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  • News
  • MMR Global
  • Supplier Scene
  • Upfront
  • People
  • MMR TV
• New Products
  • Keyboards
  • Fretted
  • Drums & Percussion
  • Amps
  • Pro Audio
  • DJ & Lighting
  • Print & Digital
  • Accessories
  • Band & Orchestra
• Buyer’s Guide
• Awards
  • Dealers’ Choice Awards Ballot 2023
  • Don Johnson Award Winners Archive
• Directory

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The Evolving Independent Music Store

In the ‘60s and ‘70s there was only a sprinkling of music stores in the area where I lived. I lived just outside of Washington D.C. in what was then the charming town of Alexandria, Virginia. As the music business evolved, the region around Washington dramatically changed. No longer surrounded by sleepy suburbs, the area is now extremely congested, fast paced, and expensive. You might say it is suburbia with a heavy dose of urban.

When I was young, Georgetown, D.C.’s elite borough, was home to a unique music scene that gave rise to artists such as Stewart Smith. He went on to become a guitarist for the Eagles. Others who emerged were folk legend Emmylou Harris, the legendary vocalist Eva Cassidy, and legendary Telecaster masters Danny Gatton and Roy Buchanan. Buchanan was not only famous for his unique guitar work, but he also had the bragging right of having turned down an offer to play with the Rolling Stones when they were looking to fill the shoes of Brian Jones.

Over time, high-end clothing boutiques, exotic cars, and big money swallowed the Georgetown music scene. Rock & roll clubs simply became a nuisance to the wealthy folks that occupied Georgetown. Today, Blues Alley is the last standingiconic venue there, and though the ownership of Blues Alley has changed, thankfully they still honor and celebrate their rich jazz history by hosting excellent artists and intimate performances.

During those unique years, Chuck Levin’s renowned Washington Music Center was the only full-line music store in the region. The store’s customers included Stevie Wonder, The Moody Blues, and The Rolling Stones. Chuck Levin himself was an iconic figure evoking a “folk lore” reputation as “Captain Discount.” Originally, “Chuck’s,” as the locals called it, was in Washington D.C. However, after the 1968 D.C. riots, Chuck’s moved to Wheaton, MD.

It was then that Tony Zavarella, Chuck’s respected repair technician, opened his own, quaint shop in Virginia. The engaging style of Zavarella’s earned the respect of local players and that catapulted the store’s reputation. In those days “respect” was the king of all capital. The man, himself, Danny Gatton, frequented Zav’s often, so if “that guy” thought the music shop was cool, all humble followers of Mr. Gatton’s guitar wizardry also followed him in lockstep, supporting not only Zav’s, but Chuck’s as well.

It is important to compare that period in music to today. Although there have been massive changes in the music retail landscape, and the delivery system of music itself, we must understand that the changes we are experiencing are here to stay, whether we like them or not. Chuck Levin’s thrived because it was, and remains, unique. Although difficult to do, it has adapted in the face of the big box formula. For independent stores today, that evolutionary process is increasingly more challenging. One huge factor is that in 1958, the internet was not an issue.

For now, take a minute to think about small box stores. They win loyalty through creative diversification and quality of service. Today’s customers have a plethora of choices at the tips of their fingers. Therefore, success in today’s small business environment takes more than a dollop of creative thinking. In truth, it seems that no sooner do we think of a clever idea, then someone down the road adds mayonnaise and a pickle to it and markets it as an original though.

Another small box challenge is the fact that consumers no longer have the patience to delve deeply into researching anything, so whatever pops up first, gets the click. The two exceptions to affect that are reputation and creative allure. Although it takes time to earn a reputation, an excellent reputation takes longer to earn than a bad one. It only takes a few missteps for customers to lose faith. Understanding and concern for your hard work is immaterial. However, the customers do care if you have created an environment that inspires them.

Creative allure is the “Big Kahuna.” Music is an emotional endeavor. While gear is charismatic, your creative allure differentiates you from the pack. In today’s market, it is the only tool left in the toolbox that uniquely belongs to you. Allure involves quality of music education, the understanding of nuance in performance, leadership, and character development. You cannot download those traits, and you can’t fake teaching them either. For independent music stores to defend their encroached territories, we must be more creative and inventive. The good news is that is our forte!

Pack it Up, Pack it In! – Drum Microphone Packages

Setting up mics for one vocalist, or one guitar rig – pretty straightforward, yes? Not so when attempting to effectively capture the sound of one entire acoustic drum kit!

With truly effective live and studio applications requiring that each drum kit component be mic’d (at least once!), depending on the scope of the set and style of the player, engineers are looking at a need to set up many appropriate microphones to best capture to tape (or hard drive, virtual/cloud drive, or wherever else) what’s being performed in real-time. Not surprisingly, pre-packaged Drum Microphone Packages (kits, sets, packs, et cetera) represent a hassle-free solution with, typically, good ROI.

With nearly 95 percent (94.2%) of participants in this month’s survey on Drum Mic Packages (kits, packs, et cetera) – sent out to over 900 folks – reporting sales to be up or level, when compared to 2023, this is clearly a bright spot within MI. Moreover, with the vast majority (64.3%) of customers for these packages opting for gear within the $301-$1,000 price-range, these aren’t bargain-basement hunters!

When compared to 2023, sales of Drum Microphone Packages) at your store are…

Up: 5.8%

Down: 39.8%

Level: 54.4%

 

 

What are your customers using these Drum Microphone Packs/Kits for, primarily?

Live Sound: 47.5%

Recording & Mixing: 29.7%

Evenly split between both live sound reinforcement and studio applications: 23%

 

 

What price-points for these Microphone Packages are moving the most units for your business?

Under $250: 11%

$251-$300: 12.5%

$301-$500: 39.5%

$501-$1,000: 24.8%

$1,001-$1,500: 4.9%

$1,501-$3,000: 6%

Over $3,000: 1.3%

 

 

What brands of Drum Microphone Kits are selling best for your business?

Shure: 67.4%

AKG: 42.9%

Audix: 42.9%

CAD: 29.3%

PreSonus: 29.3%

Sennheiser: 29.3%

Samson: 21.1%

RODE: 16%

DPA: 12.8%

Earthworks: 12.8%

Heil Sound: 12.8%

Yamaha: 5.6%

Peavey: 5.6%

KickTone Microphones: 4.3%

Barton: 4.3%

“Other”: 3.2%

 

 

Have you been observing any trends regarding Drum Microphone Packages – buying habits, in-demand features, et cetera?

“Drummers must have pictures! Big, colorful pictures that show what is in the box. Nothing snazzy or subtle: PICTURES!”

Anthony Mantova

Mantova’s Two Street Music

Eureka, California

“All-in-one kits are popular”

Clancy Ferrill

Clancy’s Music

Stockton, CA

“Drummers have definitely become more discriminate in choosing drum mics. More of them are putting quality above price and look for packs that will work well for both live and recording.”

David St. John

Music & Arts

Glendora, California

‘The Store that Ate Your Brain’ – Celebrating 60 Years of House of Guitars, Rochester, New York

Located in Rochester, New York, the House of Guitars is hailed as the “Largest Guitar Store in the World.” Established in 1964 by brothers Bruce and Armand Schaubroeck, the store’s humble beginnings trace back to their mother’s basement, quickly gaining renown as a hub for music, art, and culture.

In the wake of the Beatles’ American debut in 1964, Armand and Bruce seized the opportunity, transforming their mother’s basement into their inaugural store. Juggling day jobs with their newfound venture, the Schaubroeck brothers catered to a younger clientele, offering affordable guitars and encouraging hands-on interaction with the instruments. Bruce recalls the chaotic scene: “Mom would come home from work, totally exhausted both mentally and physically, and she’d see teenage kids all over her house and salesmen in three-piece suits with suitcases out; these sharks taking money from her babies. She hit a breaking point and threw everybody out.”

In the early 1970s, the brothers made a pivotal decision, acquiring a historic building in Irondequoit, formerly known as the Grange Hall. This early 20th-century structure had served as a focal point for the local farming community, hosting various social activities. It would prove to be a strategic move for the Schaubroeck brothers, establishing a permanent home for the House of Guitars.

Pioneering their reputation, the House of Guitars gained early credibility by stocking the same instruments played by the Beatles before any other retailer. Armand Schaubroeck recounts, “When the Beatles came to America, we knew what they were playing. We knew that George Harrison played a Gretsch Country Gentleman and Vox Amps that weren’t in the United States yet. I made an order to Vox in England, and they shipped them to us. So, we had the first Vox amps that came into the United States.”

Today, the House of Guitars boasts an extensive inventory of new, used, and vintage guitars showcased across multiple levels. The upper floors feature drums, keyboards, and an in-house repair shop, Robinson Kustom Repair. Backrooms house percussion, amplification, PA equipment, and accessories, while a spacious and overloaded warehouse offers CDs, vinyl, DVDs, and band merch. Adorned with decades of memorabilia, the store resembles a museum of music history rather than a conventional retail space. Additionally, the store operates its own music school, offering daily lessons across various instruments.

Renowned as a haven for professional musicians, the House of Guitars has welcomed esteemed acts such as Aerosmith, Ozzy Osbourne, Cheap Trick, and Metallica, solidifying its status as a landmark in the music industry.

I consider you guys pioneers in MI retail. Tell me about when you guys started out in your mom’s house. What were you selling those early years?

Armand: We had a lot of used and we had Premier guitars, Hagstrom guitars, and a lot of low end, you know, like, all the brands on the low end. But also, bands are leaving stuff on consignment, like Fenders and Gibsons. And we were also buying ’em used, you know. Like, the cellar was actually full of guitars, more than other stores had, you know, even though we were in the basement. But the regular stores were totally different. They were like jewelry stores back then. I’m talking 1964. It was kind of “look, but don’t touch.” And if a young person went into the store, they weren’t allowed to even play the guitar. They’d say, “Come back with your parents.” Then still, they didn’t let ’em play the guitar. They put it in the glass case, and there was a little rug on the case, a glass case, and they’d lay the guitar there, and you can kinda look at it, where, in my basement, there was kids, all over, through big amps, just blasting away all around the whole cellar. And we started discounting because we had no upkeep in the store. You know, it was like, my mother was giving us rent-free basement, you know? And it just blew up. It was crazy.

And the music stores, like, that were established, they only had a few guitars, and they wouldn’t take trade-ins. They felt the trade-ins made the new guitars look bad. But we encouraged the trade-ins, and then we’d have people constantly trading up, that were in bands. But when we were in the basement, we also made the Vox amp connection in England. And I ordered a whole bunch of Vox amps for a band that was trying to be like a Beatle band, called The Group, Limited, back in the ’60s. And they were before Thomas Organ distributed them in the United States, so they all came, but with the wrong voltage, because they were European voltage, and we had to get converters for all of them for the bands could use them.

How old were you guys when you were doing this?

Armand: I think I was 20. Twenty. I was 19 or 20.

 

And you’re making long-distance calls to England, at 20 years old in the ’60s, to track down Vox amps from the supplier.

Armand: Yep.

Bruce: Jennings Musical Instrument Company.

What was the first big line that you were an authorized dealer for?

Armand: Epiphone, when it was American. Back when Epiphone was made by Gibson in the same Gibson factories. And they had a equivalent guitar to every Gibson, you know. Like, they had the Epiphone solid bodies, fretless wonders, and they had the Beatle guitar, the Casino, like, the 330 Gibson.

 

So, Epiphone was your first real line.

Armand: Well, Hofner before that.

Bruce: Guild. Yeah. Hofner, Guild, Epiphone, probably Gretsch, all are similar within the same year, I think.

What were some of the first jobber lines that you got in for strings and accessories?

Armand: There was a lot of ’em, actually. They came to my house to get orders. I think it was Charlie Eddie was with one of the companies. He was a rep back then. And he always enjoyed it because we’d get him a cup of coffee and he’d sit, you know, like, in a couch. And the TV be on, and he’d be drinking coffee with his couch with his order book. And he said, “This is the way to do business,” you know?

You guys crack me up. I love the store. How many locations have you been in, from your mom’s cellar to where you are today on Titus?

Armand: We had two on Clinton Avenue, some in some tough sections, because we couldn’t afford the town we were in right away, you know. And we built up. And then we were in Charlotte, near Lake Ontario. And then we finally opened a small store near where we are right now. And then we expanded in the small store, and we rented, or leased, a whole top building of a grocery store and a shoe store. But we had the whole top, because our store on Titus was lean and long. But, you know, it had no real width to it. But guitars were stacked on both sides, and the amps were down the middle.

Then we expanded with a grocery store next to us. He couldn’t afford the rent, so he put up a concrete wall, and then we put all the amps in an amp building in the back of his. But, you know, we were bringing the public right there because it was connected to our building now, and he built a cement wall to keep it separate.

So, when did you land on Titus, and how long have you been in that location?

Armand: Okay. Titus was that location too, but we had money down around 1970 on the Grange Hall. It’s the Farmer’s Grange Hall and all the farmers built the building together. And then on the second floor, they’d have the mason meetings, where there were four platforms for the four, for east, west, north, south. And they used to sit on the platforms, with chairs with animal legs. And they, you know, like, goats’ legs.

The first time I came into your store and I do the whole tour, I’m like, “This is the Winchester House of Guitars.” Like, they just keep adding a room here and a space there, and a space… “Oh, down here is a basement with a studio, and there’s…” You must have started in that front room, and then kept adding, eventually to get to the CD room in the back. Is that what happened?

Armand: We kept buying…

Bruce: Yeah, exactly. Yes.

Armand: We kept buying buildings, adding on buildings that we could connect the front building to. But each time we did it, we were taking a big business risk, because you have to double your income when you add on another big building, which a lot of people expanding quick don’t think about that they have to actually take in twice as much, or a lot of people go out by expanding. But we kind of knew what we were doing, you know?

Outside of George Gruhn’s or Walter Carter’s stores, you have one of the most impressive collections of vintage used instruments of any store I’ve been in.

Armand: That’s what attracts the national bands in the House of Guitars, because they get new ones for free, but they buy vintage. And then, you know, the government lets ’em depreciate it a little bit each year, whatever.

But I understand that you guys don’t really sell the vintage stuff?

Armand: We don’t like to. But if they trade in something vintage… Like, we had one that traded in a D’Angelico New Yorker for a Segovia Ramirez classical guitar. Now, that’s what we like. Because even if they paid $15,000 or something, what new can I buy that would be as good? I can’t find anything, you know?

So, the only way I’m getting stuff off the top shelf is if I bring in something really cool to replace it with?

Armand: That’s right. That’s the way we like to do it. Also, the Japanese were going across the country, buying up all the used, and they bought a couple things from us and said, “How much for all?” And we said, “No, that’s enough. That’s all you’re gonna buy.” Very common for the national acts to come in all the time… Like, Joe Bonamassa bought a vintage Precision bass and a vintage Strat. But he visited it many times before he made up his mind, you know.

Did he have to swap something out, or were you just happy selling it to him to get the story?

Armand: No. In his case, we just did it. He’s a very nice person. And when he was young, about 14, 15 years old, his dad used to drive him here, and he’d play on our front stage on Saturdays and do free shows. So, we owe him a little, you know what I mean?

It’s not just the gear, it’s not just the crazy store and the experience of walking in there. It’s the marketing, the merchandise. You guys have come up with a unique look and feel, with your cartoons, and the magazine that you do, and the ads you put out, your social media. That’s very organic.

Armand: Yeah. Thank you. Thanks for noticing.

It takes more than cool stuff and marketing to last 60 years, what makes HoG so special to your customers?

Bruce: Well, I look at it like, we try super hard to make sure everybody leaves happy. If they walk in with, like, maybe they’re not really into being a player, or whatever their niche is, they gotta be somewhat interested in music. So, we try to figure out, you know, what they like, and we kinda, like, gear ’em right into that. But everybody that walks in has to leave happy, or we kind of failed. So, we’ll spend the time and, you know, whatever it takes, whether they buy or whether they not, they’re gonna leave happy, and talking about the store. What their feelings are when they walk in, I think it differs like crazy. Some people love it immediately if they’re musicians and, you know, they’re music buyers or vinyl lovers, I mean, the same feeling. But we try to find something in their music needs for whatever who it is.

You started out simultaneously with recorded music and products. When did you start getting into the lesson side of things?

Armand: Right away. Even when we were in the cellar of my mother’s house, we were hooked up with a friend of mine from high school, Jerry Porter, who became the first artist on our Mirror Records. And he would teach at his house, and we had a thing going back and forth. So, it was right away. Also, Bruce and me would even be teachers, teaching stuff to students. They’re mostly learning our songs, but… They’re going around playing our songs, that we wrote!

It is almost hard to find words to tell somebody about the HoG experience. How you describe what I can’t describe?

Armand: We often give them tours. Like, we got a pair of Jimi Hendrix’s pants that he left at a Moody Blues party. We have a John Lennon military jacket and sweater. We got a pair of Elvis Presley’s pants he only used when he rode his motorcycle around Graceland. We got a flute signed by Jethro Tull. We got a fiddle signed by Charlie Daniels. We got a saxophone signed by President Bill Clinton. And then we got original drawings and plastic cells that were used to make the Beatles “Yellow Submarine” movie. We got autographed pictures and platinum records. We won a platinum record for Janet Jackson “Rhythm Nation.” And she signed the glass on it. And it was awarded to House of Guitars. And we got a Bruce Springsteen platinum record. Bruce signed the red label on it, but it was awarded to House of Guitars. And when they hand them to us, it’s kind of funny. They go, “How many stores are in your chain? Because you outsold the Northeast?” And I go, “We just got one store.” And they gave us a platinum for Beatles Sergeant Pepper. It was the same thing. “How many stores in your chain?” You know?

Everything. If it’s music, we got it.

Take me back early, early before the store started. You guys, both musicians, both guitar players, obviously?

Armand: Back then, Bruce was a drummer. We had a band called The Church Mice, and he played drums, and I played electric guitar. We released a 45, on the House of Guitars label. And at the time, Bruce was still in high school, and he made the cover in his shop class for it. Now it’s a collectible, selling for about, you know, $300.

Bruce, I didn’t know the pecking order. You’re the baby brother?

Armand: No, he’s second. There’s another brother, Blaine, used to be here, but he retired, and he’s the youngest.

So, there are actually three of you. Wow. Your poor mother. Is she a saint yet? Has she been sainted?

Armand: Oh, we put her through… She’d come home for work and she’d hear bands blasting all over in her basement all the time.

But she was cool with it.

Armand: Not really. Sometimes she’d get mad and lose it, you know. But she was a good person. She wanted to see us be successful. She just wasn’t sure. She didn’t have the confidence in us, I don’t think. Often, in the early days of House of Guitars, we’d have to pretend we weren’t the owners, you know what I mean? Because they didn’t like buying from somebody young. You know, the kids would bring their dads in when it was time to pay. But usually, the fathers didn’t know which ones were good. The kid did, you know? He’s playing them. He’s playing them all. And he’d be in after school every day trying something different to… So, he tried them all, you know. Then he’d pick out something, and then his father come and try to help them. But, you know, he really wasn’t that much of a help because he kid could play some, you know?

How many lines do you guys carry now?

Armand: I think we got almost everything.

Bruce: Yeah. I don’t think there’s a line we don’t have.

I always leave HoG feeling good.

Armand: Yeah.

Bruce: That’s the mission. Yeah.

Armand: Yeah. A lot of our customers have been shopping here so long that they’re really friends. I mean, they are friends. You know, they’ve been shopping here for 40 years, or 50 years, or some 60 years, you know?

So, 60 years. Are you guys gonna retire and hand it over to the family at some point? Or are you gonna drop dead in that store?

Bruce: Hell, yeah. We’re going for another 60 years.

Armand: Bruce and me both have two sons working here that will probably take over. They’ve been working here a long time. They’re already like us. It’s a lot of family and close friends. Like, my sister is on the register up front, and she’s also doing payroll and a lot of important duties. She used to be, like, an English teacher at the DeSales High School, and she was being prepped up to be vice principal. And her husband was principal. But she likes being with the family, you know.

It’s been a family business from day one. Did your mother make it long enough to see the payoff for you?

Bruce: The moment we kind of opened up the new store, this building that you’ve seen, I think she died shortly after that. She also got to see the first building.

Armand: I’m glad about that, because she got to see us successful, you know?

House of Guitars is a uniquely American success story and MMR is honored to salute them on their milestone 60th Anniversary! I absolutely adore the place and there will never be a trip to Rochester, I don’t care how bad the weather is, that I don’t make my way to House of Guitars.

houseofguitars.com

Don’t Call it a Comeback – ‘The New Normal’ is Treating the PA Speaker Market Just Fine, Thank You Very Much

Based on our recent conversations with reps from some of the biggest names in PA speakers, it’d be accurate to describe folks who operate in that realm as being “bullish” on the market segment. A enthusiastic post-pandemic embrace of live performance of all types in venues big and small are seeing dealers ordering product at a rapid clip and end users snatching the speakers up even quicker.

MMR got the scoop on what specific models are connecting with customers in 2024, how clever MI retailers are making the most of this boom, and what’s likely to unfold in the coming months.

For your brand, what model (or models) of PA speakers are selling particularly well so far in 2024?

Jeff Cowling: We saw the portable PA market gravitating towards batteries and Bluetooth early on, and we now have a full catalog of battery-powered PA systems for musicians and DJs on-the-go, the most popular being our EXM Mobile8 and the EXM Mobile Tower. We’re also having great success with our powered subwoofers in the Elite and Synergy families. We’ve always been known for our subs, and two of the biggest-and-baddest models are the Synergy SA221S and the SA218S – a double 21” earth-shaking powered subwoofer, and a double 18” little brother.

Preston Gray: We have seen growth in all of our speaker sales, specifically our D-Series line of powered speakers. At Yamaha, we want to inspire peoples’ passion and help them step forward to express their individuality, emotion, and creativity. Yamaha is the only brand that provides artists and creators with the instruments to make music and the tools to amplify their work.

Ray van Straten: This has been a fantastic year across the board. Our K.2 Series continues to be our top-seller and has exceeded all expectations thus far. Our CP Series compact PA speakers have also been quite robust – particularly in markets where K.2 may be less accessible to certain customer segments. KS Subwoofers continue to fly out the door in all configurations. And as expected, the innovation and performance of the L Class line array has been incredibly well-received by customers in the event production market, as well as by mobile entertainers looking for a next-level solution for their larger events.

Samia Scoda: The well curated product line is experiencing strong sales across many of the market segments. The ultra-portable and powerful smaller models such as the SV9-MK3 Single 9” Main and BB15-MK3 Single 15” Subwoofer have proved extremely popular for mobile productions and smaller venues.

In live sound, our AT212-MK3 dual 12” Main, MFLA-MK3 dual 12” Line Array, and production series MK3 subwoofers are showing strong growth with regional production companies and larger venues.

Adrian Haselhuber: Both of our speaker lines are performing very well so far this year. Our CDL speakers benefit from the launch of the new, lightweight CDL 10P constant directivity top and powerful 18S subwoofers in November of last year. Customers love the clear sound, powerful performance, and flexible mounting options which make those speakers ideal for applications on the road or in fixed installations. Our venerable AIR speakers, tailored for working musicians who carry their own PA, continue to impress with a rich, extended low-end and natural high-frequency extension. Musicians love the flexibility of using full range speakers for smaller gigs or pairing with 15” and 18” subwoofers in larger venues. What’s more, all AIR full range speakers can also be used as stage monitors.

Have you been noticing any shifts in this market segment when it comes to preferences of end-users re: powered vs. unpowered, types and numbers of inputs, cab material, extra features, et cetera?

PG: Each artist, musician ,or venue has a unique set of needs when it comes to amplifying music. We at Yamaha want to make each of those applications easy to use, whether the musician needs a portable PA for an upcoming gig or stage wedges to be confident in their performance. We offer two different injected cabinet series within the D-Series line with DBR & DXR depending on performance needs. Then, we offer two different wooden cabinet offerings, DHR and our flagship powered offering, DZR. As we are committed to empowering people to make waves with their sound and music, we believe it’s important that we provide products that make it easy for the artist to sound their best. We want to support the trend of artists finding easy ways to sound their best and focus on their music.

RvS: Powered (active) loudspeakers have dominated for some time and we expect this trend to continue.

SS: We have seen a definite increase in the demand for powered products, wood cabinets, ease of use and streamlined functionality. These attributes combined with our MK3 series feature set have aligned tremendously well with the evolution of the market.

AH: Our customers love powered speakers due to the ease of setup and use. You can easily scale your system from just one speaker all the way up to flown line arrays, complete with cardioid subwoofer configurations. Aside from excellent sound quality, we see a lot of interest in solutions that are compact, lightweight and can be configured quickly. Nice-to-have features such as the additional Aux input found on our AIR full range speakers are very popular with DJs and more casual applications. 

JC: Powered cabinets are still the main focus of our business, and our engineers have found ways to jam a lot of power into both our subwoofers and full-range cabinets (not to mention battery-powered products, too). We incorporate a mini-mixer into the back of most of our full-range powered speakers, along with clever DSP settings for maximum performance and Bluetooth streaming.

For obvious reasons, sound reinforcement gear really took a hit during the pandemic. Do you feel we are 100 percent “back to normal?” Are sales still rebounding, or have they plateaued at this point?

RvS: I think if anyone is thinking “back to normal,” they are looking in the wrong places and missing out on the tremendous opportunity available to us today. Certainly, live events came to a standstill during the pandemic. But as the world came alive again, demand went through the roof. Post-pandemic supply chain issues resulted in a lot of volatility across the supply chain and some frenzied inventory accumulation by resellers who were just happy to have something to sell. Fast-forward to today where, for the most part, the better suppliers have things sorted out and can respond to the continuing, increased demand for live events and entertainment. The “new normal” is bright and we’re in a great place to meet this demand and grow market share.

AH: The live sound market has staged a good comeback last year, and we feel there still is room for additional recovery. All of our indications are that 2024 will be a very good year in the live sound category and we look forward to continuing to deliver great PA speaker and mixer solutions.

SS: While there are very few industries that are back to normal and so many landscapes have been altered, BASSBOSS continues to rapidly grow market share. With our major dealer base expansion over the past year we’re seeing dramatic demand increases in both retail and installer markets. 

JC: Sales are rebounding, but I don’t think we’re 100 percent back yet. Component shortages during the pandemic are still creating longer delivery windows, but we feel confident the way our market is performing.

PG: The need for music to enrich our lives continues to be stronger than ever. Partnering with musicians and artists, we focus on our passions and what matters most to people, namely expressing themselves and making an impact, progressing personally as a listener and player, and coming together with others. The live events market set records in 2023 and continues to be on pace to set new records in 2024, providing a unique way to come together with others.

What are some effective strategies employed by MI dealers who are especially successful at marketing and displaying PA speakers?

SS: MI Dealers with demonstration models and those who are active in content creation continue to grow their market share. Building customer relationships with confidence inspiring policies and value adds is a wonderful formula for success.

AH: We all know the old adage that “hearing is believing.” Giving customers an opportunity to experience speakers before they purchase can make a big difference. Even if speakers are not connected to audio, customers appreciate being able to examine size, weight, and connectivity options.

 PG: It all starts with listening to the artist’s or engineer’s needs and applications and then helping match the appropriate product with the applications the customer needs to amplify their music. This is the same approach we take when building products: we start with understanding how the artist will use the product and carefully select features, materials, and functions to meet those needs in a way that makes it easy for them to amplify their music and share it with others!

JC: Rental departments are the go-to solution for getting more PA products out into the hands of end users. With rentals, you get the benefit of more people learning how to use a PA system, and then a word-of-mouth wave starts rolling, producing more rental customers. Retailers also get the benefit of making money twice: first with rental revenue, and then the profits of selling off the used gear (and restocking your rental inventory with fresh equipment).

RvS: Loudspeakers are big boxes largely filled with air. So, a smart B&M retailer with dedicated floor space had better be looking for market-leading products that are in demand and can turn quickly (from back-stock… please don’t dismantle your displays) instead of waiting for that one customer who is going to buy your high-priced margin bomb. For all dealers, I also recommend leveraging widely-available AI tools to listen to the market, develop your GTM differentiation strategies, and make good decisions in an ever-changing retail landscape.

Any recent or upcoming models of PA speakers for your brand you’d like to highlight?

AH: As of November 2023, we introduced two new members of our CDL speaker line: the ultra-compact CDL 10P full range speaker and the powerful CDL 18S subwoofer. The result of years of research and development, the CDL Series combines the best attributes of point source and line array technology into a unique patent-pending design. The constant-directivity radiates a highly focused pattern with consistent SPL throughout the frequency response range, both on-and off-axis. The result is clear, articulate speech intelligibility and natural music reproduction. Further details on the CDL series can be found at https://www.presonus.com/en-US/loudspeakers/cdl/ 

JC: Our reputation for offering great sound solutions with the most reliable designs stretches from the smallest 6” EXM-series powered cabinets up to our Synergy scalable array series. New additions this year will include powered cabs and subs from the NX family, and new powered cabinets from the Paraline array series.

RvS: I’d like to tell you what I know, but we’re just a bit premature in this publication. That said, what’s coming soon may very well be some of my personal favorites in over 20 years at QSC. How’s that for a teaser? This is what happens when you let the marketing guy answer the questions. [Ha! – Ed.]

PG: Our latest series of DHR speakers brings the tonality of a premium plywood cabinet into an accessible price point. Specifically, when an artist is looking to have a consistent sound on stage, the DHR12M powered wedge makes this possible with a coaxial design, ensuring the frequency response is consistent on and off-axis, giving the musician freedom to move around on stage without compromising the quality of the monitor mix they hear off-axis of the wedge.

SS: Our new Makara-MK3 double 21” Subwoofer, CCM-MK3 12” Coaxial Monitor, and the MK3 series performance improvements with multi-preset 96 Khz DSP and weather resistant I/O have been tremendously popular with customers. This year promises to bring a number of new products both small and large. We will be releasing a number of new products both large and small in 2024!

Thoughts on what the rest of the year will bring for this market segment?

RvS: We’re really bullish and excited.

PG: As noted, the live events market set records in 2023 and continues to be on pace to set new records in 2024. We are excited to be a part of the artist’s journey to express themselves and make an impact, progressing personally as a listener and player, and coming together with others through live events and music.

 SS: We see a continued focus on live music experiences and expect growth to continue with an emphasis on festivals, venues, gyms, and HOW.

JC: Festivals, live shows and parties are back with a lot of enthusiasm, so we expect the portable PA business to be robust. We have solutions for gigs of all sizes, and look forward to helping our customers create a lot of sound!

AH: As discussed above, we expect further recovery of the live sound market. It is an exciting time to make live sound equipment, and we look forward to getting to know many new customers. 

Going Off the Deep End – BASSBOSS Celebrates 25 Years

For 25 years now, BASSBOSS has pushed the boundaries of innovation in sound reinforcement. The company’s lineup includes a wide array of resonant subwoofers built to exacting standards, as well as tops and monitors that effectively (and loudly) provide unmatched sonic clarity. At the NAMM Show this past January, BASSBOSS stunned attendees with their now-iconic “Demolition Experience” demo room and introduced new, long-requested products that expanded their offerings even further.

MMR recently touched base with the king of bass frequencies, BASSBOSS founder and designer David Lee to learn a little bit more about the brand’s history, some significant milestones during the past quarter-century, and how the products continue to connect with ever-increasing numbers of enthusiastic users.

Can you talk about the early days of BASSBOSS? What was the catalyst behind launching the brand?

David Lee: BASSBOSS came about as the result of my dissatisfaction with the capabilities of all subwoofers available at that time. The enjoyment of popular music was transitioning from the exclusive domain of hearing to a combination of hearing and feeling. The legacy manufacturers hadn’t recognized this shift. At that time, experiencing a live performance by an artist was “deeply” disappointing because the bass provided in concerts and at clubs was totally inadequate compared to what could be heard at home and especially in the car systems popular at that time.

Having moved from working in hi-fi, home theater installations and, before that, car audio system installations, I began a business dedicated to nightclub system design and installations with the goal of creating nightclub dance-floor experiences that delivered the fidelity that was familiar from the world of hi-fi with the intensity of high-SPL bass that was available only from competition-grade car subwoofer levels.

Since professional/commercial subwoofers capable of delivering the depth and level required for involving audiences in these new experiences couldn’t be purchased, they had to be made. At first they were made individually as custom projects for specific installations. This provided a lot of opportunities for experiments and developments. Eventually the company became what is now BASSBOSS and began making multiples of the same design, which put it in the category of “manufacturer,” but not nearly in the category of “mass manufacturer.”

Looking back on the brand’s first quarter-century, what product introductions, developments, or partnerships stand out as having been defining events in BASSBOSS’s evolution?

Certainly one of the most important decisions was to not be limited to a single technology. I was in pursuit of transcendent experiences brought about by that interaction of sound waves and emotions that is best known as music. How to do that involved investigating and testing every emerging technology and every practical possibility.

BASSBOSS originally manufactured horn-loaded subwoofers to achieve high output efficiency. Horn-loading was the practical way to achieve the desired LF SPL with the available hardware and power, and within the constraints of the available budgets. The goal was always more and deeper, but the demand for deeper frequencies and more portability led to the conclusion that horn-loaded subwoofers were impractical if those two goals were combined. The development and proliferation of relatively inexpensive, high-powered amplifiers further discounted the need for the efficiency of horn-loading. BASSBOSS began developing and making vented subs, vented-horn combinations and hybrid 6th-order bandpass subs because the goal was to create the ultimate audience experience, not to prove the superiority of any one design or philosophy.

The music and the audiences demanded something that the mainstream manufacturers weren’t delivering: Deep bass. The old horn-loaded subs could do loud but they couldn’t do deep. Nobody could, or nobody would, but I wanted that depth, so that became the overarching goal. Go deep!

Then, after years of selling passive loudspeakers, BASSBOSS systems became self-powered and self-processed in 2009 because there was no way to maintain the desired level of performance, consistency and reliability of the systems without maintaining consistency in the amplification and DSP, with the added bonus of making it easier to get even better results.

In a competitive market segment, what do you think sets BASSBOSS apart from the pack when it comes to Sound Reinforcement, both in terms of product offerings and as a company?

Depth. What does that mean? There’s a lot within the products that benefit the user that the user doesn’t ever have to think about. From the deeply technical aspects of how our designs consider the neurobiology of the audience and how the elements of their perception influence their experience, to the thought that goes into the needs of handling the products in their deployment, to the respect for the customers, their efforts and their needs, every point of contact with BASSBOSS can be found to have had thought and effort put into how people will feel within and after that experience. The ease of use of the systems gives BASSBOSS users the freedom and confidence to do what they do best. We go deep so they can go big!

BASSBOSS marked the company’s 25th anniversary at the 2024 NAMM Show with the brand’s “Demolition Experience.” Can you describe what that demonstration entails?

People remember moments. Anyone who was at one of those Demolition Room Experiences won’t soon forget that experience. They also all understand why we do what we do, how we can support them in what they do, and how much they want to provide those kinds of experiences to their audiences.

Do you have any other events, initiatives, product launches et cetera planned to mark this significant milestone in 2024?

We have a full slate of new designs in development, and are expanding our product offerings extensively.

Are there any recent or upcoming BASSBOSS product introductions that you’d like to draw MMR readers attention to?

We have recently released two new products, the CCM12-MK3 Compact Coaxial Monitor, and the Makara-MK3 Dual 21” Subwoofer, which combines with our Kraken-MK3 Quad 21” Subwoofer to provide even more intense bass output from a very small form factor relative to output.

How would interested MI retailers go about partnering with BASSBOSS?

BASSBOSS is exclusively distributed by American Music & Sound.

Expectations for this market segment in the coming months?

We expect people are going to be ready to party, and we’re here to make that the best party possible!

Within Your Reach

“Building customer relationships with confidence-inspiring policies and value-adds is a wonderful formula for success,” says Samia Scoda of BASSBOSS in this month’s Roundtable feature on PA Speakers.

“Confidence-inspiring policies” could be seen as synonymous with the larger concept that Menzie Pittman is advocating for in his Small Business Matters column: “Creative Allure.” Pittman argues that, for smaller brick-and-mortar MI retail operations in today’s climate, it’s absolutely imperative that unique product and service offerings be on the table and that relationships with customers – and potential customers – be forged. It’s not an entirely new concept, the notion that independent MI dealers need to be ever-more creative, nimble, and proactive in order to survive and thrive in the present-day. I’d wager that throughout my entire career at MMR, all 24 years of it (yikes…), the single most-covered topic, in one form or another, has been: How do smaller stores compete and succeed amidst the expanding presence of online retail and big-box behemoths? Of course, towards the beginning of my journey with MMR, you’d have added catalogs to the “enemy list,” but that’s been a relative non-factor for a while now…

What have the potential solutions been throughout those years – and have they changed or been added to? Generally speaking, successful MI retailers have leveraged the ability to offer service that their online competitors cannot, and which their larger B&M rivals sometimes choose not to (or often do rather poorly): lessons, repairs, and a degree of personal service and connection that holds real value for consumers. Back to Menzie’s column in this issue: “Win loyalty through creative diversification and quality of service. Today’s customers have a plethora of choices at the tips of their fingers. Therefore, success in today’s small business environment takes more than a dollop of creative thinking.”

Rochester, New York’s The House of Guitars, “The Store That Ate Your Brain” (see page 20) has certainly nailed “creative diversification” and “creative thinking.” Stocking amongst the finest and largest collections of instruments and musical gear anywhere is absolutely one way to achieve those ends, but one glance at the Google reviews for this MI institution reveals that the allure involves so much more: “Absolutely love this guitar and CD store! The staff were great… the place was HUGE, and the place was clean”; “Must-stop destination when in Rochester… The owner was fun to talk to. We spoke for at least 30 minutes and he gave me a nice tour”; “House of Guitars is legendary, so if you’re in the area you HAVE to stop in… the staff is super cool, friendly, helpful, and knowledgeable”; “A national treasure, it’s a musician’s and music lover’s temple”; “Wow, wow, wow! Probably the coolest music store I’ve ever seen. Incredible selection of guitars”; “What a place. Friendliest people I’ve ever met.”

Do any of the reviews online mention the instruments stocked at House of Guitars? Sure. What’s the primary focus of the assessment from those who visit, though? The friendliness of the staff, how helpful everyone is, the cool vibe of the store, how fun it is.

Those are “confidence-inspiring policies” to aspire to. That’s “creative allure” within everyone’s reach.

All Sam Ash Music Locations to Close

On May 2, Sam Ash posted the following on Faceboook:

Sellers on Reverb See Growth in Q1 2024, Outperforming Every Quarter of 2023

Reverb, the largest online marketplace dedicated to buying and selling used and new musical instruments, has announced that its sellers saw continued growth in Q1 2024, outpacing every quarter of 2023. This success is part of a larger trend that has seen sales on Reverb increase by nearly 50% since 2020, fueled by demand for used and outlet music gear.

As interest in competitively priced musical instruments continued to grow throughout Q1 2024, sellers on Reverb saw sales of used and outlet music gear outpace their respective sales from Q1 2023, with sales of outlet music gear increasing by 20%.

To further support seller sales growth throughout the quarter, Reverb continued to enhance its proprietary seller tools, improve onsite search functionality—making it easier for buyers to find sellers’ competitively priced gear—and invest in full-funnel marketing.

In Q1, Reverb’s marketing efforts focused on driving awareness to its sellers and their competitively priced gear generated over 375 million impressions across its social media channels and paid advertising. Coupled with localized advertising, this affordability-focused marketing has resonated well in the US and the UK, Reverb’s second largest market, leading to a 13% increase in sales in the UK in Q1 of 2024 compared to Q1 of 2023.

“For over a decade, music makers have turned to Reverb’s seller community to find their next sound, from unique, one-of-a-kind instruments to affordable, used alternatives,” said Reverb’s CMO Kristen Cho. “We make it easy for buyers and sellers to connect over the perfect piece of music gear. Increasingly, that means supporting our sellers as buyers search for deals and affordable gear to fit their budgets. With our specialization and focus on affordability, we help sellers continue to grow their businesses and reach the next generation of music makers online.”

In Q1, Reverb generated buzz with music makers through affordability-focused video advertising campaigns and inspirational content. Notably, a campaign with award-winning blues rock guitarist Joe Bonomassademonstrated how music gear totaling just $1,000 can sound as good as a nearly priceless Jimi Hendrix setup.

To learn more about how to connect with the millions of music makers on Reverb looking for competitively priced music gear, contact sellerengagement@reverb.com.

Guitar Center Inducts Guitarist Gary Clark Jr. Into RockWalk

Guitar Center Inducts Four-Time Grammy® Award Winner Gary Clark Jr. Into RockWalk in Los Angeles, CA, on May 1, 2024. Photo by Guitar Center

On Wednesday, May 1, 2024, Guitar Center announced the induction of four-time GRAMMY®-winning guitarist Gary Clark Jr. into the retailer’s iconic RockWalk. The private ceremony took place at Guitar Center’s Hollywood location on Sunset Boulevard. Following the ceremony, Gary Clark Jr. performed at Guitar Center’s flagship – his first concert in Los Angeles since releasing his newest album, JPEG RAW.

Applied Research & Technology Celebrates 40 Years

Applied Research and Technology, a division of Yorkville Sound, is proud to celebrate its 40th anniversary in 2024. ART was founded in Rochester, New York by a team of engineers who first worked together at legendary pedal company MXR: Phil Betette, Tony Gambacurta, John Langlois, Richard Neutrour, and Terry Sherwood.

The company originally focused on the recording market, and the first ART products were digital reverbs. “We set out to produce good, solid, reliable products,” recalls Steve Hendee, Export Manager at Yorkville Sound and one of ART’s original employees. “No bells and whistles, just affordable, easy to use, and built to stand the test of time.”

This design philosophy is exemplified by the product for which ART may be best known, the Tube MP. The compact tube microphone preamp was nominated for a prestigious TEC Award in 1996 for “Outstanding Technical Achievement” in the Mic Preamplifier Technology category. It remains in production today and has earned the title of the world’s most popular external microphone preamp.

As with Hendee’s four-decade tenure, long relationships are a cornerstone of the brand. Yorkville Sound was an original distribution partner, and ART officially joined the Yorkville family in 1999. Manufacturing relationships have similar longevity: “We have been using the same manufacturer since the beginning,” he explains, “and treat each other as family.

On the importance of customer relationships, Hendee observes “ART users are almost like a secret society. Those who know, know. It’s a great global community, with two-way dialogue about the gear, hacks, what’s coming up, and what we should build next.”

Today, ART product development is headquartered in Yorkville Sound’s offices outside of Toronto, Canada, and the brand has grown to also serve the live sound and installed sound markets. At the 2024 Winter NAMM Show, ART announced the new Solo Series – a trio of all-analog 1U rackmount tube processors, priced to be accessible to any recording musician.

Jeff Cowling, Yorkville Sound’s vice president of Sales & Marketing, is proud of ART’s accomplishments: “One digital reverb concept out of Rochester in 1984 spawned a movement of recording enthusiasts. ART products can now be found in project and professional studios, and on stages around the world. For forty years, ART has inspired creativity and made music production more affordable and accessible.”

More releases are planned throughout the anniversary year, and ART is also looking forward to the 30th anniversary of the Tube MP in 2025.

For more information about ART visit  artproaudio.com

Interested in becoming a dealer for ART? Click here.

China Film Group Completes Huge Monitoring Upgrade with Genelec

China Film Group is a forward-thinking production house that has consistently embraced new technology and never shied away from investing in the right equipment. The latest example of this has seen its Sound and Picture Production Center install 147 Genelec monitors across 28 recording studios, editing rooms and production studios.

Trade Regrets: Merle Johnson

Merle Johnson, longtime owner and CEO of E. K. Blessing Co. Inc., passed away at his Elkhart, Indiana, home on March 2nd,  2024, surrounded by family. He was 92. Merle is survived by his wife, Virginia, sons Randall (Randy) and David, and a daughter, Karleen.