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APR Supply, SYD, IPS Grow Into A New Scranton Facility (Spring 2012)

by Ryan Kiscaden | Feb 21, 2012

PRESS RELEASE (FOR IMMEDIATE RELEASE):


SCRANTON, PA - Schaedler Yesco Distribution, Inc. (SYD), APR Supply Company (APR), and Industrial Piping Systems (IPS) are proud to announce the expansion of their brand, “3 Under 1 Roof” to the Scranton marketplace by spring of 2012.  APR, who currently has a branch in Scranton, will move its operation to 745 North Keyser Avenue to complete the cohabitation with SYD and IPS.

With the addition of Scranton, Schaedler Yesco (electrical), APR Supply Company (plumbing & HVAC), andIndustrial Piping Systems (pipe, valves & fittings)now share ten (10) multi-distributor facilities throughout Pennsylvania, six of which contain at least two partners and four that include all three.

This business model is the first of its kind in Pennsylvania and specifically the wholesale industry.  Customers oftentimes make purchases from each of the three distributors already so now they can find a large assortment of material needed for projects in one convenient location, experiencing a level of customer service that surpasses competition.

Allthree well-known, independent distributors are locally-owned and headquartered in Central Pennsylvania.  The first multi-distributor building was opened by the joint venture in October 2006 in Chambersburg, PA and has grown continually ever since.

For a listing of joint venture locations, visit http://igate.sydist.com/JV-Chart.pdf .  For information about each distributor, visit www.sydist.com , www.aprsupply.com , or www.ipspipe.com .

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8 Comments

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    Once upon a time, I turned pages for Jamie when he performed the Kreutzer Sonata at a studio class. This was before I played it myself, so I was unfamiliar with the theme & variations movement. There's one particular variation which is 2 straight pages of 16th notes, and 2 repeats. I made the mistake of glancing away from the page for a second, and discovered to my horror when I looked back that I couldn't remember a) where we were, and b) whether we had done the repeats. I ended up half-standing & hovering for what seemed like an eternity, with Jamie kindly giving me subtle no shakes and finally a clear yes nod.Then there was the time that I turned for a friend playing in a vocal recital @ Scotiafest. He asked me at the last minute as a favour, so I accepted, forgetting that I was battling the remnants of a nasty cough. There's nothing like being on stage and NOT BEING ALLOWED TO COUGH that will make you want to cough up a lung. I managed to get through the entire thing without once coughing during a piece, but then had a friend in the audience comment on the odd expression on my face at various times.
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    Once upon a time, I turned pages for Jamie when he performed the Kreutzer Sonata at a studio class. This was before I played it myself, so I was unfamiliar with the theme & variations movement. There's one particular variation which is 2 straight pages of 16th notes, and 2 repeats. I made the mistake of glancing away from the page for a second, and discovered to my horror when I looked back that I couldn't remember a) where we were, and b) whether we had done the repeats. I ended up half-standing & hovering for what seemed like an eternity, with Jamie kindly giving me subtle no shakes and finally a clear yes nod.Then there was the time that I turned for a friend playing in a vocal recital @ Scotiafest. He asked me at the last minute as a favour, so I accepted, forgetting that I was battling the remnants of a nasty cough. There's nothing like being on stage and NOT BEING ALLOWED TO COUGH that will make you want to cough up a lung. I managed to get through the entire thing without once coughing during a piece, but then had a friend in the audience comment on the odd expression on my face at various times.
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    Hazel thanks for your note. (LOVE The Sartorialist!!). All black is often the default colour because it's the easier to unify (imagine an ensemble full of slightly different shades of red), it's easy on the eyes, and the audience tends to focus more on the music than if the ensemble were wearing different colours. The problem with saying go for it, wear any colour is what one person considers stylish another will consider completely inappropriate. There there's the issue of colour clashing. And in classical music, there are known stereotypes about what kind of dress is associated with certain types of music. Opera performers (and audiences) tend to go all out with style and flamboyance; Baroque performers (and audiences) tend not to consider fashion a big deal and are very low-key with their apparel. Ultimately, no, I don't think ensembles should be able to wear any colour; then it looks like a rehearsal.
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