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JUNE 2026 I VOL. 37, NO. 5
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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June 2026
THE SCHOOL MUSIC ISSUE
30 I FROM THE TOP Connolly Music’s Jake Connolly discusses his company’s recent acquisition of three brands from Conn Selmer.
Beacock Music’s Russ, Sue and Gayle Beacock.
The 2026–2027 NASMD Board during March’s convention.
40 I NASMD 2026 COVERAGE An in-depth recap of the annual National
Association of School Music Dealers convention, including the best, most informative sessions we attended.
44 I 8 TIPS FOR
RENTAL NIGHT SUCCESS School music retailers and ed reps chime in with their fool-proof tips to slay your next rental night.
34 I BEACOCK MUSIC AT 50 How the family-owned full-line retailer has leaned into its “retail is detail” motto to reach the five-decade mark.
48 I BAND & ORCHESTRA 50 I GUITARS, AMPS & ACCESSORIES 54 I AUDIO & RECORDING 56 I DRUMS & PERCUSSION 58 I PIANOS, KEYBOARDS & SYNTHESIZERS 59 I DJ & LIGHTING
22 I AI IN MI X Peter Dods shares three AI workflows that save him time.
12 I INDUSTRY PROFILES X How Rath Trombones is celebrating 30 years of U.K. craftsmanship.
24 I VIEW FROM REPAIR BENCH X Steve France offers five tips to increase summertime repair shop output.
14 I NEWS X PAS to Continue Legacy of PMC
X Eastman Music Acquires Fossati L’Atelier de Hautbois X Music Will, Sweetwater Launch Instrument Fund X Laney Founder Passes Away X Martin Announces Board, Leadership Changes
26 I MY TURN X Lars Rundquist advocates for close review of rental processing costs.
RETAILER ASK THE 62 I ASK THE RETAILER
28 I WOMEN OF NAMM X Hailey Earp discusses her WoN Leadership Summit experience.
X ESP Debuts New Leadership Changes X Guitar Center Relaunches Drum-Off X Ensemble Named to Inc. List
X Retailers answer the most common question they get from parents — and share how they respond.
Cover photo by Ryan Kotrlik.
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M ost retailers who have been in business for decades have core mission statements, guiding principles or mottos that help manage day-to-day operations, shape employee behavior and keep the business aligned over time. But not many retailers take a motto to heart as much as Beacock Music. The family-owned full-line retailer based in Vancouver, Wash- ington, is celebrating its 50th anniversary this year, and the Beacock team — which is helmed by founder Sue Beacock and her two children Gayle and Russ — puts great focus on their store motto of “retail is detail.” PERSPECTIVE I BY KATIE KAILUS THE SECRET POWER OF TIDINESS
For Sue, the motto wasn’t theoretical. It came from firsthand frustration as a music store customer. After years of taking Gayle and Russ to music lessons in the 1970s and walking into showrooms that felt neglected, she saw how quickly a poor environment could undermine the trust and enthusiasm of a music store’s customers. So, when she founded Beacock Music alongside her hus- band Dale in 1976, “retail is detail” became less of a slogan and more of a company standard. It became a commitment to creat- ing an environment featuring swept floors, clean bathrooms and spotless display cases. With this in mind, the Beacock team has
worked to create a retail space that customers want to spend time in. “There still is a need for a very good old-fashioned MI retailer,” Gayle said. “But you have to be exceptional. You can’t be out of product, you can’t have dirty bathrooms and you can’t have open boxes all over the floor ... Having a clean store might feel like an old-fashioned approach or focal point, but customers appreciate it. And it’s helped us create a welcoming space for our community to gather.” This is an important lesson any retailer can learn from Beacock Music. As rudimentary as it may sound, never underestimate the importance of a clean environment. These basics aren’t just housekeeping tasks — they’re part of the “product” you’re selling, shaping how customers perceive every- thing about your business, from the instruments on your walls to the people you’ve hired to sell them. When it comes down to it, “retail is detail” is less of a slogan or motto and more of a simple test any store can run on itself. Walk your floor like a customer would. Look at the corners, the glass, the counters, the way product is staged and the way the space feels when no one is actively selling. Ask yourself: “Would I want to spend time here if I didn’t already work here?” That answer tends to reveal everything. Cleanliness, order and care don’t just make a store look better — they set the tone for trust, for comfort and for how seriously customers take you and your staff. The MI industry is built on relationships and hands-on experience, so those details quietly do a lot of heavy lifting. The dealerships that last are often the ones that never stop paying attention to the finer details. MI
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Bridging Remote Experiences with Brick-and-Mortar Retail T hank you for featuring Sweet- water’s pedal display in your May 2026 issue. We appreciate the attention to our brick-and-mortar music store and how we bridge our remote customer experience with this brick-and-mortar retail. It means a great deal to our team. Sweetwater’s music store in Fort Wayne, Indiana, strives to be the first choice for local and regional customers and a must- visit destination for anyone pas- sionate about music and media. Guitars and pedals are a natural draw, but our roots in keyboard and recording technology run just as deep. Over the past five years, we’ve expanded into band and orchestra, video, cameras and home audio. This expansion has furthered our ability to create a space that inspires discovery and creativity while building lasting relationships with our custom- ers. Our pedal display is a great example of how we have enhanced our retail space to make shopping for the latest and greatest products in our assortment an exceptional experience for our guests. Thanks for helping us share. Adam Crampton Director of Music Store Operations Sweetwater Fort Wayne, Indiana Protecting Musicians’ Most Valuable Asset T here’s no way to start this without a huge thanks to Music Inc. and editorial assistant Kimberly Kapela for the Industry Profile feature in your April 2026 issue. Your article truly captured what sometimes feels like border- line insanity in the pursuit of tone. Thank you, also, for consistent- ly featuring companies and artists both large and small. Spotlighting small companies truly helps all music, as it brings forward more
us shine a light on the amazing work that our team does to give instruments a second chance. Since purchasing MIRC in 2020, we have worked tirelessly to become the industry leader in sustainability and have grown our wholesale and direct-to-consumer divisions to make MIRC’s high- quality refurbished instruments available across the country. We have received an outpour- ing of positive comments from all corners of the music industry. We would like to invite anyone travel- ing through Nashville, Tennessee, to stop into our new store, 8th Av- enue Guitar Works, and let us show you firsthand the love and care that goes into every instrument. Natalie Kyriakoudis & Jason Gano Owners MIRC Nashville, Tennessee Community-Focused Rental Experiences I n concurrence with the Rental Night feature in this issue [on page 44], I’d like to share that at Day Violins, instrument pet- ting zoos are about more than just trying instruments. They’re about creating access, building confidence and opening doors. Rooted in our belief that talent is universal and opportunity is not, each event is intentionally designed to give students a mean- ingful first experience while help- ing families feel welcomed into a supportive musical community. We focus on connection first, knowing that a single positive interaction can change how a student sees themself and their potential. Jenna Day Owner Day Violins Chantilly, Virginia
ideas, varieties and innovation. I also want to take this mo- ment to highlight Soursound Transformers. Bryan’s trans- formers are the heart of every one of my amps, and the tones he coaxes out of these hunks of iron are truly magical. I am lucky to have Soursound as a neighbor and thought partner for some crazy circuit ideas. If I could continue a point made in the article — one of the many reasons I started build- ing guitar amps around the turn of the century — 2000 that is — was to develop a watt- age control circuit that wasn’t just good enough, but something that actually improved the amp’s musicality. I was on a mission to help protect musicians’ most valuable treasure — our hear- ing. I started the company in 2019 after finally landing on a design that I’m proud of. With
stage volumes on the decline, and with the need for preserving household relationships on the rise, this is now a feature that I can’t live without. Finally, I want to thank all the wonderful people who helped support Eddie Wang Instruments and our goal in making the best musical instruments possible, from our customers, artists, dealers and friends. Thank you for making this dream a reality. Eddie Wang Owner Eddie Wang Instruments Portland, Oregon Leading in Sustainability W e wanted to reach out with a huge thank you to Music Inc. team members Kevin Maher, Kimberly Kapela and Katie Kai- lus for featuring our business in your May 2026 issue’s Industry Profile. We appreciate you helping
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
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INSIDE NEWS > Page 14 PMC Votes to Dissolve with PAS to Inherit its Assets > Page 15 Eastman Acquires French Oboe Maker > Page 18 ESP Makes Leadership Changes
experience as Michael honed his craft dur- ing a nine-year apprenticeship at Paxman Horns, one of the U.K.’s most respected brass manufacturers. After relocating to Yorkshire, Michael opened a repair and customization shop. Around 1995, British jazz trombonist Mark Nightingale approached Michael with a request to build a customized trombone tailored to his needs. That commission became the first Rath trombone and the blueprint for the company itself. Three decades later, Rath Trombones re- mains deliberately small, with a close-knit team of fewer than 20 craftspeople dedicated to maintaining U.K. brass craftsmanship. Despite its global reach, production remains firmly anchored in the U.K. as players are also invited into Rath’s modular design process. “They are customizable,” said Mark Good, Rath’s marketing manager. “If you want a stained-glass window in your trombone, they’ll build that for you. Basically, you can pick your poison when it comes to [our instru- ments]. They’re played by everybody; from symphonic players to military bands, wind and brass bands, jazz, funk, you name it. Our customers are all over the world in diverse music genres.” The other element of the Rath experience are Rath Custom Trombones. “A few years ago, the company introduced the Rath 00 Series of trombones,” Good said. “They really bridge the gap between student instruments and their high-end bespoke mod- els, so they are a fixed product. It comes ready out-of-the-box, and that might be somebody’s first taste of a Rath.” PLAYER-FIRST DESIGN A new chapter unfolded in 2024 when Rath Trombones was acquired by John Packer Mu- sical Instruments to support marketing and distribution. The instruments continue to be made by Michael and his team in Yorkshire. “That U.K. brass manufacturing element carries a great deal of respect and prestige,” Good said.
Main Rath Trombones’ founder Michael Rath. Inset: Michael Rath works in his U.K. workshop.
From its Yorkshire, U.K., workshop to stages around the world, Rath Trombones continues to champion bespoke design while expanding its international reach as it celebrates its 30th year in business. — By Kimberly Kapela 30 YEARS OF RATH
R ath Trombones may be celebrating its 30-year anniversary this year, but it has no plans to slow down. That’s partly because the company is working to con-
tinue to safeguard the future of U.K. brass instrument craftsmanship. Founded in 1996 by Michael Rath, the company’s origin is rooted in hands-on
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Models like the Rath R2 and Rath R10, both small bore trombones, have become staples in big band and jazz settings, prized for their agility and tonal clarity. Meanwhile, the Rath R9 bass trombone has earned a reputation for its versatility, moving seam- lessly between brass bands, military ensembles and symphony orchestras. The trombones are built around the player, not the other way around. “People can essentially build a horn to suit their needs, if they’re a solo player, or they need to stick out, if they need to blend as part of a section, if they need to jump between a symphony and band setting quite regularly, and they need a horn that can work for both,” Good said. As Rath marks 30 years, the milestone is felt deeply within the workshop itself. Many of the company’s team members have spent decades honing their craft under Rath’s guid- ance. It’s a small team, but there’s a great deal of care and attention given to the product that has developed a worldwide reputation and respect in the international brass and indeed wider music community according to Goodman. That reputation is now accelerating. De- mand for Rath Trombones continues to rise, particularly in the U.S., where the company has rapidly expanded its presence. “For example, Rath only had one dealer in the United States a few years ago. Now, Rath dealers can be found across the States, and that continues to increase,” Good said. “These horns are manufactured from start- to-finish in the UK by a small, extremely talented team of individuals who are the finest at what they do. Michael Rath is one of the finest trombone makers in the world. He comes at it from a background steeped in the likes of Paxman Horns. You can tweak the sound, the response, the feel to suit your own needs and Rath will never rush the process, because, of course, every single person who picks up a trombone is going to have different requirements for what they need from the horn so that bespoke, modular, customizable aspect is so attractive.” EXPANDING REACH In the coming months, the Yorkshire maker will be visible across some of the brass world’s most influential gatherings. Fresh from the European Brass Band Championships, Rath is already looking ahead to the International Trombone Festival this July, where it will sponsor and represent the brand among play- ers and industry leaders. Additionally, the recent introduction of
the Rath R300 medium bore trombone has already resonated strongly with players. Its early popularity signals a broader appetite for instruments that can move fluidly across styles. According to Good, that evolution is far from over. Further developments in the small bore range are already on the horizon. Yet what truly distinguishes Rath is the ecosystem built around them. Mouthpieces are treated as integral to the playing experi- ence. Designed with the same attention to detail as the trombones themselves, they form part of a wider commitment to acces- sibility and player support.
“Mouthpieces are an important part of the project as well, and in their efforts to offer more support physically to trombon- ists of any instrument, they also have a very popular hand support, and this is to try and eliminate unnecessary physical tension or strain,” Good said. “Because of its custom nature, Rath has been able to help folks over the years who may have physical impair- ments to their playing, so if somebody, for example, has a certain disability, Michael Rath has been able to build custom struc- tures to allow them to continue to play the trombone.” MI
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PERCUSSIVE ARTS SOCIETY TO CONTINUE LEGACY OF PMC
T he Percussion Marketing Council (PMC), the non-profit trade association dedicated to promoting drumming and percussion, has announced that its board of directors has voted to officially dissolve the organization. In a simultaneous and unanimous decision, the Percussive Arts Society (PAS) has been selected to inherit the PMC’s assets and continue its legacy of market development and percussion advocacy through some of PMC’s programs, including International Drum Month, Drumset in the Classroom, and Drum Teacher Finder. For more than 30 years, the PMC/Play- Drums.com has served as a link between the percussion industry and the public, creating initiatives that lower the barrier to entry for aspiring drummers. By transitioning these
continue but thrive.” “We are honored to be entrusted with the legacy of the Percussion Marketing Council,” said Joshua Simonds, PAS executive director. “PAS and PMC have always shared a common goal: to inspire and educate drummers and percussionists. By integrating these additional market-development programs into our existing framework, we can provide even more resources to educators, retailers and the next generation of drummers.” The transition of assets and program man- agement is expected to be completed by June 30. During this time, both organizations are working closely to ensure a seamless handover for industry partners and program participants. {playdrums.com; pas.org} accomplishments underscore the enduring value of music education and reflect the collective commitment of educators, administrators, families and community leaders who cham- pion its importance. “Music education plays a vital role in culti- vating vibrant, connected communities,” said John Mlynczak, NAMM president and CEO. “The 2026 Best Communities for Music Edu- cation recipients exemplify how meaningful access to music fosters creativity, collaboration and lifelong learning. We are proud to recognize their leadership and unwavering dedication to ensuring every student has the opportunity to engage in music.” “Access to music education is a true cata- lyst for belonging, expression and shared purpose,” added Julia Rubio, NAMM Founda- tion executive director. “When communities invest in music, they invest in the potential of every student.” New this year, The NAMM Foundation introduced the BCME Opportunity Award, an initiative that provides direct financial sup- port to further strengthen and sustain music education programs that serve communities in need. Four BCME-winning schools and districts were selected to receive the inaugu- ral award of $5,000 each. Award recipients were selected based on demonstrated financial need and the projected impact of funding, as demonstrated in their Opportunity Award application. {nammfoundation.org/bcme}
efforts to PAS, the industry ensures that the “spirit of the PMC” will remain a permanent fixture in the global percussion community. “PMC has done incredible work over the decades to grow the drumming community from the ground up,” said David Jewell, PMC board chair. “As we look to the future, there is no better home for these programs than the Percussive Arts Society. Their educa- tional infrastructure and global reach will ensure that our flagship initiatives not only
NAMM Foundation Honors 2026 ‘Best Communities for Music Education’ N AMM has announced the recipients of the NAMM Foundation’s 2026 Best
applications are independently reviewed and verified by WolfBrown, a leading research and evaluation firm specializing in educa- tion and the arts. This thorough process ensures that recognition reflects measurable achievement and sustained commitment. In 2026, more than 1,000 school districts and schools — including public, private, charter and parochial institutions — have been recognized for outstanding achievement in providing access to music education. This year’s honorees represent a diverse cross-section of communities across the country, including many first-time recipients alongside districts and schools that have achieved con- secutive years of recognition. These sustained
Communities for Music Education (BCME) Award. Now in its 27th year, the award rec- ognizes and celebrates school districts and individual schools across the U.S. for their exemplary dedication to music education and their ongoing efforts to ensure equitable access to music learning as part of a well-rounded education. Recipients are selected through an ap- plication and review process that evaluates key indicators including district support, instructional time, participation rates, fa- cilities and community support. To uphold the program’s integrity and credibility, all
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careful attention to detail and close relation- ships with oboists and English horn players, many of whom regard Fossati instruments as of the highest quality and artistry. Through this acquisition, Fossati L’Atelier de Hautbois will continue producing instruments at its workshop in Amilly, France. By joining forces with Eastman Music Company, Fossati gains access to global resources and long-term investment in the art of instrument making, enabling the workshop to expand its reach while preserving its commitment to craftsman- ship. The collaboration is designed to ensure the ongoing artistry of the Amilly workshop and introduce the Fossati brand to a broader community of musicians around the world. “We are honored to welcome Fossati into the Eastman family,” said Qian Ni, CEO of Eastman Music Company. “Fossati represents a proud tradition of French oboe craftsmanship and in- novation. Their dedication to artistry and their strong relationships with musicians around the world align perfectly with Eastman’s mission to support the global music community. We look forward to working together to continue the Fossati legacy.” {eastmanmusiccompany.com}
Eastman Music Acquires Fossati L’Atelier de Hautbois E astman Music Company has announced its
Founded in 1986, Fossati L’Atelier de Hautbois is known for its workshop-based approach, rooted in the French tradition of handcraftsmanship and artisanal excellence. Fossati operates as a true, small-scale atelier, focusing on the beauty of each instrument’s tone, precision of mechanism and unique char- acter. Its reputation has been built through
acquisition of Fossati L’Atelier de Hautbois, the French maker of professional oboes and English horns. This strategic partnership marks a new chapter for both companies and under- scores Eastman Music Company’s dedication to advancing the art of instrument making and serving musicians worldwide.
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RETAILING SPOTLIGHT
Norman’s Rare Guitars Gets Modern Refresh N early six months p ost acquisition by The North American Guitar (TNAG) Global, Norman’s Rare Guitars, the Los Angeles shop founded in 1975, remains dedicated to its love for guitars and its customers while gaining some updates to bring it into the modern era. “It’s been an amazing few months since we did the deal,” said Ben Montague, founder and CEO of TNAG Global. “It’s the most iconic guitar shop in the world and for us to be able to get it into the right century from a tech standpoint and also to be obsessed with our customers and making sure they get the best experience possible is what it’s all about.” The main changes thus far have included building out the repair shop and hiring more repair technicians to make the consignment process smoother for customers. The shop’s inventory has been expanded with around 200 new guitars and the front-of-house area has been redone and new merchandise has been added. The store’s brand new website, launched in late April, integrates Norman’s Rare Guitars with its sister site, Carter Vintage Guitars, the Nashville, Tennessee-based store owned by TNAG. Each store’s respective inventory remains in its home location, but the new site makes it easier for customers to ship instruments between stores. “They’re taking the spirit of the store that we had before and are taking it into the future as well,” said Norman Harris, founder of Norman’s Rare Guitars. “If you came into the store and you were a customer from before, you probably wouldn’t even know the difference — other than the store looks more organized.” Harris noted that giving back to the community through exposing young talent and partnering with the Midnight Mission, an L.A. homeless shelter, is something that encourages people to shop at the store. “I learn something every day working alongside this man,” Montague said. “I’m truly honored to be the custodian of his name and his company.” MI — By Paulina Kwik Norman Harris (center) and Ben Montague (right) with friend of the shop, guitarist Joe Bonamassa (left).
From left: Roland’s Gladys Carrillo, Jun Yamato, Jeremy Stappard, Paul McCabe, Bardo Bardelli, Manuele Barbini, Katherine Wing, Pat Kennedy and Ryan Genest.
ROLAND CORP. U.S. OPENS NEW EL SEGUNDO HEADQUARTERS
R oland Corporation has opened its new U.S. headquarters in El Segundo, Cali- fornia, marking a milestone in Roland’s ongoing investment in its Americas op- erations and the people who power them. Located on the 12th floor of a build- ing at 200 N. Pacific Coast Highway, the new headquarters brings together more than 100 U.S.-based Roland employees in a modern workspace designed to reflect the way creative teams actually work. The space features open collaborative zones, conference rooms with full hybrid capa- bilities, and design elements that pay trib- ute to Roland’s heritage and innovation. Private offices carry the names of iconic Roland products, including the TR-808 and SP-404, grounding the team in the instruments and culture at the heart of the brand. Floor-to-ceiling windows frame sweeping views of the Hollywood sign, the downtown Los Angeles skyline, and the Pacific Ocean, situating the team at the center of one of the world’s most vibrant creative communities. The building’s prox- imity to LAX makes the headquarters an ideal destination for artists, partners, and collaborators traveling in and out of the city, reinforcing Roland’s commitment to staying closely connected to the people who make music. “El Segundo gives us a home that match-
es our ambitions,” said Manuele Barbini, Roland Americas’ CEO. “We are closer to our artists, closer to L.A.’s creative cul- ture, and better positioned than ever to deliver on Roland’s mission of designing the future of music.” The El Segundo headquarters serves as a physical hub for innovation, creativity and human connection, bringing together Ro- land’s teams across sales, finance, market- ing, product management, legal and beyond under one roof. The opening comes on the heels of Roland Corporation’s completion of the Roland Inspiration Hub, its new global headquarters in Hamamatsu, Japan, which began full operations in March. Roland Corporation U.S. celebrated the grand opening with a ribbon-cutting ceremony led by company leadership, in- cluding Barbini, CFO Bardo Bardelli, vice president of channel marketing Katherine Wing, senior vice president of research and innovation Paul McCabe, vice president of product management Pat Kennedy, vice president of North America sales operations Ryan Genest, director of human resources Gladys Carrillo, and vice president of legal Jun Yamato. More than 70 employees at- tended in person, with an additional 120 North American team members joining via a simultaneous livestream town hall. {roland.com/us}
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ARTIST APPROVED
Its sound and warmth are unlike any guitar I’ve ever heard. It immediately makes me want to write a song, tell a story or sit and play it for hours on end. That guitar has inspired and initiated so many songs I’ve released. MI: What instruments are currently in your arsenal? CS: I’ve been playing the same instruments for so many years now that I’m just now starting to bring more into the rotation. I’ve been play- ing an Ebony SG Standard at recent shows and I’ve really loved it. Especially for touring or traveling, the lightweight body has been a game changer for me. For songwriting, I al- ways start on my Hummingbird to help form the idea and the story until we decide on the production direction and which guitars to use. MI: Are there any new or emerging pieces of gear you’ve recently tried that have inspired your creative process? CS: I’ve been really inspired by vocal loop- ing and layering live. Artists like Imogen Heap essentially vocal produce through- out their performances. I love how it lets the voice become both an instrument and a production tool, building harmonies, textures, and rhythms in real time. Every show becomes its own unique experience because nothing is done exactly the same. MI — By Kimberly Kapela
Music Will, Sweetwater Launch National Instrument Fund C e lebrating a decade-long partnership, Music Will and Sweetwater have launched the National Instrument Fund to help under-resourced schools establish music programs. Music Will, the largest nonprofit music program in the U.S. public school system, and Sweetwater have announced the 34 schools chosen as fund recipients. Nearly four million students in the U.S. are without access to music education resources. The National Instrument Fund is an innovative partnership designed to help schools overcome one of the biggest barriers to music education: access to instruments. “With the generosity of Sweetwater, we’re helping teachers across the country set up new music programs in schools where they didn’t exist, and expand existing programs where more students want to participate than teachers currently have the resources to support,” said Mike Wasserman, Music Will CEO. “Talent is universal, but opportunity is not. We are grateful for Sweetwater’s long-standing leadership and ongoing investment to help close gaps in access to classroom instruments and provide more young people the opportunity to become lifelong music-makers.” Over 300 schools applied for the National Instrument Fund, signaling the need for broader, industry-wide collaboration to close the gap. Most of the Fund-awarded schools serve communities facing socioeconomic challenges. According to The National Association for Music Education, schools with music programs see a nearly 18% increase in graduation rates and an almost 10% increase in attendance rates. “At Sweetwater, we know that music education is a powerful way to build students’ confidence, foster inclusion and belonging, and learn how to collaborate with others,” shared Mike Clem, Sweetwater CEO. “These are life skills that every student should have access to develop, and we’re proud to play a role in helping unlock their potential and creativity through the gift of music.” {musicwill.org; sweetwater.com}
Alt-pop’s Charlotte Sands dives into the instruments behind her genre-blurring sound, highlighting her deep connection to the Gibson Hummingbird as a cornerstone of her songwriting. CHARLOTTE SANDS Music Inc.: What was your first instrument? Charlotte Sands: My first instrument was an acoustic guitar that my dad hand-built for me. He’s been making guitars since I can remember which made learning to play feel magical and very personal to me. I feel really lucky to have been surrounded by that kind of creativity and passion. MI: What is your all-time favorite guitar? CS: My favorite guitar is a Gibson Hummingbird.
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INC. NAMES ENSEMBLE TO 2026 FASTEST- GROWING PRIVATE COMPANIES LIST
D ’Addario has launched Gear Collection, a digital feature within the Players Circle platform. Designed to replace fragmented spreadsheets and handwritten lists, Gear Collection offers musicians a centralized, visual inventory to manage their instruments, pedals, amps and accessories. For many players, managing an extensive collection of gear, from cymbals and cables to vintage guitars, is a logistical challenge. Gear Collection aims to solve this by providing an intuitive digital inventory where musicians can build and refine their setups over time as their gear evolves. It serves as a new home for gear-obsessed players to show off their setups and discover the tools behind their favorite sounds. Gear Collection is fully integrated into E nsemble Performing Arts has announced it has been ranked No. 12 out of 60 companies on Inc. magazine’s sixth annual Inc. Regionals: Rocky Mountains list, a ranking of the fastest-growing privately held companies in the Rocky Mountains. The region includes Montana, Idaho, Wyo- ming, Nevada, Utah and Colorado. Ensemble Performing Arts was the highest ranked company in the education category, and just four Colorado businesses were included in the top 15 companies on the Rocky Mountains list. An extension of the national Inc. 5000 list, the Regionals list offers a data-driven look at the independent small businesses driving growth across the Rocky Mountains economy. Companies on this year’s list demonstrate exceptional revenue expan- sion, resilience and job creation during a challenging economic period. Established in 2019 following the
acquisition of a single music school in Louisville, Colorado, Ensemble Per- forming Arts today serves students at more than 125 local music and dance schools, and is focused on preserving established community relationships, creating more resources for students, and providing opportunities for teach- ers to build stable careers. Over the past two years, Ensemble has deepened its commitment to preserving the arts by partnering complementary businesses beyond schools, such as the National Educational Music Company, a leading provider of instrument rentals. “Ranking well on the Inc. Fastest-Grow- ing Private Companies list is always an honor, and we’re especially energized know- ing that our growth comes from advancing performing arts education in more than 30 states,” said Jeff Homer, Ensemble’s founder. {ensembleschools.com}
ESP U.S.’s Matt Masciandaro and Todd Binder.
ESP GUITAR COMPANY ANNOUNCES EXECUTIVE LEADERSHIP CHANGES E SP Guitars has announced that Matt Masciandaro, the company’s president and CEO of the brand’s U.S. operations for the past 39 years, has decided to retire. Moving into Masciandaro’s former role as president is Todd Binder, who has spent more than three decades at the company, and most recently has served as ESP’s vice president of product development. ESP cel- ebrated its 50th year in business in 2025. “On behalf of ESP Japan, I wish to ex- press our sincere gratitude to Matt for his many years of dedicated service and his steadfast commitment to advancing Mr. Shibuya’s vision in the United States and across the world,” said Mr. Fujimori, chair- man of ESP Group. “His contributions to the ESP brand have been invaluable, and the foundation he has built will endure for years to come. We congratulate him and wish him the very best.” Founded by Hisatake Shibuya in 1975 as a small instrument service shop in To- kyo, Japan, ESP Guitars became a global known after opening its first U.S. offices in 1985. Masciandaro, who’d previously worked as a tech and a tour manager for bands, including Aerosmith, Motörhead, Dokken and others, joined the company soon after. The brand grew exponentially under Masciandaro’s leadership. He re- located ESP’s U.S. headquarters, first in 1989 to New York’s 48th Street, and then a few years later to California. “I’m both proud and humbled by the trust that Mr. Shibuya placed in me back in 1987 when I was chosen to lead ESP’s USA opera- tions,” Masciandaro said. {espguitars.com}
D’Addario Launches Players Circle Gear Collection
the Players Circle loyalty ecosystem. Play- ers are rewarded with points simply for logging and organizing their gear, turning the time spent managing an inventory into real value for future D’Addario purchases. {daddario.com}
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Guitar Center Brings Back Drum-Off Competition G uitar Center has relaunched its national Drum-Off competition in 2026 after “We just launched our Legends Play Here campaign, which speaks to a truth: every day existing legends, emerging leg- we’ve heard from musicians for years,” Dalporto said. “The difference now is we’re in a position to bring it back the right way.
nearly a decade. Starting now, drummers can step into any of Guitar Center’s 300 stores nationwide to record and submit an original three-minute on-camera au- dition video. Every store will feature a premium acoustic drum kit with simple, step-by-step instructions for submission. First launched in 1988, Drum-Off ran for 28 years and served as a proving ground for drummers for more than three decades, helping emerging talent gain recognition and advance their careers. Along the way, it became a defining platform within the drumming community, featuring some respected musicians as judges, including Travis Barker, Peter Criss and Chad Smith. Drum-Off aligns with Guitar Center’s Legends Play Here brand initiative, bringing together emerging drummers, established players and industry judges in a competi- tion built around live performance.
ends and future legends are walking through our doors and exploring sound, meet- ing other musicians, [and] forming bands,” said Guitar Center CEO Gabe Dalporto. “Part of our mission is to sup- port these musicians locally and shining a spotlight on their incredible talent, and
We’ve spent the last few years rebuilding the busi- ness and refocusing on seri- ous musicians. Our stores are more experiential, our relationships across the in- dustry are stronger, and we can relaunch this nation- ally with real momentum. [This year] is when all of
doing everything we can to help them as they launch their careers. And with 300 stores in 300 local communities, thousands of drummers participating and creating shared experiences, we hope to galvanize this community.” Dalporto added that musicians, not just drummers, have been asking for years when the company would bring back Drum-Off. “It’s one of the most requested things
that comes together.” Drum-Off 2026 begins in Guitar Center stores nationwide, where participants visit any of the brand’s locations to record and submit an on-camera audition video. Select entries will advance to live district competitions held at 24 Guitar Center locations, followed by regional competitions in key markets. The competi- tion will culminate on Aug. 20, at the Fonda Theatre in Hollywood. {guitarcenter.com}
LANEY AMPLIFICATION FOUNDER PASSES AWAY L yndon Laney, founder of Laney Ampli- fication, has passed away. He was 77. Lyndon established Laney Amplification in 1967 and, through vision, dedication and commitment to quality, built the company from modest beginnings into an internation-
ally known brand. His work helped shape the sound of generations of musicians, most notably that of his longterm friend Tony Iommi of Black Sabbath. Alongside Laney,
he went on to de- velop several other
Lyndon Laney
industry ventures to become what is now the Headstock Group. First expanding into the pro-audio sector with the acquisition of HH Audio, then with the development of Headstock Distribution to represent the Hoshino Gakki brands Ibanez and Tama. A statement from the company read: “Lyndon was not only a founder, but also a creator, innovator and trusted figure whose passion for [the] industry was at the heart of his working life.” {laney.co.uk}
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Buffet Crampon USA Expands Tuba Showroom B uffet Crampon USA has announced a new partnership with Baltimore Brass Company in Catonsville, Maryland, to expand
MARTIN ANNOUNCES BOARD APPOINTMENT, EXECUTIVE LEADERSHIP CHANGES C .F. Martin & Co. to- day announced the
its USA Tuba Showroom, providing professional tubas from B&S, Meinl Weston and Besson. The USA Tuba Showroom opened in 2022 in Jack- sonville, Florida, at Buffet Crampon USA headquarters and has proved to be a resource for musicians searching for their next professional tuba. Until
appointment of Blaine Phillips to its board of directors and the addition of Matthew Kennedy to its executive leadership team (ELT). Phillips is a business
Matthew Kennedy
Blaine Phillips
now, these instruments were only available through the Jacksonville showroom. This new partnership provides a secondary location and resource where tuba players around the country can access and pur- chase the instruments they need. “We’re appreciative of all the support the Tuba Showroom has re- ceived and proud to be able to partner with Baltimore Brass to make it even easier for musicians to find their tubas,” Warren Kus, USA Tuba Showroom manager. {buffetcrampongroup.com; tubashowroom.com}
leader with more than 40 years of experience building and growing a family-owned company. Phillips currently serves as president of Phillips & Phillips, a commercial real estate holding company, and CEO of Phillips Pet Food & Supplies, one of the largest national distributors of pet food and supplies. Over the course of his career, he has transformed a small fam- ily feed store into a nationwide organization with more than 900 employees, a network of distribution centers across the U.S., and partnerships with over 12,000 retail locations and 300 vendors. “Blaine is from Nazareth, the third generation in his family business that evolved from farm animal feed to pet food. He has grown his family business in a challenging and evolving market successfully,” said Chris Martin IV, Martin’s chairman of the board. C.F. Martin & Co. has announced that Matthew Kennedy has been named an officer of the company and appointed to the executive leadership team. He currently serves as director of custom shop sales administration and support. “It’s an honor to take on this role, and I’m committed to preserving and building upon Martin Guitar’s values and his- tory — celebrating our artistry and craftspeople, inspiring musicians, and guiding purposeful growth for generations,” Kennedy said. {martinguitar.com} NICK RAIL MUSIC PROMOTES HARRISON KIRK TO GENERAL MANAGER N ick Rail Music has announced Har- rison Kirk has been promoted to
J ohn Packer Musical Instruments has announced the acquisition of Richard Smith Musical Instruments, the company behind the Smith-Watkins brand. The acquisition is the latest chapter in a longstanding relationship between JP Musical Instruments and Richard Smith Musical Instruments stretching back to 2008, when the companies first collaborated to create the JP Smith- Watkins range of trumpets and cornets. Smith-Watkins now becomes a part of the JP Musical Instru- ments family which includes brands, such as Rath Trombones, Taylor Trumpets, Sterling Musical Instruments and Rudall Carte Woodwinds. Smith-Watkins instruments will continue to be manufactured at its facility near York, U.K. Alongside Rath Trombones in Yorkshire and Taylor Trumpets in Norfolk, the acquisition further strengthens U.K. brass instrument manufacturing. Richard Smith Musical Instruments has a global reputation for producing world-class brass instruments hand-made in the U.K. and performed in diverse settings from jazz and chamber music to big band, orchestra and studio recordings. Smith-Watkins instru- ments can be found in many of the leading military bands in the U.K. and beyond, including bands belonging to the British Army, Royal Marines and Royal Air Force. {jpmusicalinstruments.com} John Packer Musical Instruments Acquires Smith-Watkins Richard Wright, instrument technician, with Dr. Richard Smith, founder of Richard Smith Musical Instruments..
general manager of Nick Rail Music. Kirk began his Nick Rail Music career in 2014 as a sales associate and quickly worked his way through the ranks as store manager, director of school ser- vices, director of operations, and now general manager.
Harrison Kirk
According to store owner Laura Penrose, Kirk’s “ex- emplary work through the pandemic and his progressive initiatives in all departments” have continued to advance the Santa Barbara-based retailer to the forefront of school music retailing. {nickrailmusic.com}
20 I MUSIC INC. I JUNE 2026
our mission to actively foster our acoustic mu- sic community resonates far beyond our walls in Springfield,” Chapman said. “Sitting down with Jeff — who shares our deep passion for the ‘soul’ of these instruments — was the per- fect way to show that our ‘digital front porch’ is open to everyone, from Hollywood icons to local beginners.” “The Acoustic Shoppe Knows People” has become a destination for acoustic enthusiasts. Featuring conversations with the artists, manu- factures, luthiers and celebrities who make up the acoustic music world, the series is available as a video podcast on YouTube and Spotify, as well as an audio podcast on all major platforms. In the episode with Daniels, listeners are treated to personal stories from the actor’s musical journey, including reflections on his 1934 Martin C-2 and a memorable encounter with George Harrison. “The success of our YouTube channel and this podcast proves that people are hungry for authenticity,” Chapman said. “We aren’t just selling instruments; we are supporting the artistic journey of 100,000 people and count- ing.” {theacousticshoppe.com}
The Acoustic Shoppe Hits 100K YouTube Subscribers S pringfield, Missouri-based retailer The Acoustic Shoppe has officially crossed the view with Emmy and Tony Award-winning actor and songwriter Jeff Daniels. From left: The Acoustic Shoppe’s Jason, John and Jeremy Chapman.
100,000-subscriber mark on YouTube, earn- ing the platform’s Silver Creator Award. To celebrate, president and CEO Jeremy Chapman and the team released a landmark episode of the shop’s hit podcast, “The Acoustic Shoppe Knows People,” featuring an exclusive inter-
Daniels, known for his roles in “The Newsroom” and “Dumb and Dumber,” is a dedicated Martin guitar player who is a regular customer of The Acoustic Shoppe. “Reaching 100,000 subscribers and receiving our Silver Play Button is an affirmation that
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> Page 24 View from the Repair Bench > Page 26 My Turn > Page 28 Women of NAMM
AI IN MI I BY PETER DODS CONFESSIONS OF A MUSIC RETAIL AI ADDICT
I n last month’s column, I tackled “contextual inertia,” or the trap of letting AI polish your bad ideas rather than helping you build bet- ter ones. As promised, I would like to move to “level four” — the workflow automator. But in order to do that, I have a confession to make: I’m an AI addict. My gateway drug was a You- Tube video by creator Nate Herk. He demonstrated how a PDF in- voice could automatically down- load from Gmail, be read by AI and populate a database without any human hands required. He used n8n.io to do it. On the screen of my computer, I watched a static piece of paper turn into organized data like magic. I had already been tinkering with Google Apps Script, so I turned to my AI assistant and asked: “Can you help me replicate this automa- tion for free using Google Apps Script?” The answer was “yes.” Together, we built a script that grabs PDF email attachments from Gmail, parses the data, converts it to columns in a Google Sheet and archives the old file. I didn’t pay for an automation platform. I built my own inside the software I was already paying for. Without AI, I was overwhelmed by all the things I couldn’t do. With AI, I’m overwhelmed by all the things I can do.
“With AI’s help, the result is a custom-built marketing engine for zero dollars. We never had time to create product emails before this, but last week, we sold a Martin Custom Shop guitar directly from one of them.”
tion from my Shopify data and wraps it in HTML. If I reference two SKUs in a row, the system automatically generates a double product card instead of a single one. The magic happens in the back- ground, where an AI-written script acts as the assembly line. It stacks those blocks into a clean email and shoots it directly to Mailchimp. To
rows you see on big retailer sites is a manual nightmare. So, I fixed it by turning Google Sheets into my email builder. I treat the spreadsheet like a layer cake. Each row is a distinct content block, like a header, a text section or a product grid. When I enter a SKU, the sheet instantly pulls the image, price and descrip-
Here are three workflows I built with AI that save me time and un- lock capabilities I never had before. 1. CUSTOM EMAIL MARKETING ENGINE Most email marketing platforms are a headache. The interfaces are clunky, the widgets are rigid and building those slick multi-product
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