How did your interest in high-end audio begin? Did it come from the music side or the electronics side?
It started with music. I grew up in a family in which music was an essential part of our daily life. Thanks to my father’s influence I started listening to classical music at a very young age.
What was your first high-end system?
I started with a Sony CD player, a Nakamichi integrated amp, and Acoustic Research AR3A’s at the age of 16.
What differentiates high-end audio from other forms of audio?
High-end audio is the path to the “ultimate” reproduction of music. It engages the listener by coming closer to the sound of real music.
What attracted you to the distribution end of the industry?
I have been a consumer, dealer, and distributor in the industry, which I still love with a passion and treat as my hobby turned into business. It thrills me to discover new products and brands. I love the challenge of bringing new equipment to the market. Playing the “bridge” between the manufacturers and the market is crucial. Having seen several companies fail at this made me concentrate on the distribution side of the market.
What is the key to being a successful distributor?
The key is creating an ultimate experience for the consumer. Dealers should understand the needs of their consumers and should be trained to be able to provide the high-end service they expect. Supporting my dealer network with training, referrals, and after-sales support creates the experience that much of the high-end audio market is lacking these days.
How would you describe your approach to working with clients, new and old?
They are ultimately the same. My approach is to treat my old clients (in my case, dealers) as if they were new clients, and give them all the attention they need.
What are the unique challenges that high-end dealers face today?
First, trust. They need the support of the distributors and manufacturers at each and every step of the way. Second, focus. A lot of dealers are trying to be a supermarket for high-end audio. High end is a boutique/luxury business, like watches, art, etc. You need to maintain focus and deliver the service that the clients are looking for. Third, marketing. A key challenge is finding the best way to interest the younger generations in our sector. Using social media is one of the tools to appeal to and attract the attention of the younger generations.
When you meet with younger clients, are they asking for something different from high-end audio than older generations?
Not really. They are usually more open to suggestions than the older generation. If you want to attract the younger generation, be careful with your music choices. I try to play different genres of music in my demos, which attracts a lot of the younger folks.
Trends are changing rapidly in the high end, particularly the movement away from physical media to server- and cloud-based streaming. What new things do you see in the next few years? Will physical media survive?
I am old school. I will always prefer physical media, personally. Streaming is a force and will get stronger; however, vinyl was declared dead when CDs came into our lives, but the LP is still with us, more strongly than ever. In fact, today some bands are releasing their albums on cassette, as well! It’s safe for me to say that “history will repeat itself.” Digital physical media will make a comeback for sure!
Outside of audio, what do you do for fun?
I love playing with my dog, fishing, watching basketball and soccer. Listening to music is also a big part of my life.
What (still) inspires you about your work?
I love what I do. I always try to improve the sound quality of the systems I put together. The challenge of getting that additional 1% improvement still gets me excited every day.
Tags: Q&A
By Neil Gader
My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.
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