are set-up to do this and we wish them the best of luck. However, this doesn’t mean we don’t enjoy business from our valued customers in the education sector. I believe that this is the result of us playing to our strengths:

• People deal with people, and most of our education business we win is as a result of the decision makers having visited our store or dealt with us on a personal level.

• We tend to attract buyers who

that we specialise – namely guitars

and pro-audio. Prices are still paramount, but they tend to favour the professional-level products that we retail, rather than those products aimed purely for the education market.

As a result, we don’t have an ongoing strategy to continually connect with the education sector as a whole but instead we focus any marketing energy purely on those education customers who understand the value we can offer, or we believe will understand the value we offer if we make a compelling case.

Dave BamfordSymphony Music


NEXT MONTH

Do you have a question that you would like to pose to the MI Pro Retail Advisory Board?If so, please contact Daniel by email on [email protected] or via telephone on 01992 535646.

“We have good relationships with several teachers but it’s often

them to grasp the reciprocal nature of that relationship.”

Adrian BamfordNeath Music

ADVERTISE YOUR JOB IN THE INDUSTRY’S MOST RESPECTED TRADE MONTHLY

LOOKING FORNEW STAFF?

To make a booking, please [email protected] call +44 (0) 207 226 7246

BASED IN Hertford, The Guitar Studio not only focuses on guitar sales, but also delves into music education, along with various other workshops.

Having taught music and worked in the industry from a young age, owner Neil Drummond has taken a number of routes with the store, offering more than just retail to its customers.

“We opened the shop about three years ago now. Jess (Drummond) and I were both music teachers and had a studio set up in Ware. We then hired a premises in Hertford and started some guitar classes, which expanded into a shop where we sold guitars to students.

“I’ve worked in music stores since I was 18, as well as teaching. When I came to the UK I worked in a store on Denmark Street, and taught in a school there, too. So it seemed like a no brainer to get our own premises. When we got this place it was like a bomb had hit it, so we got a good deal on it and built it from the ground up.”

With the retail climate tough as ever, Drummond believes stores cannot simply rely on the retail side of business and, as such, has built his around more than guitar sales.

“We have quite a small retail area because retail can be a bit risky when you’re up against the Internet, so we were careful with that. We don’t do any online retail, which is a fault of ours. We haven’t really had time; we’ve been busy with the teaching and keeping the store together. Then I think ‘who will we be competing with?’ so maybe we don’t want to get into that game. But I’d like to have a website where we have photos of our high-end guitars so people can see what we’ve got and come check them out.

“But on the retail side we are doing ok. We tend to have high sales on high-end and entry-level

guitars. Intermediate guitars are quite a tough sell. By the time someone’s an intermediate player they know enough about something to take a chance on buying online, or eBay.

“Beginners will buy from us because they’re not too sure what they’re doing. And, with the more expensive guitars, they’re a bit more discerning and they want to have a play

before they purchase it. “Retail can’t be relied on

in my opinion; you’ve got to have other things. We have a triangle of retail, teaching and repairs. Teaching gives us a constant feed of people coming into the store to see what we offer. We have around 120 people a week come in just for lessons.

“Teaching has always been a good line for us. It’s very dynamic. We teach people how to play the guitar and then we sell guitars to them as they go through different levels.

“Our repair services are key to the shop surviving. Having the repair side of the business is crucial because that’s how you can convince someone to buy from you and not the Internet. We offer a one-year guarantee on all of our products and

wrong for free. That’s a big selling point for us, especially on some of the

more expensive products.”Another unique element

of The Guitar Studio’s business is the guitar building courses it runs.

“We run guitar building workshops, where you can build a whole acoustic guitar from scratch using traditional methods and no power tools. That’s run by a luthier, Nick Blishen, who was the course leader for Musical Instruments at The London Metropolitan University and wrote Acoustic Guitar Making: The Steel String Guitar.

“The two of us set up the place up, down at the Dicker Mill workshop. We have eight or nine workbenches and around three or four classes a week.

“Things like this are more interesting to me than just being a salesman. I’m very interested in the history of guitars. Educating people in the instruments is very different, and important. So that’s why we do what we do. It’s much more crucial to learning the instrument, rather than just coming in and buying a guitar.”

Address: 2 Railway Place, Hertford, Herts, SG13 7BS Telephone: 01992 677992

With a new premises opening to focus solely on music lessons, The Guitar Studio is expanding its footprint in Hertford. Rhys Troake

“Retail can’t be relied on in my opinion, you’ve got to have other things.”


RETAIL PROFILE

The Guitar Studio, Hertford

BRUM DIARIESOur man of mystery delivers the second installment of his Birmingham report...

GuitarGuitar

The Classical Guitar Centre

MYSTERY SHOPPER

AFTER BEING misguided by Google Maps, I eventually made it to the guitar behemoth, GuitarGuitar. With its large premises, GuitarGuitar is rife with guitars of all shapes and sizes.

Passing a customer who was in

awe at the amount of guitars on display, I began to make my way around the maze of products. The impressive amount of stock available in store would satisfy any type of player, while the low prices on

some of the guitars were impressive.

There are also a few rehearsal rooms set up, which are always a bonus, giving you some privacy as you try out some of the guitars.

As I wandered around the store, the staff constantly made their presence clear, offering assistance if needed, making it a comfortable shop to have a browse. The store was particularly busy, but the members of staff made sure everyone was being seen to.

MAKING MY way out of the city centre, I reached my next destination, The Classical Guitar Centre. Sharing its premises with a classical guitar school, the store offers brilliant service, with a wholesome range of classical guitars.

store, I found a doorbell to ring and was greeted and taken in by a shop

wide selection of classical guitars.Informing the assistant I was

planning on learning classical guitar, and looking for a price on an entry-

level model, she took me through a range of different models that may have been suitable for my needs, and gave me a feel for them. She even referred to some offers on starter bundles she could throw in for me.

I was also informed of the lessons that the store is able to provide customers with, and even offered a free introduction lesson to sample a guitar to see if it was the right choice for me. She then wrote out a list of the guitars I had been shown and told me not to hesitate to call if I had any queries and saw me out of the store.

A great store for anyone looking to learn classical guitar. Look out for the doorbell.

RATING 5/5

GuitarGuitar has an amazing array of guitars for all types of player, with a relaxing environment to shop.

RATING 5/5


HEADING BACK into the normal civilisation of the city

Hobgoblin. The Birmingham branch of the folk instrument

selection of instruments and offers great service.

After being welcomed by a shop assistant, who was already busy with another customer, I had a browse through the products the store had to offer. Although I’m not very familiar with folk instruments, I was impressed with the amount of products I came across, and intrigued with the ones that I had not come across before.

When the member of staff was

instantly came over and asked if I needed any help.

Mentioning I was looking for an entry-level banjo, he took me through what was on offer. I was shown several different types of banjo, and was told how they differed from each other, and what I would get for my money. I also rather enjoyed the performance he gave on each one.

Accordion Centre

Hobgoblin

Birmingham offers a vast array of MI stores.

CONCLUSION

MYSTERY SHOPPER

EMBARKING ON one of the more interesting/dangerous walks of my journey; I headed over to the Accordion Centre.

Arriving at the address I was given, I felt a bit lost, as there was no sign of the store in sight. After asking

I was told it was the building I had presumed was someone’s house.

Going through the front door, which I noticed had a very small sign on it, I found myself standing in what seemed even more like someone’s house. When a man on a

accordions and was pointed to a room, and he disappeared again.

Entering the room I came across another man so lost in playing an accordion he was not aware I was

THE SECOND half of my trip continued to show me the extent of Birmingham’s MI offering. Going from the mixture of stores

the guitar specialists and folk based stores on the second, Birmingham seems to have it all.

GuitarGuitar is a treasure chest for guitarists. The amount of products in store is fantastic. On top of this, the staff offer superb service, making it a comfotable environment to shop in.

For those looking to play classical guitar, then The Classical Guitar Centre is for you. Providing extremely useful service, the store is worth the trip out of the city.

In need of an accordion? Or fancy trying one out? Then the Accordion Centre seems to be the place to go. From what I could gather, the shop has a wide selection of accordions, waiting to be played. If you can make contact with a staff member.

Hobgoblin was the perfect store to round off my trip. Providing expert service in its specialty area, with a vast range of products on offer, this is the place to shop for your folk instrument needs.

Birmingham is heaving with MI stores of all kinds. From my visit, I think it’s correct to say Birmingham can provide something for any musician.

also in the room. Having a quick look around the place, I noticed the shelves which were packed with a wide selection of accordions, along with a small stage, giving me the impression live performances may have gone on there.

After not knowing what else to do, or if I should bother the accordion player, I decided to leave.

The Accordion Centre appeared as though it can supply accordion players with a good selection of instruments. However, the lack of assistance for a clueless shopper was not ideal for my visit.

RATING 2/5

A great range of folk instruments, and even better service. Whether you are new, or experienced, in the world of folk instruments, Hobgoblin has it all.

RATING 5/5


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Earning from learningFINDING NEW ways to get customers through the door is often a tricky procedure. Chic marketing, or in store deals are often techniques that can be taken to tackle this, but why not take a look at what else you could offer consumers? There is more to MI stores than simply selling instruments and accessories, and it is vital that retailers look into this. Some stores take note of current trends and decide to also sell peripheral products, such as vinyl records. However, trends come and go and cannot be relied on. But education is here to stay. Offering or promoting music lessons in-store is a great way to not only see fresh faces come through

the door, but also keep them returning. If they are learning from you, they are likely to be spending with you. If your store is responsible

for starting a child, or adult, off on their journey as a musician, it would likely become their go-to store for future purchases as they progress. As you may have

Drummond from The Guitar Studio, the education elements his store offers is a primary factor in keeping the business going. However, I do understand that not all retailers are able to provide consumers with lessons due to time, space or staff capability. So what else can be done? Get in contact with local tutors. Whether they are school/college based or private, music tutors can be the middlemen between retailers and customers. If you are chummy with the local tutors then they can advise and send their pupils your way and will consider you as trustworthy retailers. So why not look into it? Are you able to teach music? Or are you in contact with someone who can? Take a look into it; who knows what you might learn?

“If your customers are learning from you, they are likely to be spending more with you.”


GEARnew

CITRONIC has lifted the lid on the CCU2 USB studio condensor microphone

PAGE 46

MARSHALL reveals its UK exclusive Design Store special edition Class 5 Roulette

PAGE 46

PIONEER has introduced its XDJ-RX all-in-one rekordbox system

PAGE 47

COMMENT

RHYS TROAKE, STAFF [email protected]

RRP: £1,199PRS Guitars has lifted the lid on the latest addition to its USA-made S2 line – the S2 Vela.

SPECIFICATIONS: The 22-fret Vela boasts a new offset body shape, while its pickguard-loaded electronics include a PRS-designed Starla humbucker in the bridge and the new PRS-designed Type-D singlecoil in the neck.

The coil-tap on the tone control allows the bridge pickup to split into singlecoils, expanding the guitar’s tonal range. Anchoring the guitar is the new PRS plate-style bridge with two brass saddles.

Antique White, Black, McCarty Tobacco, Seafoam Green, Sienna, Vintage Cherry and Vintage Mahogany.www.prsguitars.com

RRP: £369Line 6 has unveiled the new Relay G70 digital relay system.

SPECIFICATIONS: The Relay G70 offers hands-free support for multiple instruments, and is designed to be the control centre of musicians’ live performance rigs. The receiver supports multiple transmitters, allowing musicians to switch between instruments. Additional transmitters can be purchased separately. Each transmitter features a locking ¼” input, allowing guitarists to plug in with a regular cable.

User-programmable pre-sets on the receiver are designed to allow performers to control each instrument’s signal routing, levels and more with the single press of a footswitch.www.uk.yamaha.com

RRP: £69Citronic has released its latest professional condenser microphone.

SPECIFICATIONS: The new cardioid USB studio condenser microphone features a gold diaphragm and comes

steel mesh.The microphone is powered by

USB, with an FET preamp and A/D converter and is designed to deliver accurate audio to the USB type B connector.

The CCU2 microphone is equipped with Plug-and-play and is PC and Mac compatible.

Other features include a blue LED light indicating that the power is on, while the microphone comes supplied with a shock mount and a pouch to transport the microphone safely. www.avslgroup.com

1. 2.PRS GuitarsS2 Vela

4. CitronicCCU2 USB studio condenser microphone

3. Line 6Relay G70

RRP: From £200Marshall has launched the Design Store special edition Class 5 Roulette, exclusively to UK dealers.

SPECIFICATIONS: The British-made, single channel C5 Roulette is available as a compact combo or head, equipped with a compact 1 x 10” speaker cabinet. It is available in two designs: red and black, or silver, white and black.

With an all-valve signal path, the C5 has class-A circuitry, producing 5 Watts of Marshall tone that responds naturally to playing dynamics. It has a ‘Plexi-esque’ front panel with bass, middle and treble tone stack and features a low power mode with a

The Class 5 Roulette is available in stores now. There will be 200 combos, 100 heads and 100 cabs.www.marshallamps.com

MarshallClass 5 Roulette

5

6

2

PRODUCTS

NEW GEAR46 MIPRO MAY 2015 WWW.MI-PRO.CO.UK

1

RRP: From £59Nemphasis has lifted the lid on a raft of guitar and bass effects pedals.

SPECIFICATIONS: The Nemphasis pedals range from the Liquid Mind analogue chorus, designed to produce a rich, gentle sound, to the more aggressive settings of the Dark Lady Distortion.

The metal cases include ¼ inside-mounted input jack sockets, clear high-visibility livery, and top-mounted controls.

Amongs the new guitar pedals are the Dark Lady Distortion/Fuzz, Dark Lady Red Knobs, Liquid Mind Analogue Chorus, the Muff Distortion

Amongst the new bass pedals are: Smoking Bass Overdrive, Steam Bass Analogue Chorus VT Comp and the Bass Optical Compressor.

RRP: £179Chord has unveiled its new BJ-4T four-stringed banjo.

SPECIFICATIONS: The Chord BJ-4T four-string tenor banjo is suited to

The body rims and resonators on both are mahogany, with mahogany necks married to rosewood

Coated drumheads form the

bridges and tuning is served by open geared tuners.

Key features include Resonator body style; chrome-plated armrest; a tension adjustable tailpiece; can accept loop or ball-end strings; two

coated Remo heads; and is available in tenor and guitar tunings.www.avslgroup.com

RRP: £1,199Pioneer DJ has launched the XDJ-RX, the all-in-one rekordbox solution with large, dual-deck section.

SPECIFICATIONS: with a high-performance mixer and a central, full-colour screen featuring dual waveform display.

Based on Pioneer DJ’s NXS line-up, the XDJ-RX adds pad control with the all-new Loop Slice, recording live to USB, and loads rekordbox tracks directly from USB key.

The XDJ-RX features a new, large full-colour LED screen with dual waveform display.

It is USB driven (Deck 1 for playback, Deck 2 for playback and

with a high-quality Sound Colour FX and Beat FX.www.pioneerdj.com

RRP: £1,249Supro has released its new Royal Reverb amp.

SPECIFICATIONS:

power tube tremolo comes after the six-spring reverb pan, lending an ethereal ‘shake and wobble’ to the wash of tube-driven spring reverb. Independent treble and bass controls in the preamp offer tonal control, while a three-way switchable power scheme offers a variety of textures from the 6L6-fueled power amp. The 35W Class A (Cathode Bias) and 45W Class AB (Grid Bias) modes deliver the ‘spongy’ character of the

for faster transient response with maximum headroom and volume. www.jhs.co.uk

5. Nemphasis Effects Pedals

6. Chord BJ-4T

7. Pioneer XDJ-RX

8. SuproRoyal Reverb amp

3

PRODUCTS

4


7 8

With another Musikmesse now behind us, we’ve devoted this month’s back pages to a special Frankfurt photo gallery…

BACKLINEA MONTH IN THE WORLD OF MI


Below: Audio-Technica’s Tom Harrold

Monacor’s Leighton Castle shows off some of the

SEND US STUFF>> THIS STUFF DOESN’T come out of thin air, you know. We make most of it up, to be honest. But we would like our lovely readers to get involved. Email: [email protected]


Left: Studiomaster’s Patrick Almond

music-themed motorbike

MIRC 2015

Also on the way...

FEATURES LISTUPCOMING

Enquiries to: MI Pro, NewBay Media, Saxon House 6a St. Andrew Street, Hertford SG14 1JA.

Tel: 01992 535646 (Editorial) Tel: 01992 535647 (Advertising) Fax: 01992 535648

MIPRO is a member of the PPA

ISSN 1750-4198

Copyright © 2015 NewBay MediaPrinted by Pensord, Tram Road, Pontllanfraith, NP12 2YA

The international monthly magazine for music instrument professionals and everyone in the MI business

MI Pro has a monthly circulation of well over 6,000. It is distributed in the UK and internationally to MI retailers, industry professionals and carefully selected pro audio executives and resellers.

UK: £50 Europe: £60 Rest of World: £90

SUBSCRIPTIONS

Enquiries: [email protected]: 01580 883 848

Charges cover 12 issues

MI PRO is published 12 times a yearEditorDaniel [email protected]

Staff WriterRhys [email protected]

Account ManagerKarma [email protected]

Head of Design and ProductionKelly Sambridge [email protected]

Production ExecutiveJames [email protected]

Commercial DirectorDarrell [email protected]

Marketing & CirculationCurwood [email protected]

© NewBay Media 2015All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. The contents of MiPro are subject to reproduction in information storage and retrieval systems. Printed by Pensord, Tram Road, Pontllanfraith, NP12 2YA

FORWARD FEATURES


ACOUSTIC GUITARS AND STRINGSOur retail essentials feature focuses on the acoustic guitar and strings market, boasting both established classics and newly launched products.

July/August 2015

OUR June edition is a dedicated

MIRC 2015 special. In this issue,

company, along with a detailed

rundown of the morning conference

programme.

For sponsorship enquiries, please contact Karma Bertelsen on 020 7226 7246 or [email protected].

SPECIAL FOCUSTo coincide with our retail essentials feature on acoustic guitars and strings, we will be speaking to some of the UK’s

holding up.

The features you need to look out for in the June and July/August issues of MI Pro

www.audio-technica.com

ATH-R70x PROFESSIONAL OPEN-BACK REFERENCE HEADPHONESATH-M70x PROFESSIONAL MONITOR HEADPHONES Audio-Technica introduces the new leaders in studio headphones: ATH-M70x and ATH-R70x.

Both models offer extremely accurate audio reproduction along with the comfort, durability

and convenient features that are bound to make them studio mainstays. So whether you prefer the

sound isolation of the M70x or the spacious sound of the R70x, deciding on your next pair of

studio headphones is an open and closed case.

Open & Closed The new flagship studio headphones

Documents

MIPro Issue 180