Re-Tales

Myriad distribution factors drive and affect the hi-fi marketplace. Ultimately, these can impact end customer purchasing choices. Recently I've written—including in the December 2024 issue—about evolving new distribution models and how the term's meaning has shifted somewhat: Some companies have been expanding (or in some cases reducing) the kinds of services traditionally provided to exporting international manufacturers.

That made me curious about how business is going for "traditional" distribution companies. That is, companies whose services typically include handling importation, warehousing, shipping, and working with retailer partners and dealers in other capacities. They support retail dealers with the inventory they need.

Traditionally in hi-fi, "distribution" refers to importing and warehousing audio equipment then delivering it as needed to a network of domestic dealers. In recent years, that model has evolved. Distributors have expanded the range of services they offer, and an increasing number of companies are skipping the distributor step altogether: dCS and T+A, among other companies, have established wholly owned subsidiaries in the US to handle importation, local warehousing, and other domestic duties. They and others have hired full-service sales and marketing agents, sometimes called "brand ambassadors." The goal, of course, is to make the practice of getting a product into the country and on the radar of dealers and customers as efficient and effective as possible.

Since it started in late 2020, this column has emphasized the imperative for bricks-and-mortar hi-fi dealerships to evolve if they want to survive and thrive in the current era. They—indeed, the whole industry—need to attract new customers as they give existing customers reasons to keep coming back.

In its current form, Houston, Texas–based dealership 3mA arose from founder and majority owner Johnny Yip's connection with Luis Miranda, a customer. The two became partners when Miranda bought into the business in 2017.

In the e-commerce era, brick-and-mortar dealerships must give customers compelling reasons to stop by. Los Angeles hi-fi dealership Common Wave's owner Wesley Katzir keeps customers coming through the door with a simple idea: that music matters in our everyday lives and that what he enjoys, other people will enjoy, too. That extends not just to music but also design, which is a particular preoccupation of Katzir and his business.

"I wanted to create a hi-fi space for people who were interested in the same sorts of musical and listening experiences as I am, which is much more communal," Katzir told me in a recent phone conversation. "We have enough screens in our face. I'm trying to get people away from that to a more meditative, peaceful experience with music."

Some 30 years ago, vinyl records seemed to be heading in the direction of the 8-track tape, toward becoming an obsolete format. As everyone knows, vinyl rebounded and has so far avoided that fate (but see this month's As We See It about the status of the Compact Disc). An international association aims to keep it that way.

The Vinyl Alliance was formed in 2019 "to strengthen awareness and the image of vinyl records worldwide," according to the organization's website. The VA is a membership organization with some 40 institutional members including vinyl producers, record companies (including all three major labels), music resellers, record-press makers, pressing plants, and turntable and cartridge manufacturers.

Over a long career, thinker and audio designer Barry Thornton has carved his own paths and formed his own opinions, broad views about how the universe works and how one thing connects to another. He applies scientific principles broadly, too: From action comes reaction, though it may not always be predictable. "Do something, and everything else starts to occur," he said of his endeavors. Longtime readers and seasoned audiophiles will recognize Quintessence Audio Group, a maker of hi-fi electronics in the 1970s and '80s. Thornton founded the company and served as its main designer. He has worked with companies including SAE (where he became Chief Engineer), ESS, Parasound, and Monster Cable. His journey eventually led him to Austin, Texas, where he recently founded Austin AudioWorks.

Many audiophiles and serious music lovers are passionate about vintage. Vintage has become a popular "way in" to the hobby, especially popular among younger folks. Reasons vary. Many—perhaps most—are seeking more bang for the buck than you can get buying new. Others prefer classic sound and aesthetics: that special vintage vibe. At least a few inherit or receive vintage pieces from audiophile parents; others come across a beautiful bargain they can't resist. An important niche in our hobby thinks vintage equipment simply sounds better than the new stuff.

Not every vintage piece sounds good, however, and not every piece is a bargain. Some can be quite expensive. And most that aren't are in need of expensive refurbishment to look and sound their best. Even once restored, they usually require more care, maintenance, and patience than a new piece would require. It's a lot to take in for those new to the hobby.

Jeremy Irwin, owner and "stereo archaeologist" at the vintage-focused dealer Aural HiFi in Denver, has been there himself.