Table of Content
1 INTRODUCTION
1.1 OBJECTIVES OF THE STUDY
1.2 MARKET DEFINITION
1.3 OVERVIEW
1.4 LIMITATIONS
1.5 MARKETS COVERED
2 MARKET SEGMENTATION
2.1 MARKETS COVERED
2.2 GEOGRAPHICAL SCOPE
2.3 YEARS CONSIDERED FOR THE STUDY
2.4 CURRENCY AND PRICING
2.5 DBMR TRIPOD DATA VALIDATION MODEL
2.6 MULTIVARIATE MODELING
2.7 PRIMARY INTERVIEWS WITH KEY OPINION LEADERS
2.8 DBMR MARKET POSITION GRID
2.9 MARKET APPLICATION COVERAGE GRID
2.1 DBMR VENDOR SHARE ANALYSIS
2.11 SECONDARY SOURCES
2.12 ASSUMPTIONS
3 EXECUTIVE SUMMARY
4 PREMIUM INSIGHTS
4.1 PORTER’S FIVE FORCES ANALYSIS
4.1.1 THREAT OF NEW ENTRANTS
4.1.2 BARGAINING POWER OF SUPPLIERS
4.1.3 BARGAINING POWER OF BUYERS
4.1.4 THREAT OF SUBSTITUTES
4.1.5 INTERNAL COMPETITION
4.2 PRICE INDEX
4.2.1 BREAKDOWN OF GUITAR PRICES
4.2.1.1 ELECTRIC GUITARS
4.2.1.2 ACOUSTIC GUITARS
4.2.1.3 USED GUITAR PRICES
4.2.2 FACTORS AFFECTING GUITAR PRICES
4.3 BRAND ANALYSIS
4.4 CONSUMER BUYING BEHAVIOR
4.4.1 DECISION-MAKING PROCESS IN GUITAR PURCHASES
4.4.1.1 PROBLEM RECOGNITION
4.4.1.2 INFORMATION SEARCH
4.4.1.3 EVALUATION OF ALTERNATIVES
4.4.1.4 PURCHASE DECISION
4.4.1.5 POST-PURCHASE BEHAVIOR
4.4.2 FACTORS INFLUENCING CONSUMER BUYING BEHAVIOR
4.4.2.1 BRAND INFLUENCE AND REPUTATION
4.4.2.2 PRODUCT QUALITY AND PERFORMANCE
4.4.2.3 PRICE SENSITIVITY AND AFFORDABILITY
4.4.2.4 CULTURAL AND MUSIC TRENDS
4.4.2.5 TECHNOLOGICAL INNOVATIONS
4.4.3 CONSUMER SEGMENTATION AND BUYING PREFERENCES
4.4.3.1 BEGINNERS AND STUDENTS
4.4.3.2 HOBBYISTS
4.4.3.3 PROFESSIONAL MUSICIANS
4.4.4 COLLECTORS
4.4.5 CONCLUSION
4.5 IMPACT OF ECONOMIC SLOWDOWN
4.5.1 IMPACT ON PRICES
4.5.2 IMPACT ON SUPPLY CHAIN
4.5.3 IMPACT ON SHIPMENT
4.5.4 IMPACT ON DEMAND
4.5.5 IMPACT ON STRATEGIC DECISIONS
4.6 OVERVIEW OF GUITAR SALES EXPANSION FORECAST
4.6.1 KEY DRIVERS OF GROWTH
4.6.2 MARKET CHALLENGES
4.6.3 REGIONAL INSIGHTS
4.6.4 CONCLUSION
4.7 PRODUCT ADOPTION SCENARIO
4.7.1 STAGES OF PRODUCT ADOPTION IN THE GUITAR MARKET
4.7.1.1 INNOVATORS
4.7.1.2 EARLY ADOPTERS
4.7.1.3 EARLY MAJORITY
4.7.1.4 LATE MAJORITY
4.7.1.5 LAGGARDS
4.7.2 FACTORS INFLUENCING PRODUCT ADOPTION
4.7.2.1 TECHNOLOGICAL ADVANCEMENTS
4.7.2.2 PRICE SENSITIVITY
4.7.2.3 CULTURAL AND REGIONAL INFLUENCES
4.7.2.4 PRODUCT CUSTOMIZATION AND PERSONALIZATION
4.7.2.5 ENVIRONMENTAL CONCERNS
4.7.3 REGIONAL MARKET DYNAMICS AND ADOPTION PATTERNS
4.7.4 CONCLUSION
4.8 RAW MATERIAL SOURCING ANALYSIS
4.8.1 WOOD SELECTION AND SUSTAINABILITY TRENDS
4.8.2 METAL COMPONENTS AND SUPPLY CHAIN VOLATILITY
4.8.3 SYNTHETIC MATERIALS AND COST OPTIMIZATION
4.8.4 ADHESIVES AND FINISHES: ENVIRONMENTAL COMPLIANCE
4.8.5 CONCLUSION
4.9 SUPPLY CHAIN ANALYSIS
4.9.1 OVERVIEW
4.9.2 LOGISTIC COST SCENARIO
4.9.3 IMPORTANCE OF LOGISTICS SERVICE PROVIDERS
5 REGULATION COVERAGE
5.1 CONCLUSION
6 MARKET OVERVIEW
6.1 DRIVERS
6.1.1 RISING POPULARITY OF MUSIC AND WESTERN CULTURE
6.1.2 GROWING AWARENESS AND INTEREST IN MUSIC EDUCATION
6.1.3 INCREASE IN DISPOSABLE INCOME ENABLE PEOPLE TO INVEST IN MUSICAL INSTRUMENTS
6.2 RESTRAINTS
6.2.1 HIGH COST OF PREMIUM GUITARS
6.2.2 INTENSE COMPETITION FROM NUMEROUS PLAYERS IN THE MARKET
6.3 OPPORTUNITIES
6.3.1 INCREASING CONSUMER DEMAND FOR ECO-FRIENDLY GUITAR PRODUCTS
6.3.2 COLLABORATIONS WITH FAMOUS MUSICIANS, INFLUENCERS, AND SOCIAL MEDIA CAMPAIGNS
6.4 CHALLENGES
6.4.1 SHORTAGE OF RAW MATERIALS USED FOR GUITAR PRODUCTION
6.4.2 PROLIFERATION OF COUNTERFEIT AND LOW-QUALITY GUITARS
7 GLOBAL GUITAR MARKET, BY TYPE
7.1 OVERVIEW
7.2 ACOUSTIC GUITAR
7.2.1 ACOUSTIC GUITAR, BY TYPE
7.3 ELECTRIC GUITAR
7.3.1 ELECTRIC GUITAR, BY TYPE
7.4 ELECTRIC-ACOUSTIC GUITAR
7.5 CLASSICAL GUITAR
7.6 BASS GUITAR
7.7 RESONATOR
7.8 EXTENDED RANGE ELECTRIC GUITAR
7.9 LAP STEEL GUITAR
7.1 DOUBLE NECK GUITAR
7.11 OTHERS
8 GLOBAL GUITAR MARKET, BY WOOD MATERIAL
8.1 OVERVIEW
8.2 SOLID
8.2.1 SOLID, BY TYPE
8.3 LAMINATE
9 GLOBAL GUITAR MARKET, BY COVERS
9.1 OVERVIEW
9.2 SOLID BODY
9.3 SEMI-HOLLOW BODY
9.4 HOLLOW BODY
9.5 OTHERS
10 GLOBAL GUITAR MARKET, BY TAILPIECE
10.1 OVERVIEW
10.2 VIBRATO ARMS
10.3 FLOATING TAILPIECE
10.4 HARD TAIL
10.5 STRING-THROUGH BODY
11 GLOBAL GUITAR MARKET, BY NECK SHAPE
11.1 OVERVIEW
11.2 C NECK
11.3 U NECK
11.4 V NECK
11.5 OTHERS
12 GLOBAL GUITAR MARKET, BY NUMBER OF STRINGS
12.1 OVERVIEW
12.2 SIX STRINGS
12.3 EIGHT STRINGS
12.4 TWELVE STRINGS
12.5 MORE THAN TWELVE STRINGS
13 GLOBAL GUITAR MARKET, BY STRING MATERIAL
13.1 OVERVIEW
13.2 STEEL
13.3 NYLON
13.4 OTHERS
14 GLOBAL GUITAR MARKET, BY MUSIC TYPE
14.1 OVERVIEW
14.2 ROCK
14.3 BLUES
14.4 POP
14.5 METAL
14.6 JAZZ
14.7 ELECTRONICA
14.8 TRADITIONAL
14.9 OTHERS
15 GLOBAL GUITAR MARKET, BY COLOR
15.1 OVERVIEW
15.2 BLACK
15.3 BROWN
15.4 RED
15.5 LIGHT TAN
15.6 LIGHT YELLOW
15.7 AMBER
15.8 OTHERS
16 GLOBAL GUITAR MARKET, BY APPLICATION
16.1 OVERVIEW
16.2 PROFESSIONAL PERFORMANCE
16.2.1 PROFESSIONAL PERFORMANCE, BY TYPE
16.3 LEARNING AND TRAINING
16.3.1 LEARNING AND TRAINING, BY TYPE
16.4 INDIVIDUAL AMATEURS
16.4.1 INDIVIDUAL AMATEURS, BY TYPE
16.5 OTHERS
16.5.1 OTHERS, BY TYPE
17 GLOBAL GUITAR MARKET, BY DISTRIBUTION CHANNEL
17.1 OVERVIEW
17.2 SPECIALTY STORES/MUSIC STORES
17.3 E-COMMERCE
17.4 SUPERMARKETS/HYPERMARKETS
17.5 OTHERS
18 GLOBAL GUITAR MARKET, BY REGION
18.1 OVERVIEW
18.2 NORTH AMERICA
18.2.1 U.S.
18.2.2 CANADA
18.2.3 MEXICO
18.3 EUROPE
18.3.1 GERMANY
18.3.2 U.K.
18.3.3 FRANCE
18.3.4 ITALY
18.3.5 SPAIN
18.3.6 RUSSIA
18.3.7 TURKEY
18.3.8 NETHERLANDS
18.3.9 BELGIUM
18.3.10 SWITZERLAND
18.3.11 REST OF EUROPE
18.4 ASIA-PACIFIC
18.4.1 CHINA
18.4.2 JAPAN
18.4.3 INDIA
18.4.4 SOUTH KOREA
18.4.5 INDONESIA
18.4.6 AUSTRALIA AND NEW ZEALAND
18.4.7 THAILAND
18.4.8 PHILIPPINES
18.4.9 SINGAPORE
18.4.10 MALAYSIA
18.4.11 REST OF ASIA-PACIFIC
18.5 SOUTH AMERICA
18.5.1 BRAZIL
18.5.2 ARGENTINA
18.5.3 REST OF SOUTH AMERICA
18.6 MIDDLE EAST AND AFRICA
18.6.1 U.A.E.
18.6.2 SOUTH AFRICA
18.6.3 SAUDI ARABIA
18.6.4 ISRAEL
18.6.5 EGYPT
18.6.6 REST OF MIDDLE EAST AND AFRICA
19 GLOBAL GUITAR MARKET: COMPANY LANDSCAPE
19.1 COMPANY SHARE ANALYSIS: GLOBAL
19.2 COMPANY SHARE ANALYSIS: EUROPE
19.3 COMPANY SHARE ANALYSIS: ASIA-PACIFIC
19.4 COMPANY SHARE ANALYSIS: NORTH AMERICA
20 SWOT ANALYSIS
21 COMPANY PROFILES
21.1 GIBSON INC.
21.1.1 COMPANY SNAPSHOT
21.1.2 COMPANY SHARE ANALYSIS
21.1.3 PRODUCT PORTFOLIO
21.1.4 RECENT DEVELOPMENTS
21.2 FENDER MUSICAL INSTRUMENTS CORPORATION
21.2.1 COMPANY SNAPSHOT
21.2.2 COMPANY SHARE ANALYSIS
21.2.3 PRODUCT PORTFOLIO
21.2.4 RECENT DEVELOPMENTS
21.3 IBANEZ GUITARS
21.3.1 COMPANY SNAPSHOT
21.3.2 COMPANY SHARE ANALYSIS
21.3.3 PRODUCT PORTFOLIO
21.3.4 RECENT DEVELOPMENT
21.4 YAMAHA CORPORATION
21.4.1 COMPANY SNAPSHOT
21.4.2 REVENUE ANALYSIS
21.4.3 COMPANY SHARE ANALYSIS
21.4.4 PRODUCT PORTFOLIO
21.4.5 RECENT DEVELOPMENTS
21.5 TAYLOR-LISTUG, INC.
21.5.1 COMPANY SNAPSHOT
21.5.2 COMPANY SHARE ANALYSIS
21.5.3 PRODUCT PORTFOLIO
21.5.4 RECENT DEVELOPMENT
21.6 B.C. RICH GUITARS
21.6.1 COMPANY SNAPSHOT
21.6.2 PRODUCT PORTFOLIO
21.6.3 RECENT DEVELOPMENT
21.7 C.F. MARTIN & CO. INC.
21.7.1 COMPANY SNAPSHOT
21.7.2 PRODUCT PORTFOLIO
21.7.3 RECENT DEVELOPMENTS
21.8 GODIN GUITARS
21.8.1 COMPANY SNAPSHOT
21.8.2 PRODUCT PORTFOLIO
21.8.3 RECENT DEVELOPMENT
21.9 MICHAEL KELLY GUITAR CO.
21.9.1 COMPANY SNAPSHOT
21.9.2 PRODUCT PORTFOLIO
21.9.3 RECENT DEVELOPMENT
21.1 PRS GUITARS
21.10.1 COMPANY SNAPSHOT
21.10.2 PRODUCT PORTFOLIO
21.10.3 RECENT DEVELOPMENT
21.11 SAMICK-GUITARS.COM
21.11.1 COMPANY SNAPSHOT
21.11.2 PRODUCT PORTFOLIO
21.11.3 RECENT DEVELOPMENT
21.12 SCHECTER GUITAR RESEARCH
21.12.1 COMPANY SNAPSHOT
21.12.2 PRODUCT PORTFOLIO
21.12.3 RECENT DEVELOPMENT
21.13 THE ESP GUITAR COMPANY
21.13.1 COMPANY SNAPSHOT
21.13.2 PRODUCT PORTFOLIO
21.13.3 RECENT DEVELOPMENT
22 QUESTIONNAIRE
23 RELATED REPORTS
