K: Could you identify some of the key skills for someone getting started in the sales end of the business?

G: Absolutely. I think number one, they need to be “people” person, somebody that enjoys talking and listening to people. Because far and away the easiest way to sell a person something is to get them talking, and then listen. Which is just so much easier if you have a genuine interest in people.

Number two, a person has got to be very self-motivated. It isn’t a 9-to-5 job when you are out in the field doing sales. There isn’t a supervisor looking over your shoulder every step of the way. So you must be self-motivated and understand that your time is your most valuable asset.

And then three, I think it helps to be pretty well organized, because frankly, when you are a sales rep, you run an independent branch office. You basically are doing everything from paperwork to dealer mailings, and putting together material for trade shows, clinics, and presentations.

Organizational skills ensure that every effort you put out pays off in the greatest number of ways. That’s critically important.

K: What would be the salary range for a rookie sales rep?

G: It again depends entirely on the territories, but probably in the $36,000- to $48,000-a-year range, including both base salary and commission.

K: Is there any type of internship program at TASCAM’s home office in Los Angeles?

G: We have just started hiring interns within the TASCAM division. The corporate office has done some internship programs, more from a business administration standpoint.

One of the things we recently discovered is that a great deal of the schools require an internship in order to earn a degree. So one of the things that we have started doing within the last year is to bring on some interns, as an experiment. And as a matter of fact, I am going to be getting one soon here in Northern California.

K: How has the experiment gone so far?

G: We have had one in Phoenix, working with our regional sales manager now for about six months. And the experience has been very, very good because it allows somebody to get out, work with some of the dealers, and find out if they really do want to do this type of work as a career. In fact, the person that was working with our regional in Phoenix was just hired by one of our dealers upon graduation.

K: Is the internship a paid or unpaid position?

G: It’s unpaid, because the schools require it to be an unpaid position. However, we do cover an intern’s expenses for gas, phones, copies, and what have you.

K: How long does the internship run?

G: They are typically positions that are designed to be six months to a year in duration. Just enough time to expose them to the realities of a sales position, while also getting exposure to some potential employers.

K: Do you have any tips for someone starting out to get their foot in the door?

G: Well, the biggest tip that I would offer would be to take your time and pay your dues. Upon graduation, an awful lot of people expect to start off with a high-paying, high-visibility job. Very few people actually do. So I think to be successful with a company, you need to work your way up. You need to have a very broad background. I would suggest someone get a position in a fairly small music retail environment, where you have the opportunity to wear a lot of different hats.

They should learn about many different products, because in that environment, you need to. That doesn’t mean that getting a sales position in a bigger retail establishment isn’t good. But you don’t quite have the opportunity to experience some of the things like going to the bank in the morning or dealing with the UPS driver.

K: That’s right. Or sweeping up the store after a clinic.

G: Exactly, or making sure that you sent out the invitations to the clinic, those type of things which, frankly, they seem real basic, but until you have an opportunity to make some mistakes, you don’t realize how important the little details are.

You should get an entry-level position where you’re going to get the broadest exposure to the realities of what you’ve got to do. In our industry in particular, very seldom do you end up in a position where you have a large staff to do all the different functions. Even when I was division manager of TASCAM, everyone in management wore a whole bunch of different hats.

K: Are there any magazines, books, or trade associations that you would recommend as resources?

G: Trade magazines such as Mix, EQ, and Pro Sound News are very good. There’s an awful lot of information on the Internet. Just start searching for things that interest you. You will be amazed at how much information you can find. But subscribing to two or three of the industry magazines makes the most sense, because that will really give you a good feel for what’s going on.

The other thing that I would recommend for anyone going out on an interview would be to take the time to learn a little bit about the company you’re interviewing at. You’d be amazed at how many people show up for a job interview, and don’t have any idea whatsoever of what the company that they’re trying to get a job with actually does!

It’s impressive when somebody does come in for an interview and obviously they have taken the time to read a couple of catalogs or brochures. That really sets them apart from the great unwashed that are just trying to get a job.

K: What’s your long-term view as far as careers in the music, recording, or entertainment business?

G: I think they are excellent. They are evolving quite a bit, but I think they’re particularly good from a sales and a product standpoint.

Let’s face it, in the best or worst of times, entertainment and music have always tended to thrive, because it’s something that everybody enjoys in one form or another, whether it’s performing or listening to…or participating in, in some form or another.

For instance, if someone is buying an instrument, there needs to be a nice fit between the type of instrument, its cost, and their level of playing. Are they a beginner or a player with lots of experience? And so that’s where the expertise of a salesperson really pays off.

Just like in the clothing business. Let’s face it: I can’t imagine buying a suit over the Internet. It’s the same thing with musical instruments and recording equipment. People still want to have them in their hands and feel them and touch them and listen to them. That keeps our longterm prospects I think very, very good for the industry.

K: Do you have any tips on market segments you think that will be particularly hot in the future?

G: Yes, absolutely. I think that it’s going to be the nontraditional users. In the past, when I got started in this business, pretty much whether you were selling musical instruments or recording equipment, we had a very limited potential audience. I mean the only reason somebody would want to record multitrack music would be if they were a professional musician.

Now, with a lot of the computerbased software packages and sequencers, and a whole range of affordable instruments and recording tools, we’ve broadened the potential user base significantly. Plus the pricing of technology keeps coming down, so that people can do everything from taking home movies and putting them into the computer, then adding sound tracks to them, and things like that.

I think it’s going to be these types of nontraditional users, the nonhard- core musician, who represent a huge market. This group will be absolutely booming in the future.

K: Do you have any parting words of wisdom?

G: The music business is totally a people- oriented business. It’s not something that can be easily faked. And frankly, you will be as successful as the relationships you build over the years. Care about what you do, how you do it, and the people you work with. The rest will come to you.