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MAY 2026 I VOL. 37, NO. 4
PUBLISHER Kevin R. Maher EDITOR Katie Kailus EDITORIAL ASSISTANT Kimberly Kapela CONTRIBUTING EDITOR Ed Enright SALES MANAGER Chris Maher DESIGNER Žaneta Čuntová
CHAIRMAN Kevin Maher PRESIDENT Frank Alkyer ASSISTANT TO THE PRESIDENT Sue Mahal
CIRCULATION MANAGER Evelyn Hawkins BOOKKEEPING Evelyn Hawkins
OFFICES Phone: (630) 941-2030 Email: editor@musicincmag.com CUSTOMER SERVICE (630) 941-2030 ext. 122
Jack Maher, President, 1970–2003 SUBSCRIPTION RATES: Free to qualified retailers and suppliers of musical instruments.
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May 2026
THE GUITAR ISSUE
26 I FROM THE TOP
Fender’s new CEO talks future plans, INXS and maintaining the company’s legacy.
Novo Guitars’ Serus J
38 I 5 BOUTIQUE BRANDS TO STOCK TODAY A roundup of boutique brands that every guitar dealer should consider stocking.
Sweetwater’s pedal display at its Fort Wayne, Indiana, showroom.
40 I PEDAL DISPLAYS 101: TURN BROWSERS INTO PLAYERS We spotlight three MI retailers who are taking their effects displays to the next level.
B’s Music Shop’s owner Brian Hansen.
30 I THE ART OF MODERN GUITAR RETAILING Three guitar retailers across the country share what guitar retailing looks like in 2026. Plus: They share their No. 1 tip for fellow guitar dealers.
42 I GUITARS, AMPS & ACCESSORIES 46 I AUDIO & RECORDING 48 I DRUMS & PERCUSSION 49 I BAND & ORCHESTRA 50 I PIANOS, KEYBOARDS & SYNTHESIZERS 51 I DJ & LIGHTING RETAILER ASK THE 54 I ASK THE RETAILER X Retailers offer strategies for selling high-end amps.
22 I AI IN MI X Peter Dods shares how better prompts keep AI from leading you astray.
18 I NEWS X Guitar Center Relaunches OCDP X Yamaha’s Tom Sumner to Retire X NAMM NeXT Europe Returns in June X Plus: Our debut “Retail Spotlight” featuring Fret12 14 I INDUSTRY PROFILES X How MIRC restores b-stock instruments for mom-and- pop retailers, while opening its first brick-and-mortar location last month. X A detailed look at Sho-Bud’s acquisition of Mosrite Guitars and its focus on preserving the brand’s legacy.
23 I MY TURN X Myrna Sislen discusses what she’s learned from Beacock Music as it celebrates 50 years.
24 I VIEW FROM REPAIR BENCH X Steve France offers four KPIs to drive B&O repair production.
25 I NAMM YP X Lisa Macdonald on leaning on co-workers during hard times.
Cover photo by Jena Hovey.
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G uitar retailing has always been about more than just instruments and the exchanging of dollars. It’s about aspiration, inspiration, a sense of community and a craving for first-hand experience. Our editorial team talks to countless guitar retailers each year and all of them share similar sentiments that guitars are meant to be touched, heard and experienced firsthand before being purchased. And out of that firsthand experience blossoms a community. For the 2026 edition of our annual guitar issue’s cover story, we’ve decided to speak with three guitar-focused retailers from across the coun- try to hear their take on the state of guitar retailing in 2026. PERSPECTIVE I BY KATIE KAILUS MORE THAN RETAILING
A lot of what these retailers said wasn’t surprising, but was still poignant: be au- thentically yourself, create community and offer a place for guitar players to congregate around your instruments. “We’re living in the age of Amazon, and large e-commerce platforms have made it incredibly easy to shop from home — my- self included,” said Frank Gross, owner of Thunder Road Guitars in Seattle and one of the three retailers we feature in this month’s cover story. “It’s hard to justify a trip to a store when something can be delivered in six hours. But a guitar is a deeply personal thing. The buying expe- rience isn’t the same for everyone, and my favorite kind of sale is when we help
someone find something they get truly excited about. That can happen online, but when it happens in person, in-store, it’s just a completely dif- ferent, and much better, feeling.” This is one reason that Gross has decided to reinvest in his brick-and- mortar footprint by opening a new, larger showroom in the same west Seattle neighborhood as his current store. (For more on this, turn to page 34.) Whether it’s one of this month’s other featured retailers — B’s Music Shop in Mount Pleasant, Michigan, or Twin Town Guitars in Minneapolis — or one of the thousands of guitar shops across North America, guitar retailing in 2026 seems to all come down to one thing: community. Creating connections is imperative for success, whether that means invest- ing in community through a larger brick-and-mortar footprint, supporting your local community in times of strife or finding your niche by showcasing your distinct brand on social media. Even in an age where convenience has never been greater, the most successful guitar retailers understand that real value lies in offering something convenience alone can’t: trust, personality, expertise and a sense of belonging. That may look different from store to store, but the principle is the same. In 2026, the guitar shops that stand out aren’t just the ones selling instruments. They’re the ones giving players a reason to walk in, come back and feel like they’re part of something bigger than a transaction. With that in mind, turn to page 30, read these retailers’ stories and be inspired by the communities they’ve built in their local areas and beyond. Because in the end, great guitar shops don’t just sell instruments. They build players. MI
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Safety Tips for Fellow Retailers P SA: Having high-def cameras was key for us following our store’s theft in February [reported in Music Inc.’s April 2026 issue]. We have had, and will have, some of the guitars on locked holders, though at one of the other stores, the suspects simply ripped the hook out of the wall. The other helpful thing was having a great network of support: from our Martin rep who sent [our story] out to all of his stores as a warn- ing and to be on the lookout, to other store owners — from indies to Guitar Centers — that reached out, posted the story and called with similar occurrences. Larry Noto Owner Music Land Bel Air, Maryland A Bright Future Lies Ahead I would like to express my sincere gratitude to Music Inc. magazine for the profile of Hanser Music Group in your February/March 2026 issue. I also appreciate your commitment to highlighting the various people, products, compa- nies, issues, challenges, triumphs, changes, wins and losses that impact the music instrument industry — elements, both big and small, that shape the MI community we’re all a part of. A special “thank you” to edito- rial assistant Kimberly Kapela for doing an excellent job of explain- ing the changes and challenges we at Hanser Music Group have been working to overcome since 2020. She effectively conveyed our optimism about the future, particularly our plans for Kustom Amplifiers, Powerwerks P.A., and HMG’s world-class OEM electron- ics manufacturing, all of which are poised for growth in 2026 and beyond. We hope the rest of the MI in- dustry shares this positive outlook.
A ‘Save Our Guitar Shops’ Update S ave Our Guitar Shops started in May 2025 after the closure of GAK in my hometown of Brigh- ton, U.K. After seeing that happen, I started looking into [guitar store closures] and realized it wasn’t just Brighton. There was a pattern of shops closing everywhere around the world. That was the moment it clicked that no shop is too big to disappear. Nearly a year on, what started in Brighton has spread much further. We’ve seen support come in from across the U.K., the U.S. and as far as Melbourne, Australia, with hun- dreds of players taking the pledge and shops sharing their stories. But at the same time, the reality hasn’t changed. In the past year alone, U.S. stores have closed, while many more shops are quietly scaling back or disappearing without much at- tention. It’s not one big collapse. It’s a slow drift, and that’s what makes it easy to ignore. The focus now is building real momentum in the U.S. The guitar shop scene there has shaped music culture globally, but it’s under the same pressure. We’re actively fea- turing shops on the campaign and sharing their stories, with more media coverage coming. If you run or work in a guitar shop, email me at drew@guitarmammoth.com so I can feature your story and help shine a light on what you do. And if you’re a guitarist, take the pledge at guitarmammoth.com/save-our- guitar-shops and help keep your local shop alive. I want to start a global movement, one guitarist at a time.
If the response that we personally encountered at The 2026 NAMM Show is any indication, the future looks bright for all of us. Thank you, Music Inc., for continuing to fuel that positivity. Ted Burger President Hanser Music Group Cincinnati Continuing to Support Our Dealers T hank you for the From the Top feature on Darius Sea- baugh, our senior vice president of marketing, in your February/ March issue. Following the story, our team reflected further on a year that was defined by both legacy and forward momentum for ACT Entertainment. We cel- ebrated landmark anniversaries for ProCo Sound and RapcoHo- rizon, which underscored the company’s deep roots in pro- audio. Additionally, continued
investments in talent and infra- structure have positioned ACT for sustained growth. As the organization expands its reach across live sound, video, light- ing and interconnect solutions, our commitment remains firmly grounded in supporting dealers, musicians and production pro- fessionals with reliable, road- tested tools. At the same time, our company continues to evolve through a thoughtful approach to partnerships and acquisitions, prioritizing brands that bring both heritage and innovation to its growing portfolio. With more than 600 employees and a unified brand vision centered on service, education and performance, we’re focused on delivering end-to-end solutions for live experiences of every scale. Shawn Wells Market Manager, Sound
Drew Haselhurst Owner Guitar Mammoth Brighton, U.K.
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
ACT Entertainment Jackson, Missouri
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INSIDE NEWS > Page 18 GC Relaunches Orange Country Drum & Percussion > Page 20 NAMM Announces NAMM NeXT Europe 2026 > Page 21 Yamaha Appoints New U.S. President
In the business of refurbishing factory-returned guitars, Tennessee-based MIRC has built a business model around giving instruments second chances. Now, with its new storefront, 8th Avenue Guitar Works in Nashville, customers can see that work in person. — By Kimberly Kapela GIVING GUITARS A SECOND LIFE MIRC’s Jason Gano and Natalie Kyriakoudis. Photo by: Andrew Nelles, USA Today Network via Imagn Images.
M usical Instrument Reclamation Corpora- tion (MIRC) is in the business of second chances. Based in La Vergne, Tennessee, the company partners with guitar manu- facturers to take returns and instruments that didn’t meet quality standards. Those once-overlooked instruments are carefully refurbished and then wholesaled to mom- and-pop music stores, online retailers and pawn shops — ready to begin a new life in the hands of musicians. When co-owners Natalie Kyriakoudis and Jason Gano purchased MIRC in January 2020, they inherited a company with a 30- year legacy and immediately began writing
the next chapter. “We decided that we needed to do a direct-to-consumer side of our business, which is called Franklin Guitar Works, and that business has been very successful for us,” Gano explained. While MIRC remains dedicated to the mom-and-pop shops, that expansion led to the acquisition of Mighty Mite, the original guitar parts brand for the MI industry, and the recent opening of 8th Avenue Guitar Works, its first brick-and- mortar store located in the heart of Nashville. NO GUITAR LEFT BEHIND Saving guitars from the landfill is one way
MIRC has shown its commitment to sus- tainability. From eco-conscious packaging to upcycling materials beyond instruments, every decision is guided by an “anything to save our guitars from landfills” mindset according to Kyriakoudis. “We really extend being a sustainability solution in the industry, to our day-to-day and how we move products into and out of our warehouse,” Kyriakoudis said. “That 30-year legacy really started from just part- nering with manufacturers to solve their problems, and we’ve been fortunate enough to continue to add partners. What makes our formula work is that we can offer this
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service and value in the industry at scale. Our techs are trained through our proprietary apprenticeship program, and they’re trained holistically to be able to do all repairs on all types of instruments. They aren’t set up to specialize in any one type.” MIRC’s technicians aren’t just repair spe- cialists, they’re musicians with a trained eye. Through MIRC’s proprietary apprenticeship program, newcomers can learn everything from scratch, while seasoned experts pass on decades of experience. “They don’t have to come to us with all of that training already, some of them do, but with our apprenticeship program that we have here, they can come in wanting to learn how to do this,” Gano added. “They might be a guitarist, and they really want to learn how to repair and refurbish things, but they don’t know how to do it. We have employees that have been with us for over 20 years, and we have a lot of young people that are just starting out in the industry and they get to learn from people who have been doing this for a long time.” NEW HORIZONS The acquisition of Mighty Mite in 2024 opened new doors for MIRC’s evolution. When a guitar can’t be fully restored, MIRC dismantles the instrument and repurposes its parts to breathe new life into other guitars. “We wanted to start a parts division for the company,” Gano said. “Laura Westheimer, from Westheimer Corporation, owned the Mighty Mite brand, and we found out how we could partner together to take that brand over from the Westheimer Corporation, and so we have a license to produce Fender head- stocks on our replacement necks, and we wanted to add a reclaimed parts division to this. With all the parts we’re pulling off, instead of getting a part for your instrument that may be generic, we’ll have the exact part that came off of your instrument that you can put right back on.” Most recently, on Feb. 20, MIRC opened its dealership at 8th Avenue Guitar Works in the heart of Nashville. With about 20 retail technicians on-site, MIRC now refurbishes upwards of 30,000 guitars a year, showcasing both the scale and artistry of its operation. “What we get to do with a physical loca- tion is really showcase what we do at MIRC, what our refurbishment process is — that there’s really no one else who is doing what we’re doing,” Kyriakoudis said. “We really wanted to create a new retail concept for guitars that really highlights the refurbish- ment offering. Our techs work on raised
platforms in the store, so customers can see their talent in action. What we are able to offer is our skilled technicians and excellent customer service, and we wanted to be able to provide that as part of the experience of shopping with us in person.” Beyond just shopping, 8th Avenue Gui- tar Works is designed to immerse musi- cians in the journey of a guitar. Custom- ers can see the transformation firsthand where the in-store experience brings the second-life mission of MIRC straight into shoppers’ hands.
“I just don’t want it to be another gui- tar store,” Gano said. “We’re in the most amazing guitar town in the world, and we have some of the most amazing stores in this town already, so what could we bring to it that no one else could? Our brand of refurbished instruments is something that wasn’t available locally, as well as offering an entire wall full of replacement bodies and necks and parts. Guitarists come in and they’re tapping the body to hear the sound of it, and that’s not anything you can do online.” MI
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“The design of his Vibramute system, the neck, it’s very important that we preserve that design,” Will said. “The zero fret on that neck is of extreme importance. There are now better bridge designs that produce more tuning stability, and we want to im- prove in areas where we can that make the guitar more stable tuning-wise. We want to preserve the tone, but enhancing or improv- ing tuning stability, I believe, is something that the customers certainly want.” VINTAGE REVIVAL Under the new acquisition, Sho-Bud promises new offerings, including its Maverick II Pedal Steel Guitar which has a single-piece pulling mechanism, similar to that on its pedal steel predecessor The Permanent. The heritage behind the lines is what makes Sho-Bud and Mosrite a must-stock for retail- ers. For Dawn and Will, the knowledge passed down from their father and previous generations are embedded in the and uncle Harry Jackson mechanics of every instrument produced. “I think heritage always attracts buyers, but then when you put the guitar in your hands and you feel it, you grab that neck and you recognize this is something truly different,” Will said. “We’ve taken all that knowledge and the patents that were obtained through the years and experience in bending strings and our dad, David Jackson, has developed a line of components that also transpose over into the six string world, from pedal steels into the six string world.” Today’s players’ renewed appetite for vin- tage aesthetics and analog experiences has cre- ated a new market for brands like Mosrite. “We’ve noticed a growing consumption of anything vintage, such as music itself and the merchandise tied to vintage brands, especially with the younger crowd,” Dawn said. “Couple that with the excitement over the return of the Mosrite lineup, we believe we can help drive prospective customers to retailers. Our new components like the VibraTune tunable vibrato and our Drop-D Pro tuner products create a service opportunity for retailers in which they can quickly install these compo- nents on customers’ guitars.” MI
Sho-Bud’s Will and Dawn Jackson.
PRESERVING THE PAST With its acquisition of Mosrite Guitars, Sho-Bud enters a new era under the leadership of Fred Wait and Dawn and Will Jackson as they bridge two historically distinct but philosophically aligned legacies . — By Kimberly Kapela
L egacy in Nashville, Tennessee, never stands still. It keeps moving, changing and rein- venting itself. Sho-Bud, the pedal steel guitar company, helped shape the sound of American music with that same restless spirit, building on the groundwork Leo Fender and and Shot Jackson laid and pushing it somewhere new. Now, that spirit of reinvention enters a new phase with Sho-Bud’s 2024 acquisition of Mosrite Guitars. Under third-generation leadership from co-owners Dawn and Will Jackson, the move marks a new wave of heritage craftsmanship. It’s also a full-circle moment as founder, and Dawn and Will’s father, David Jackson, once collaborated with Mosrite’s founder Semie Moseley, linking the two brands long before this acquisition. PRESERVING HISTORY For Dawn and Will, bringing Mosrite into the Sho-Bud family was both a natural fit and the next logical step in the brand’s evolution. Moseley’s work, particularly the engineering
behind its Vibramute, represented the same drive to create tonal perfection that was in Sho-Bud’s earliest innovations. “The reason why Mosrite fits with the Sho-Bud brand is because Sho-Bud is known for that Nashville sound. It always had a very unique tone. Well, so did Mosrite,” Will said. “The Ventures and Ramones captured the essence of that Mosrite tone, and it’s that unique tone that we’re really after. It felt right to couple these two together because of their tones and boutique style.” “The inventiveness that they all shared, always chasing that perfect guitar tone and how to bend a string better, there were a lot of similarities in what Moseley was doing in that Bakersfield sound and our Nash- ville sound,” Dawn added. “We just want to continue that.” The Jacksons are clear about where innova- tion must step in. The architectural DNA of Mosrite, with its neck profile, the zero fret and the intricacies of the Vibramute, remains sacred.
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GUITAR CENTER RELAUNCHES ORANGE COUNTY DRUM & PERCUSSION
instantly recognizable. “This isn’t for the drummer who wants to blend in,” Dalporto said. “It’s for the player who grew up on punk, alternative and rock and sees their kit as part of their iden- tity. They want something that stands out the second they walk on stage. And they want to play loud. OCDP has always been about attitude as much as sound. That still resonates whether someone is play- ing clubs, recording or building their first serious setup.” “When we started OCDP, we wanted to break the rules of what a drum set could look and sound like,” Jensen said. “This relaunch brings that mindset back, combin- ing the heritage details players remember with builds designed for how drummers play today.” As part of the relaunch, Guitar Center is introducing a focused signature strategy beginning with an exclusive Adrian Young Limited-Edition Signature Snare Drum, launching in May to coincide with No Doubt’s Sphere residency in Las Vegas. The exclu- sive program will continue with additional signature releases from influential artists closely tied to OCDP’s early artist roster, including Otto of Limp Bizkit. “OCDP is part of my musical DNA,” Young said. “I’m looking forward to being on stage at the Sphere this May and playing with a new OCDP kit to show the world that the brand’s iconic energy is officially back.” When it comes to fitting into Guitar Cen- ter’s larger private-label initiative, Dalporto said the opportunity lies in taking a boutique brand rooted in punk and rock and bringing it to a new generation. “Because we manage the full lifecycle, from development through retail, we can stay close to what players actually want and evolve the product over time,” Dalporto said. “These brands are designed to complement the national brands we carry. They also fill gaps where we see real opportunity for musicians. What sets us apart is how we bring that to life. We make it accessible at scale and bring it into our stores nationwide. Players can sit down and experience it. That balance of heritage, access and player-first experience defines our approach.” MI — By Katie Kailus
No Doubt drummer Adrian Young, longtime brand ambassador and newly named advisor for OCDP.
G uitar Center has relaunched Orange County Drum & Percussion (OCDP), reviving one of the most influential boutique drum brands to emerge from Southern Cali- fornia’s alternative rock scene. The relaunch arrives as the brand marks its 35th anniversary, reintroduc- ing a name long associated with custom builds, acrylic shells and a visual identity that stood apart in an era of increasingly expressive drummers. “Our team has been dying to relaunch OCDP for years,” Gabe Dalporto, Guitar Center CEO, exclusively told Music Inc. “It’s an iconic brand with die-hard believers like Daniel Jensen, OCDP’s co-founder, Adrian Young of No Doubt and John Otto of Limp Bizkit. When Guitar Center made our pivot to focus on the serious musician, this be- came a no-brainer, and we green-lit them
to not just relaunch, but to build product that would make legacy believers proud.” Founded in Orange County in 1991, OCDP became synonymous with bold custom craftsmanship and distinctive drum builds that set it apart. As Dalporto mentioned, the brand earned a following among lead- ing bands of the time, including No Doubt, Limp Bizkit, Blink-182, Foo Fighters, Def- tones, Rancid, The Used, The Offspring and 311. Guitar Center acquired OCDP in 2009, preserving its legacy and keeping its custom shop spirit alive for a future revival. To guide the relaunch, Guitar Center reunited with Jensen and welcomed back founding artist and longtime drum am- bassador Adrian Young of No Doubt as advisors. Together, they’re shaping the next chapter of the brand while carrying forward the creative edge that made OCDP
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RETAILING SPOTLIGHT
Sweetwater Expands On-Campus Fort Wayne Retail Store Again S weetwater’s music store, located on its campus in Fort Wayne, Indiana, has ex- which delivers cinema‑quality audio in a tuned, purpose-built environment.
Dan Tremonti holding a finished ver- sion of a “String Thing” inside Fret12.
Fret12 Launches Creative New Solution to Guitar String Waste F ret12, a Chicago-based music instrument and culture retailer, has launched The String Thing, a new solution for keeping used guitar strings out of landfills. An 8.75-inch plastic figurine with 139 pre-drilled holes, The String Thing is designed for musicians to personalize their own mummy using their old guitar and bass strings. “We have set out to change the mindset of used strings as waste into a collectible,” said Dan Tremonti, Fret12’s co-founder. “Your 10,000 hours, your commitment to guitar and your testament to the instrument are really demonstrated by how much you play and how much you change your strings.” The String Thing functions as a craft and an opportunity to hand-make something, but it was also designed like a toy to be displayed on a shelf. Its origin story traces back to Tremonti’s drawer, where an old set of strings got tangled up with an action figure and inspired him to create a mascot for both his brand and the wider world of guitar. “We love the lore of this guardian of the planet and the stages growing bigger with every string that’s cut off a guitar,” he said. To further encourage people to refrain from tossing their old strings, Fret12 is listed as an official drop-off location for D’Addario and TerraCycle’s Playback program. “A lot of what we do is coming out of left-field and just being inventive and disruptive,” Tremonti said. “It’s not really a strategy of the brand. It’s more so, we created this brand out of passion and our love for music and wanting to share a different perspective for music.” Founded in 2008, Fret12 established a physical location inside The Salt Shed, an indoor-outdoor music venue in 2022. Open only two days a week, the store also functions as a studio and a backdrop for Fret12’s content. MI — By Paulina Kwik
panded again, unveiling a significant update which includes two new dedicated home audio listening rooms. The state-of-the-art immersive environ- ments are the latest enhancements to the store, which originally opened in 2006 and was expanded to its current location in 2021. As a part of this multimillion- dollar investment, Sweetwater has added two purpose-built listening rooms en- gineered to create a high-performance home audio experience. The immersive room features a cus- tom‑designed JBL Synthesis system. Sweet- water is the only place in the Midwest where customers can experience this setup,
The second space, the home audio room, includes three independent interactive listen- ing zones. More than 100 components are on display and available to explore — soundbars, floor-standing and bookshelf speakers, turn- tables, home theater systems, media players, home audio receivers and more. “At Sweetwater, everything begins with sound,” said Adam Crampton, director of music store operations at Sweetwater. “We want to help people build systems that aren’t just powerful, but purposeful. It’s about knowing the tools, knowing the technol- ogy, and using that knowledge to create the exact experience someone is aiming for.” {sweetwater.com}
Yorkville Adds 3 Brands to Distribution Portfolio Y orkville Sound has announced it’s now the exclusive Canadian distributor for series, precision-engineered cabinets and ef- fects pedals.
Spector Musical Instruments and Aguilar Amplification, as well as has introduced a new distribution part- nership with Darkglass Electronics. Founded in Brooklyn, New York, in 1976, Spector has helped redefine electric bass construction.
“Aguilar represents everything serious bass players look for in am- plification — musicality, reliability and performance,” Cowling said. “Their commitment to tone and innovation makes them a perfect addition to the
Yorkville portfolio, and we’re excited to bring their full lineup to dealers and musicians across Canada.” Founded in Helsinki, Finland, Darkglass offers a range of solutions for modern bassists. “The way Darkglass artists craft tone is unlike anything else out there,” Cowling said. “We’re proud to bring their lineup to Cana- dian retailers and musicians who demand next-level sound.” {yorkville.com}
“Spector is one of the most influential bass brands in contemporary music,” said Jeff Cowl- ing, vice president of sales and marketing at Yorkville Sound. “Their instruments combine innovation, heritage and unmistakable style. We’re excited to offer Spector basses to our dealers and their customers nationwide.” Launched in 1995 in New York, Aguilar Amplification is known for its Tone Hammer
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ARTIST APPROVED
Maple Leaf Strings Celebrates Grand Opening of New Facility M aple Leaf Strings celebrated the grand opening of its new facility tions, the addition of an employee break room and kitchen, and more. Maple Leaf Strings officially moved into the new space in October 2025. Maple Leaf Strings CEO Jason Bartel, left, holds the ribbon while Brighton Music Center’s Brad Wittmer cuts the ribbon and the company team looks on.
The bassist of indie rock band The Maine talks about his obsession with the Roland JU-06A, messing with the Tascam 414 MKII and his new appreciation for iPads. GARRETT NICKELSEN Music Inc.: What was your first instrument? Garrett Nickelsen: The first instrument I ever owned was a Fender P-Bass I got when I was 12 years old. I had it until 2010, when I had to leave it behind in Australia because we got screwed on baggage fees. We had too many bags, and they were going to charge us something like $12,000, so we had to start getting rid of stuff. That bass was on the chopping block. MI: What’s your all-time favorite instrument? GN: I feel weird not saying a bass, but my all-time favorite is the Roland JU-06A. It’s from the boutique Roland synths they made a few years back. It’s the brain of a Juno, but it has a small keyboard attachment so you can bring it anywhere. The first time I played it was in a synth store in Berlin, and I instantly loved it. I’ve kind of become a synth nerd and spent way too much money on things that are half as cool as the JU-06A. MI: What instruments are currently in your arsenal? GN: Something fun we’ve messed with on the last couple records is a Tascam 414 MKII. We’ve used it to experiment with tape loops, but mostly to overdrive the preamp for nasty guitar parts. I heard that Keith Richards, on Beggars Banquet, used a cassette recorder on acoustic guitars and just pushed the preamp really hard so they sounded like electrics. That’s my favorite Stones record, so I wanted to steal that idea. MI: Are there any new or emerging pieces of gear that have inspired your creative process? GN: I’ve been really into the iPad recently. It has so many awesome, weird apps for sampling and just mak- ing bizarre sounds. If you like doing the whole “found sound” ambient stuff, I highly recommend using an iPad. MI — By Kimberly Kapela
in Cincinnati on Feb. 27 with a ribbon- cutting ceremony. The new location marks a milestone in the company’s growth and commitment to serving musicians, educators and music retailers. The company relocated from its origi- nal building to a newly purchased facil- ity across town, which was acquired in March 2025. Over the following months, the building underwent extensive renova- tions to support the company’s expanding operations. Renovations included roof repairs, new flooring, bathroom renova-
“We are very excited for this new chapter in Maple Leaf Strings history,” said Jason Bartel, CEO of Maple Leaf Strings. “This new facility is twice the size of our previous infrastructure and has enhanced our team experience with many additional creature comforts. The extra storage and processing space will allow us to serve our customers effi- ciently and effectively into the future.” {mapleleafstrings.com}
NAMM NEXT EUROPE 2026 TO GATHER EUROPEAN MI LEADERS IN JUNE N AMM has announced the re- turn of NAMM NeXT Europe,
an exclusive executive-level summit designed to unite leaders across the European music products, pro-audio and live event technology industries. The 2026 event will take place from June 10–11 at the Renaissance Am- sterdam Hotel in Amsterdam. Building on the momentum of its inaugural European gathering in 2025, NAMM NeXT Europe 2026 will gather forward-thinking leaders from across the region to connect, collaborate and drive meaningful in- dustry growth through leadership de- velopment, peer-to-peer exchange and strategic dialogue. “NAMM NeXT Europe is designed to bring together the leaders who are shaping what’s next for our indus- try,” said John Mlynczak, NAMM president and CEO. “By creating
a space for open dialogue, shared learning and actionable outcomes, we are strengthening the foundation for long-term growth across the Eu- ropean and global music ecosystems.” The two-day summit will feature a curated agenda focused on emerging opportunities and critical business challenges. Attendees will engage in expert-led sessions, collaborative work- ing groups and executive discussions aimed at delivering practical insights and measurable outcomes. The program will open with a welcome reception followed by keynote presentations. {next.namm.org}
20 I MUSIC INC. I MAY 2026
YAMAHA CORP. OF AMERICA APPOINTS SEIICHI YAMAGUCHI AS NEW PRESIDENT, TOM SUMNER TO RETIRE S eiichi Yamaguchi has been named president
in the United States,” Yamagu- chi said. “I’ve enjoyed my previ- ous time living and working in the U.S., and I know Yamaha can make an even bigger and better impact on the lives of U.S. musicians and educators.” Current YCA president
of Yamaha Corporation of America (YCA). Outgoing President Tom Sumner will re- tire later this year. Yamaguchi previously served as managing executive officer and executive general manager of the musical instruments business unit of Yamaha Corporation. Since beginning his career at Yamaha in 1985, Yamaguchi has held a variety of key leadership roles at the company. A few of his key roles have included chairman and manag- ing director of Yamaha Music and Electronics China, managing officer and general manager of the musical instruments and audio sales unit, and managing director of Yamaha Scandinavia. “I am looking forward to working with the great team at YCA to expand the brand’s reach
Robert M. Sides Purchases Johnstonbaugh’s R obert M. Sides Family Music Center, headquartered in State College, Pennsylvania, has purchased Johnstonbaugh’s Music Centers. Former owners Bob and Judy Johnstonbaugh closed on the deal on March 6 — the same day as their retirement party. “Our employees Alex, general manager, Nathan, sales manager, and Kelly, office manager and accountant, have been a huge help in getting operations, customers and staff transitioned so smoothly,” said Peter Sides, president and third-generation operator of Robert M. Sides Family Music Center. “We’re honored that Bob chose us as the next stewards of JMC. We’ll be exhibiting side by side at the PMEA All- State Conference at the end of April and are looking forward to collaborations and sharing best practices between JMC and RMS going forward.” {johnstonbaughs.com} Ted Brown Music Celebrates 95 Years with June Event T his year marks the 95th anniversary of Ted Brown Music, based in Tacoma, Washington. The Ted Brown Music Company, originally founded by Ted Brown in 1931, has remained family-owned for four generations. “I’m proud to carry on the legacy From left: Robert M. Sides’ Alysa Sides Greevy, Johnstonbaugh’s Music Centers’ Bob Johnston- baugh and Robert M. Sides’s Peter Sides. president and third-generation owner of Ted Brown Music. “I feel humbled by our musical community here in Washington.” “Reaching 95 years as a family- owned company is both rewarding and motivating,” said Garrison Grisaffi, educational services director of Ted Brown Music and fourth-generation employee. To celebrate, Ted Brown Music will host a party at each location on June 27. The event will feature food trucks, free live music, demos and special discounts store-wide. {tedbrownmusic.com} my grandfather began 95 years ago,” said Whitney Brown Grisaffi,
Tom Sumner (left) and Seiichi Yamaguchi
Tom Sumner started with the company in 1988 as a salesperson and has served as president since 2018. “I am humbled and honored to have worked in an industry I love, for a company I love and respect and with people I love and respect for my entire career,” Sumner said. “I owe everything to my Yamaha team members around the globe — especially here in the United States — who come to work every day dedicated to serving music mak- ers and music lovers.” {usa.yamaha.com}
MAY 2026 I MUSIC INC. I 21
> Page 23 My Turn > Page 24 View from the Repair Bench > Page 25 Women of NAMM
AI IN MI I BY PETER DODS DON’T LET AI HELP YOU FAIL
I n my last column, I promised we’d dive into “level four: the workflow automator,” mov- ing beyond chatting with AI to connecting it with systems like Google Apps Script. I have built these systems, and, trust me when I say, they’re game- changers. But the learning curve was brutal. I realize now that if you attempt “level four” without understanding how LLMs “think,” you don’t get automation. You get a Rube Goldberg machine of code. Before we become automators, we must address a trap called contextual inertia. If you don’t understand this, you’ll spend weeks polishing a turd while the AI hands you the polish. A three-minute nightmare I recently experienced was I tried to “auto- magically” sync massive Excel attachments from Gmail to Google Sheets. The files were huge, and the script kept timing out. I asked ChatGPT, Claude and Gemini for help. They dutifully wrote complex “batching” logic, processing 1,000 rows at a time, saving state and restarting after crashes. We even resorted to run- ning it at night while Google’s servers were less busy, but it still crashed sometimes. It was slow, fragile and a nightmare. Frustrated, I finally asked a “stupid” question: “Should I write multiple scripts to process the file column-by-column?” I outlined a manic schedule: I could trigger columns A–C to
three weeks ago? Because LLMs are designed to be compliant, not critical. When you paste a block of code and ask, “How do I fix this error?” AI analyzes that specific block. If your code uses a slow, ama- teur loop, the AI thinks, “I’ll help make this the best loop possible.” It doesn’t think, “This user should ignore their code and use the pro- fessional standard.” The hard truth is that AI will happily help you optimize a bad idea. This applies to anyone using AI. Here’s some examples: 1. The Over-Engineered Itin- erary. You’re planning a European vacation. You ask for train routes between 10 small towns. AI helps you navigate complex transfers for an hour. It never mentions that a $40 rental car saves you 20 hours because you asked for trains. 2. The “Infinite Revision” Email. You ask AI to “soften” a difficult email to your landlord. It tweaks adjectives but leaves the email 500 words long and defensive. It never suggests that a phone call would actually solve the problem. HOW TO PROMPT FOR ARCHITECTURE Reaching “Level 4” means mov- ing past syntax. Stop asking the AI to fix lines of code, and start asking it to build the blueprint. Prompt for the architecture, not just the implementation. First, there’s the “blank slate” prompt: Don’t paste your work- flow — that locks the AI into bad logic. Describe the goal without
the method. Also, don’t ask it: “How do I make this loop faster?” Instead, ask more specifically: “I need to move 50,000 rows of Excel from a Gmail attachment to Google Sheets. If you were a senior en- gineer, what specific architecture would you use to ensure it runs under 60 seconds?” Then, there’s the “wrong an- swer” technique. Cunningham’s Law suggests that the best way to get the right answer on the in- ternet isn’t to ask a question, but to post the wrong answer. If you suspect a more efficient method exists, try proposing something extreme to bait the experts into correcting you. Finally, ask for the professional standard. AI defaults to hobby- ist coding because it’s easier to explain. You must explicitly ask: “Is this the industry standard? Is there a more advanced system a professional would use, even if it’s
“AI is an incredible contractor, but it’s not normally a great architect.” run from 6 to 7 p.m., then trigger columns D–F from 7 to 8 p.m. and finally columns G–I from 9 to 10 p.m. I was ready to build a fragile clockwork monster just to move some text. The AI panicked. “No! That causes synchronization errors. Just use the Advanced Sheets API.” As it turns out, there was a much faster way to handle the data. By switching methods, I could eas- ily process 50,000 rows without hitting any time limits. My script went from a three-minute disaster to a stable, 48-second breeze. THE TRAP OF CONTEXTUAL INERTIA Why didn’t the AI set me straight
harder to set up?” YOU’RE THE ARCHITECT
AI is an incredible contractor, but it’s not normally a great architect. As we move toward automating our businesses with “level four” workflows, don’t let the AI’s compliance fool you into thinking your architecture is sound. Some- times, you have to be will- ing to break your own mold, because the AI never will. MI
Peter Dods is the owner of Honolulu-based Easy Music Center.
22 I MUSIC INC. I MAY 2026
MY TURN I BY MYRNA SISLEN Honoring Milestone Winners
T he strength of NAMM has always been its traditions. The Mile- stone/Believe in Music Awards are a prime example of traditions that date back to NAMM’s first gathering 125 years ago, when Civil War veteran William Taylor of Hart’s Piano House in New Orleans was presented with a merit award. This year, the two NAMM show award ceremonies were combined and took place mid- afternoon on Jan. 23 in a ballroom at the Hilton Anaheim. A total of 65 businesses were recognized for celebrating 25, 50, 75, 100, 125 and 150 years in busi- ness. Eight individuals, includ- ing Music Inc.’s president Frank Alkyer, were awarded Believe in Music Awards, which honor indi- viduals who have contributed to the growth and development of our industry and who have played important roles in advancing NAMM’s key initiatives. When asked how they managed to stay in business, the 50-year and 25-year recipients answered very similarly. Below are a few of my favorite nuggets of advice: A LEGACY OF SHARING SUCCESS Beacock Music, based in Vancouver, Washington, is celebrating 50 years in business in 2026 and has influ- enced so many store owners as the gold standard for how to run a mu- sic store. Most importantly, they’ve always been ready to share their ideas, knowledge and even their music-lesson handbook with any other businesses that reached out to them. My own business, Middle C Music, benefited greatly from Beacock’s generously shared ideas.
Beacock Music was founded in 1976 by Dale and Sue Beacock, two music teachers. As Sue recalled to me, when they started the store it was because they noticed there was no place to go for music lessons, so they started teaching in their home. Their children, Gayle and Russ, started working in the store as teenagers, left to go to col- lege and pursue other careers, but soon returned to Beacock Music where they, along with Sue, continue to run the business today. With three total locations today, I asked Gayle and Sue the secret to staying in business and staying successful for 50 years. They both had the same answer. Gayle said Sue put up a sign that’s
been in place for 50 years: “Retail is detail.” All the little things, especially cleanliness, such as vacuuming the store and cleaning the bathrooms every day. To showcase just how brilliant they are, before the NAMM awards ceremony took place, Gayle and Russ gave a session in the Idea Center, titled “50 of Our Best Ideas for Surviving 50 years in Business.” First, of course, was “retail is detail.” Then Russ went on to discuss the importance of participating in the industry. “Watch, learn, steal ideas from others in our industry that can improve your busi- ness,” he said.
NAMM CEO John Mlynczak with Beacock Music’s Sue, Gayle and Russ Beacock.
Gayle’s next shared idea was, “meet with your staff,” where she added: “If you have a showroom, make it exception- al. Why be normal? Why be ordinary.” In my 20 years owning Middle C Music, I have to admit I copied everything I could from visiting Beacock Music, as well as watching Gayle’s numerous teach- ing sessions. No one shares merchandis- ing ideas better than Gayle Beacock. “We wanted to be welcoming,” Sue
“In my 20 years owning Middle C Music, I have to admit I copied everything I could from visiting Beacock Music.”
shared. “We wanted to be courteous to our customers and be problem solvers for our customers. If we don’t have what they need, we will find someone who does, and help them solve their problem.” It’s also worth mentioning another 50-year Milestone Award recipient was The National Association of Professional Band Instru- ment Repair Technicians (NAPBIRT). “The organization’s goal is to make band and orchestra instruments play their very best for music education, for professionals, for anybody making music,” said Scott Mandeville, president of the organization. MI
Myrna Sislen is the former owner of Middle C Music in Washington, D.C.
MAY 2026 I MUSIC INC. I 23
VIEW FROM THE REPAIR BENCH I BY STEVE FRANCE 4 KPIs to Drive Repair Output
Y ou need a highly productive staff to manage the flood of rental returns and school repairs that pile up over the summer. As I’ve mentioned in previous articles, crafting financial incentives to ensure your rental fleet is ready is one critical step toward a productive shop. Effective KPIs are another. Using key performance indicators (KPIs) as a daily measuring tool of your repair staff’s effectiveness will increase your bottom line — and theirs. KPIs offer a non-subjective way to tell your techs they’ve done
manner. Every instrument should have a repair ticket with a check in and invoiced date — the time between these is the measurement. Every shop will have slightly different expectations here, but about one week is a standard goal. KPI #4: Quality of finished work. This KPI applies in shops where a foreman is inspecting every completed repair. This foreman has their own KPIs and every time a tech presents an instru- ment for final approval, time is taken away from the foreman. Don’t get me wrong, these in- terruptions are intentional and necessary, but I want to instill an unusually high attention to detail. I don’t measure the number of times an instrument is brought for help solving a problem, I’m only referring to the number of times a repair is presented for final approval. The measurement is simple, it either passed or it didn’t. If it passed, I offer an incentive of $5 for that instrument. If it didn’t pass, no financial gain to the tech- nician. Keeping a note on your phone or setting up a quality con- trol matrix in your repair software keeps track of what instruments receive the reward. These four simple KPIs will drive the productivity of your re- pair shop and ensure the mounds of repairs you’ll have this summer are done in an effective and timely manner. MI Steve France is a veteran instrument repair tech- nician and educator based in St. George, Utah. He operates Premium Music Products, where he develops Tech-Oil Lubricants and provides advanced training through Repair Masterclass for band and orchestra repair professionals.
good or have room to improve. The right KPIs, however, can be tricky. Here are the four KPIs I use in my shop to ensure every tech is operating to their fullest potential. KPI #1: Time at work/time at bench. Clocking in and out for the day is easy and gives you the total amount of time at work. Repairs are never completed by technicians who don’t show up, but it’s impossible for any tech to be at their bench all day long. Phone calls, triage, parts ordering and more detract techs from their bench every day. It’s essential to also track time at their bench. The old idiom of “everything left unmeasured will never improve” applies. If you’re not tracking their bench time, the amount of time they spend there will never increase. Instead, the amount of time it takes them to do the other nonproductive tasks will increase.
It’s not easy to measure bench time. Software tools help and have proven effective in my shop, but before the software, a simple chess timer proved effective. A chess timer measures the time each player takes to move — I simply rela- beled each side of the clock to “Making $” and “No $.” As the day goes on, every tech could see exactly how much time they were spend- ing at productive tasks versus nonproductive tasks and their focus immediately improved.
“Using key performance indicators as a daily measuring tool of your repair staff’s effectiveness will increase your bottom line.”
KPI #2: Bill rate per hour worked. This one uses a technician’s total hours at work (not their bench time) and is divided by the amount they billed out. Our goal is five-and-a-half hours of billed work each day during the nine normal months of the year, and six-and- three-quarters hours over the summer. The remainder of time is taken by those nonproductive tasks, and that’s normal. Set a real- istic expectation and this KPI becomes a driver, not a hinderance. KPI #3: Timely repairs. One factor of customers offering their repeat business is getting their instrument back in a timely manner. This includes the store owner getting their rental returns done in a timely
24 I MUSIC INC. I MAY 2026
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