Possible Design Ideas

Possible Design Routes – Milestone events

1. Leather Belts
For those who want the Marshall brand at a low cost and low commitment.
A belt is a practical tool that is strong, but also has a history of being a decorative item (showmanship), the more extravagant, the more powerful the wearer. Also the belt is also a common weapon so it has a menacing side to it.
Marshall Metal: big thick leather, studs, rivets, metal rings.
Marshall British: 60s 70s British Rock scene. A bit psychedelic. Rhinestones, crystals, different types of stones.
Marshall Classic: Plan leather belts with some essence from the previous two ranges. More sophisticated, for people who have professional commitments.

2. Tattoo Parlour
The tattoo tends to say you’re a bit edgy. They are usually found on people who life fast and seek adventure. However tattoos are also becoming more acceptable.
A Marshall tattoo parlour, tattoos from a brand that embodies that lifestyle.
Why Marshall? The marshall script logo is quite a popular tattoo.
Famous rockstars can perhaps design tattoos.

3. Marshall Bar/Club
A bar/club that features the best rock music, but also a lean towards British music. Above the stage are also sound proof rooms available to hire. These rooms have one way mirrors so you can see the crowd but they can’t see you. In the rooms are band equipment. You can go in play, and smash up equipment, pretending you’re a rock star, in front of a live crowd.
- Cross promotion with Jack Daniels?

4. One Night Stand Service
Adventure and fun with no strings attached. It will basically be a dating service.

5. Adventure holidays
The essence of rock n roll is adventure, strength, speed, adrenaline.
Marshall could offer holiday packages for thrill seekers. This would cater to those who aren’t interested in rock music, but are interested in its essence.
Different packages around the world.
Skiing, Snowboarding, Surfing, White water rafting, Hiking through rainforests, Bungee jumping, Parachuting, Hang gliding, Driving tanks, Flying planes, Racing!

Consumer Survey

This is a survey collected to understand the territory and audience of Marshall.

Number Of Responses: 263
When: 1st April – 15th April 2008

Question 1: What is your age?

Question 2: What  type of player are you?

Question 3: What brand of amplifier do you own?

Question 4: What type of amplifier do you own?

Question 5: What qualities do you look for in an amplifier?

Tag Line: Louder Than Life

‘Marshall: Louder Than Life’

Marshall’s days as the definitive brand for power is in its past. The past will never be forgotten and will continue to influence, however in terms of raw power today, there are other brands who specialise in it. Marshall may not be the most powerful anymore, but the term loud applies to other characteristics.

A sense of adventure and adrenaline – The feeling of being on stage.
Showmanship is a key part of Marshall, and with that comes confidence.
The fact is, Marshall is an aspirational brand. It allows the average person a chance to use the same equipment as their hero even if they don’t have the same guitar playing skills
With all this in mind, Marshall allows the average person to be larger than life. It’s over the top and it transcends the limitations of ordinary life.

Marshall is Louder Than Life!

(Note: The only problem with this tag line is that it misses an important attribute of Marshall. Quality. Since day one quality has been very important (a fact reinforced by Jim Marshall who has refused to give away Marshall products for free under endorsement deals). However, perhaps I can forgo this attribute as quality can only be received through the actual delivery of the Marshall product/service.)

Not This Direction

Marshall are rock n roll. Most people seem to recognise this without even having an understanding of what they do.
The opportunity to extend Marshall’s brand to encompass the Rock n Roll lifestyle is enormous, however, here are some solutions possibilities which I would reject.

1) Fashionable Clothing
Marshall already make tshirts, jackets, caps, hoodies. They are popular amongst guitarists and people who are Marshall fans… but not many others. The obvious solution for turning Marshall into a lifestyle brand would be to redesign and expand their clothing line. It’s easy to imagine a range of Marshall clothing that are fashionable, similar to the glittering Stones shirts sold in TopShop.
However here are problems; Firstly, the Marshall logo does not translate well. It may work on one t shirt, but its not scalable. After talking to TopShop staff (and showing them various images of Marshall amps), the conclusion is that Marshall isn’t aesthetically pleasing on clothing.
A larger concern of mine is the point of a clothing range; it doesn’t fit into the Marshall profile.
The only reason for doing Marshall clothing is to cater to those who want a little of the Marshall brand without too much commitment or money.

2) Valve Stereos
Marshall are one of the few major guitar amp brands who still focus their flagship models on valves. Although Marshall’s signature are overdriven valves, with some research and development they can easily produce clean and warm sounding systems for the home entertainment market. The idea of a Marshall stereo system in the shape of a stack amplifier is conceivable. However, again, it doesn’t fit into the profile of Marshall that I have made my focus. 

3) Online music store / record label
A Marshall online music store would focus on pure Rock music (perhaps even Rock music that were recorded with Marshall amps). As an online music store, they could also act as a virtual record label, highlighting new rock bands. This is a good idea, but the competition is strong, and although it focuses on Rock music, it’s not exercising the brand’s USP to its full potential.
 

The fact is, Marshall could do many things, but many of those things ignore the full potential of the brand. Marshall is more about the rock n roll lifestyle than amplifiers (see my brand map in ‘Mapping Marshall’). The solutions for Marshall should encompass the characteristics of loud – that means power, strength, speed, action, charisma, adventure, adrenaline, aggression (e.t.c.).
A glittering Marshall tshirt may give the wearer a little of those characteristics, but not vice versa.
We have to remember, every action Marshall takes, will effect who they are. 

Mapping Marshall

Below is a diagram I’ve mapped of Marshall in relation to their Competitors, Product Range, Brand Attributes, and Related Concepts. (The list of competitors was determined under a number of factors, explanation later.).
Credit for this idea goes to the article, “Brand for the Chattering Masses” by Keith Schneider, and Mr Brian Gough for showing me the link (his research blogs are available on the right hand side, ‘Without Thought’ and ‘Bottom Bracket’).

The closer the factors to the middle, the more relevant they are to Marshall. I’ve also tried to organise the placement of them so they make sense (i.e. American is not next to British).

Click on image for a larger view.

Comparing Marshall

This is a list of brands from other Markets who embody the Marshall brand value mentioned in previous posts. This exercise takes any understanding of Marshall I possess outside my comfort zone in an effort to further understand who they are. 
I intend to constantly update this post…

Snickers
As Mr T says, “Get some nuts!”. Snickers embody power and strength (all embodied in the Snickers lion). Furthermore the new Snickers feast advert features a metal song that sounds like it could have been recorded on Marshalls. Yorkie, who embody similar masculine values did not make my cut because their personality doesn’t really fit with Marshall. Yorkie seems to be more about football, lager in cans, and reruns of ‘Men Behaving Badly’.

O2
Yes, O2 is a music brand; but if we focus on how its phone service is marketed, it reveals more. An O2 service guarantees a powerful and reliable tool that suits the user; just like the towering Marshall stacks that stand stoically until the guitarist calls for its roar!

Hummer
If Marshall was a car, it would definitely be a Hummer. A hummer dominates the road…
The only characteristic that doesn’t fit is that Marshall is liked by most since they aren’t harming the environment.

Kellogg’s Crunchy Nut
The crunchiest and nuttiest of all!
Crunchy Nut empowers the eater! As a recent advert showed, Crunchy Nut eaters are given special passes allowing them to use a special lane avoiding traffic – “No Mr Non Crunchy Nutter, No one gets pass without a pass!”

RightGuard
Long lasting deodorant to KO the toughest odours! Even Hulk Hogan advertised for them.

Jack Daniels
Jack Daniels has its traditional heritage, but its association with certain aggressive cultures such as Rock music and Motorcycles make it one of the most iconic brands for rebels.

Rayban Aviators
The Rock star hiding behind a pair of aviator glasses is a cliche that has gone down in history. Rayban embodies the Marshall loudest in the sense that the wearer most be of some status.

Colgate Maxfresh
“Release the intense rush of freshness!”. Colgate Maxfresh is all about energy and adrenaline – just like a guitarist on stage with a wall of Marshall!

To Be Continued….

JTM-45

Above: The front and bottom of the sixth prototype (aka #1) of the first Marshall amplifier (the JTM-45)

Pete Townshend (The Who) among other guitarists told Jim Marshall that the problem with the other amplifiers on the market, was that they were too clean. The type of music these new British bands were playing required a the sound to be heavier, grittier, louder, and more aggressive.
Jim Marshall knew straight away that they were going to build the world’s first Rock amplifier.

Jim Marshall would recruit Dudley Craven to oversee the project as the chief designing engineer; (into a workforce consisting of Jim Marshall who would make the chassis, Ken Bran who would select and install the components, and Ken & Fred Gallagher who would help out with all other aspects). 
Marshall realised they didn’t need to reinvent the wheel as there was already an amplifier that was sonically close to Townshend’s requirements – The Fender Bassman.
Fender were a company who felt that a good guitar amplifier was one that sounded clean and did not distort. The Bassman did not embody this characteristic as it was a amplifier for bass guitars, but found popularity amongst guitarists, hence the reason why it was the exception to Fender’s line.
Marshall realised that all they had to do was modify the Bassman and make it’s distorted characteristic more prominent.
Although Marshall was not the engineer on the amplifier, he was the boss and he knew what was needed. He knew that Townshend did not simply want a amplifier that sounded distorted and gritty; What was needed was an amplifier whose distortion and grit was filled with harmonics and sounded musical. This is important as today, many consider great distortion to be valve driven. Marshall was and are valve kings in the amplifier market.

Marshall would build six prototypes until they found the right one. Reportedly it was Townshend who tested the sixth and remarked “That’s it! That’s going to be the Marshall sound from now on!”.
On September 1962, The JTM-45 was born. Today the sixth prototype (nicknamed #1) is on display at the Marshall HQ.

Above: The production JTM-45. It sits on top of a speaker cabinet which houses four 12″ speakers -  a standard for Marshall.

For those interested in Jim Marshall and the company he created, I highly recommend you buy:
Maloof, R. (2004) “Jim Marshall: The Father Of Loud”, San Francisco: Backbeat Books.

Marshall Who?

Below are lists of words, names, and quotes which were obtained through Marshall’s website, catalogues, and consumer perceptions. I feel that they can tell us who Marshall are…

Top 10 Keywords

• Loud 
  This applies to the literal meaning of the word and the attitude it has created. Jim Marshall is the father of loud!
• Rock n Roll  
  Although Rock n Roll refers to the a musical genre from the 50s, here it simply means the lifestyle of Rock; Sex, Drugs and Rock n Roll. Marshall can be seen on stage with some of the heaviest and wildest bands.
• Power
  This term goes together with Loud 
• 60s and 70s
  The height of guitar music, a style Marshall made possible.
• 80s
  The new breed of Rock. Heavier yet reminiscent of the styles of the previous decades.
• Valve
  The valve kings.
• British
  Marshall were at ground zero during the beat boom and British Invasion. Although their products are sold worldwide, their HQ and main factory remains in the UK. The Marshall sound will forever be British.
• Classic
  The Marshall look is familiar to most. The script logo, the black stack amps. Marshall created a look in the beginning which has rarely changed.
• Legendary
  Marshall will go down in history as the amplifier behind other legendary guitarists such as Hendrix.
• Handcrafted
  Marshall is very proud that the majority of their models are handcrafted by a team of experts. 

Top 10 Players Who Played Marshall
(this is a list of 10 of the most important players I think are relevant to the image/identity of Marshall. The list may change depending on others opinions)

• Pete Townshend (The Who)
• Jimi Hendrix (The Jimi Hendrix Experience)
• Eric Clapton (The Yardbirds, John Mayall & The Bluesbreakers, Cream)
• Jimmy Page ( The Yardbirds, Led Zeppelin)
• Ritchie Blackmore (Deep Purple, Rainbow) 
• Angus Young (AC/DC)
• Joe Perry (Aerosmith)
• Kerry King (Slayer)
• Slash (Guns n Roses, Velvet Revolver)
• Zakk Wylde (Ozzy Osbourne, Black Label Society

Famous Quotes

• Kerry King
  “If I stand in front of my rig, if my nuts ain’t shaking then I ain’t satisfied… and the only stuff that can do that is my Marshalls.” 
• Zakk Wylde
  “What does a Marshall sound like – strength, warmth, commitment, beauty and destruction… all wrapped up in a giant f**king wrecking ball.” 
• Billy F. Gibbons
  “The fine Marshall line remains heavy as lead… solid as steel. The best.” 
• Lemmy
  “Old Marshall’s never die – just blow your f**king head off!” 
• Slash
  “I’ve said it before, and I’ll say it again; I won’t consider trying anything else – something that consistent you just don’t f**k with.”

 

 

The State Of Guitars

In 2006 the Music Industries Associations (MIA) compiled a report on the state of the fretted instrument market. The findings essentially tells us that the fretted instrument market is fantastic! Reportedly 50% of Britons now play guitar in some capacity. Sales of electric guitar doubled in 2005 compared to 1999. All market segments are growing proportionately, with those associated with the electric guitar experiencing slightly stronger growth.

So why the success?

Reason 1: Economics
Low labour costs in the far east have made guitars more affordable. Budget brands become more powerful as those who are unfamiliar with the guitar market (but desire to learn due to fashion) make choices largely dependant on price. The increased threat of the budget brand meant that the bigger and famous brands have all capitalised providing their own budget product line. Meanwhile on the amplifier front, technology has also had on impact of cost and digital modelling is becoming one of the best value for money options.
Today, the affordability of the products within the fretted instrument market has meant that what used to be a “considered purchase”, has now become an “impulse purchase”. In other words, more people are buying musical instruments for fun rather possessing a desire to produce music or play with other musicians.

Reason 2: Fashion – Popular Music
Since the millennium, the world has seen guitar based bands return to popularity. On the British side, bands such as Coldplay, Franz Ferdinand, Snow Patrol, Kaiser Chiefs, KT Tunstall, The Kooks and Artic Monkeys
The American side is more diverse in terms of music genres but includes Nickleback, Maroon 5, John Mayer, Avril Lavigne, Fall Out Boy and My Chemical Romance.
These bands were just some of the few guitar based bands who were the best selling artists since 2000.
It was now fashionable to play guitar as some of your favourite songs are played on guitar. People who aren’t likely to play guitar started to, (particular note should be given to Avril Lavigne who according to many retailers, have made guitars more popular in the female market).
If those bands weren’t good enough, then The Who’s first studio album in 24 years and the reunion of Led Zeppelin surely had some effect. 

Reason 3: Fashion – Video Games
2005 to 2007 saw what I consider a spin off of the air guitar – ‘Guitar Hero’.
Guitar Hero is a series of games developed by ‘Red Octane’ and ‘Activision’. The purpose of guitar hero is to play along to popular guitar based songs by pressing the corresponding buttons on a guitar shaped controller. This game was so popular among people of all ages (even non gamers), that it has spawned six versions, with a further two being developed right now (it also prompted a competitor in the form of ‘RockBand’).
The game’s appeal was not just pressing buttons, but to do it in a way where the player lived their out their dreams as rock stars. Another appeal was the addition of famous guitar based songs, and the endorsement of many of the major musical instrument brands. Not only could you play along to Black Sabbath’s ‘Iron Man’, but you could do it on a Gibson SG!
The phenomenon of Guitar Hero also meant that many of musicians with songs featured in the game experienced a boost in record sales. Not only was guitar music in the form of the bands mentioned previously popular, but history’s Rock culture was now accepted; and what embodies Rock more that guitars?!

Reason 4: The Baby Boomers
Without a doubt, guitar music was at its peak during the 60s to 70s. The Beatles, The Rolling Stones, The Who, Pink Floyd, Cream, Jimi Hendrix, Aerosmith and Led Zeppelin (just to name a few).
Those who grew up with this music are still representing it by their consumption. The most profitable demographic for the fretted instrument market has always been those aged between 15-20. However recently another demographic has emerged, the over 50s. 
Having been occupied by their careers during their mid-life, these baby boomers are now in a position with the money, time and space to spend on their interests. Their taste for the 60s and 70s have created a demand for vintage gear (those used by their own guitar heroes). Second hand instruments are now called vintage and rare. While big brands are now relaunching reproductions of old models, marketing them as vintage reissues.
The baby boomers are the majority who are buying £1000 guitars and £2000 full stack amps (not the 15 year old beginner nor the 25 year old working musician). They are a large part of why the market is so strong.

Everything looks good for the fretted instrument market…
Except that with sales this strong, there is no where to go but down.
Since the MIA  released their statistics, the following year showed problems. Music Trade released a report in 2008 which showed that 2006 experienced a huge drop in statistics (Unit Volume: Acoustic Guitar: -9.7%; Electric Guitars: -9.5%; Amplifiers: -12%.  Retail Value: Acoustic Guitar: +2.2%; Electric Guitars: -8.3%; Amplifiers: -9.2%). 2007 showed a slight rise, but not enough to match 2005’s stats.
The fact is, whether slowly or quickly the market will decline for the next few years. There is a possibility the sales will continue to grow for the short term, but remember, the market is at its strongest in history, if it continues to grow we have question where the limit is.
Those who have bought equipment in the last few years probably don’t need anymore (particularly the casual players). The market is sure to experience a rough few years, and it seems it hasn’t done anything to combat this (there is a naive notion that a wider consumer base will mean that the number who want to “upgrade” their equipment will be higher. Although this is feasible, it is not a sound strategy).
The question that remains is, what will happen in the next 10 years?
The reasons for growth in the market I have mentioned are not long term.
- Britain could be coming onto an economic recession…
- Popular music tastes are already changing here in the UK, as there seems to be less guitar music, and more electronic music…
- Guitar Hero is fun, but how long can it go on for? (the six versions that have been released are all essentially the same!)
- What about the Baby Boomers? once their generation passes, then those who experienced the golden age of guitar music first hand will be gone. Led Zeppelin recently reformed and generated a lot of interest amongst younger players, but what happens when there are no more bands from the 60s and 70s to reform? Will the taste for vintage style equipment stick around after the baby boomers? Will it disappear? Or will it be a niche?

Where is the industry going? 

History Of The Amp: Digital

The history of digital is more complex than valve and solid state.

Digital refers to the software rather than hardware, and as a result most digital amps are actually solid state amps with digital software.
Digital technology has been used in other musical instruments for a long time, such as keyboards and synthesizers. In the realm of guitars, digital was used in the effects pedal market around the late 80s; here is where it gets confusing as digital is not really an amplifier at all but an effect. When digital was used in effects pedals, it was to create sonic effects such as a delayed sound, reverb, clipping of the signal, etc.
It was only until the mid 90s where digital technology became part of the amplifier market. Here digital signal processing (DSP) was the method used. DSP is the study of audio signals, and how they can be emulated by digital processors. As a result, digital ceased creating sonic effects, but began emulating sound (this has since been known as digital modeling).

One of the first digital modeling equipment was the Roland VG8, introduced around 1995. The VG8 was a unit (approx. 30cm x 12cm x 15 cm) which would capture the output of an electric guitar, analyze the signal’s wavelength, which is processed and reassembled into a new signal. The user had a number of options as to how the VG8 would process the guitar signal, all of which were emulations of particular pieces of guitar equipment, such as different amp sounds. The VG8 retailed for around £2000 and was definitely aimed at the professional market. It should be noted that the VG8 was not an amplifier, it is a processor which created a new signal which would then need to be amplified.

Digital modeling was not an instant success due to its rarity amongst the average guitar player. Those who could afford it felt that digital was astonishing, but its sound quality was not the same as the amps it was emulating. As the years went by, digital modeling would improve in all aspects.

Around 1999 digital modeling began to renew interests with the introduction of Line 6’s POD. the POD was a unit the size of two hands, and not only was it a DSP unit, it was designed to take the place of the preamp.
<Quick lesson: An amplifier consists of two circuit stages, the preamp and the poweramp. The preamp essentially takes a low level signal (the type produced by a  electric guitar) and amplifies it to a level that can be handled by the poweramp. It is also the preamp stage where the majority of tonal shaping of the signal takes place. The poweramp stage takes the signal from the preamp, and literally powers it so that it can accepted by speakers thus producing a sound.> 
The POD could be used in conjunction with a poweramp/speakers, or the player could bypass that stage by using headphones (to play alone), or plug straight into a mixing desk.
The POD provided more emulations that any other digital gear, and it also allowed more flexibility as to how the signals were produced (the user could match certain amps with certain speakers). The best characteristic about the POD was the quality of sound, if you asked the POD to emulate a vintage Marshall stack amp, it actually sounded like it!
The new incarnation of digital modeling posessed fantastic sound quality, portability and versatility. Best of all, it retailed for around £150 – affordable.

The fact is, digital modeling provided everyone a chance to play with the same equipment that professional used, and it also provided many practical advantages. However the POD was not perfect, and many felt it the sound it produced was cold and sterile in live situations, a problem which is being solved as we speak.

Today, digital modeling can be bought in individual forms like the POD (or the latest incarnation, the Pocket POD which is essentially the same except it will fit in your pocket), and it can also be bought in amplifier forms (where the digital processor is built into where the preamp would usually sit).
It is a piece of equipment used by the beginning guitarist, and the professional musician. All the major amplifier brands have realised it’s advantages and have released their own versions. Some have even developed hybrid amplifiers which combine digital with either solid state or valve or both.
Another notable form of digital modeling is in the form of software only. There are products where the user installs the software onto their computer, and the computer becomes the central medium. 

Below: Revalver, a digital modelling software.

As someone who owned the original POD, I agreed with the sonic criticisms it received. However recently I bought a new version of the POD and all I can say is it has improved vastly – the good just got better!
It is my belief that digital would fulfil most players practical needs, but the popularity of valve is that it fulfils an emotional desire.