Canadian Music Trade - April/May 2017 - Page 31

Paul Haggis & Jenn Ladd of Bluedog Guitars out front on it and just warning us that there were going to be changes to the models and we’ve had certain models being hung up in delivery, and it might just be as simple as a faceplate,” Haggis continues. “We’ve had great success with [Taylor’s] eight-string baritone guitars and the only rosewood on those is the faceplate because it’s a mahogany top, Tasmanian blackwood back and sides, and everything else is legit. So they’re hung up now over what to do with the faceplate. A few models they warned us ahead of time would be discontinued. They had rosewood on the GS Minis and things like that and they’re moving to substitute woods across the board.” Because the CITES regulations apply to any amount of restricted wood, some builders, such as Vir- ginia-based boutique brand Huss & Dalton Guitar Company, are having to decide what is worth the hassle. “They’ve always used Honduran rosewood for their bridge plate,” explains Haggis. “That’s it – just the bridge plate and so now they’re [wondering,] ‘Do we change what has been a signature building point for us?’ They’re really up front about declaring everything and who it’s going to and even the experienced luthier looking inside with the proper tools would have to know how a maple bridge plate looks different than a rosewood bridge plate. But the builders themselves, they’re having to specify the actual weight of any material that’s going onto a guitar, because the whole idea is if they’ve pre-registered any woods supply they’re getting, then they have to account for anything they’re sending out, which is basic supply management – wood in, wood out. We’ve seen builders having to list on a specific form, if it’s a guitar going into the U.S., ‘two pieces for the back, two pieces for the sides, four pieces for the binding,’ and then the weight of the actual material. So it’s very onerous for the builders and we’re talking pages of paperwork.” So for Canadian MI retailers, the biggest hassle comes with getting CITES permits from Environment Canada for the products they had in-store prior to Jan. 2, 2017. Products that retailers have and will receive from their suppliers after Jan. 2 nd should be accompanied by a CITES certificate, which the retailer will then repackage with the product if they resell that item outside of Cana- da. All CITES permits must be issued before the item is exported and will not be issued retroactively. The per- mit forms can be obtained through the Environment & Climate Change Canada website at “We had to send them a listing of everything we had and then they gave us a number of permits to be used when we then re-exported. So a re-export certificate is what we have in-hand and I’m happy to say we’ve been able to use them successfully in sending the guitars back into the States that were orig- inally built there,” explains Haggis. “It was lengthy, but you know, I feel for Environment Canada. They’ve done a stellar job reacting to the volume of questions that must be coming at them. We were just patient and fortunately we were able to get really good examples from our suppliers of what we have in terms of records and specifications as per the instruments. So there is some trust in- volved just to make it all run smooth- ly and so far it’s working well.” As mentioned, the manufac- turer should include a certificate for exporting (if made in Canada) or re-exporting (if made outside of Canada) with every new product sent to Canadian retailers. Where the new CITES regulation may be- come the largest hassle for retailers is with the international sale of used and vintage instruments. If a Canadian retailer brings in a used or vintage instrument after they’ve already obtained the permits for all their pre-Jan. 2, 2017 inventory, then they need to go through the permit process again for that single vintage item if they plan to