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NOVEMBER 2025 I VOL. 36, NO. 10
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
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November 2025
THE ACCESSORIES ISSUE
D’Addario’s Eclipse Tuner
50 I THE LAST-MINUTE STOCKING GUIDE
Eight retailer-approved, must-stock items to consider adding to your shelves ahead of Black Friday weekend.
John Fulton
36 I FROM THE TOP
40 I THE BEAT OF GLOBAL MI RETAILING We speak with MI dealers in the Netherlands, Canada, Norway and the U.K. to hear what international trends and market shifts they’re noticing.
Conn Selmer’s new CEO John Fulton talks tariffs, music education and his goals for the future of the company.
52 I GUITARS, AMPS & ACCESSORIES 54 I AUDIO & RECORDING 56 I DRUMS & PERCUSSION 58 I BAND & ORCHESTRA 59 I DJ & LIGHTING RETAILER ASK THE 62 I ASK THE RETAILER X Retailers share ideas for treating store employees during the holidays.
28 I IN THE TRENCHES X Cyph Shah shares often-overlooked aspects of running an installation business.
14 I NEWS X NAMM Opens Registration for 2026 Show X Guitar Center Hosts Jam Event in NYC X Reverb UK Relaunches X Yorkville, Lienau A/V Associates Partner X Zoom Acquires Instamic X Martin Announces Retirements, Leadership Hires X Gibson Appoints New CCO 12 I INDUSTRY PROFILE X How Meters Music is striking major partnerships with out-of-industry brands, like the Tampa Bay Buccaneers NFL team.
30 I AI IN MI X Peter Dods shares his “AI awakening” — and how fellow MI retailers can experience the same.
32 I NAMM YP X Lauren Sleath on how to add-on accessory sales this holiday season.
34 I WOMEN OF NAMM X Whitney Brown Grisaffi discusses the nuances of leadership.
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T his month’s cover story marks Music Inc.’s first deep dive into global MI retail in quite some time. With international trade and the global economy taking center stage, it seemed like a fitting moment to explore how music stores around the world operate. Starting on page 40, we highlight MI retailers from the Neth- erlands, Canada, Norway and the U.K. While cultural nuances differ from country to country, MI retailers in the U.S. and abroad share one common goal: creating a community that fosters more music makers. PERSPECTIVE I BY KATIE KAILUS MI TRANSCENDS GLOBAL BORDERS
One example? Peach Guitars in Col- chester, U.K., which has instilled itself as a community hub for local musicians, hosting live performances, clinics and workshops on its dedicated showroom stage. Recently, the retailer hosted sold- out events with guitarists Joey Landreth and Andy Wood. “Events like these bring people together and remind us why we love doing what we do,” Aiden Milgate, the store’s marketing manager, says on page 48. “That sense of trust and community is what keeps custom- ers coming back, even in a world dominated by huge online platforms.” Situated on the coast of the North Sea
in Norway sits Evenstad Musikk, a full-line dealer, which, despite not putting on festivals or concerts, remains deeply rooted in its community’s musical spirit, with an influence that extends far beyond the walls of its showroom. Instead of centering on events, Evenstad Musikk builds its connection through trust and expertise, meeting customers where they are in their musical pursuits. Whether helping a young musician find their first guitar or navigating a professional through their next synth purchase, the store has become a constant in Norway’s MI landscape. “By giving our customers what they expect and want from us, we get to be a small, but important, part of their musical journey, even though we don’t arrange festivals or do all kinds of crazy stuff,” shares Geir Magnus, owner of Evenstad Musikk, on page 46. “I believe in being consistent and sticking to a model that customers understand. Do the job right the first time and you secure customers coming back.” What became clear as we put together this month’s cover feature is that music retail looks surprisingly similar no matter which corner of the world it’s located in. Whether it’s the U.K., Norway or Austin, Texas, music retailing success comes down to the same fundamentals of knowing your customers, offering the right mix of gear, and creating and fostering a community of music makers. Personalized service, expert guidance and local connections drive loyalty everywhere, proving that the core of MI retail truly transcends interna- tional borders. MI
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Looking Ahead T hank you to Music Inc. for the From the Top feature in your September issue. It was a pleasure to share a bit of inMusic’s story. The part that matters most is what comes next, and we’re building it with our community. This fall we’re bringing our most capable hardware and software yet, shaped by the needs of today’s musicians and creators. We listen first and then turn those insights into tools that drive creativity for years to come. Industry Disruption A midst the insightful editorial features of the September 2025 issue of Music Inc., Hilary Brown’s column, “This Industry Will Self-Destruct,” benefits not only from astute observations, but also a cleverly creative, excellently articulated and enjoyable delivery. Yes, disruption can be a wonder- ful thing; I utilized it extensively and successfully with Sabian. But her points about “disruption de- ployed irresponsibly,” “the inborn resistance to change,” “fearing ir- relevance we embark on a wildly competitive race to innovate or simply become the loudest voice in the room,” “the intention of the message isn’t considered,” and “there’s no unified front and the result is a diluted cacophony of efforts that’s forced and awkward” are all real-world reminders that the need for documented mission goals, plans and strategies, as well as thoroughly considered contin- gencies is a priority. Indeed, the concerns noted by Brown could serve as a warning list and thus a catalyst for management teams to pre-plan in anticipation of these and other challenges. Wayne Blanchard Director Wayne B Marketing Canada Jack O’Donnell Founder & CEO inMusic Brands Cumberland, Rhode Island
others to follow the same path. We see a lot of potential in the mid-to-lower price range, where beginners and developing players are looking for their first or second instrument. Supporting that next generation is really important, be- cause when people have a great experience early on, it sets them up to keep playing and growing. In the end, that benefits everyone in the music community. Aiden Milgate Marketing Manager Peach Guitars Colchester, U.K. 100-Plus Years of German Engineering I t was an honor to speak with Katie Kailus of Music Inc. about some of the exciting developments happening at Beyerdynamic in your October 2025 issue’s From the Top feature. With over a century of heri- tage, our products continue to be designed, developed and largely produced in Germany — a tradi- tion that will continue and has fostered deep-rooted connections with artists, creators, studios and gamers around the world. We’re proud of the strong partnerships we’ve built with retailers and media partners, and we’re deeply grateful for their continued support. To our loyal fans: thank you. Your creativity and passion bring our headphones and microphones to life, and we’re honored to be a part of your journey. And a special thank you to Music Inc. for the opportunity to share our story with your readers!
Navigating These Turbulent Times I t was such a great honor to be featured in Music Inc.’s October 2025 Industry Profile, “Flight Ukulele Takes Off.” When we started Flight more than 15 years ago, and Jet guitars five years ago, we could never have imagined how far this journey would take us. Coming from the small coun- try of Slovenia, our beginnings were very modest. We celebrated every win, no matter how small it was, including first distributors, first big dealers, our first viral video and our first NAMM show. This feature was a good way of looking back and seeing how international and established our brands have become. The MI industry right now is quite turbulent to say the least, yet we
remain optimistic and motivated, mostly thanks to the support and feedback from our U.S. dealers. We wouldn’t be anywhere near this level of growth and success without them. So, thank you from the bottom of our hearts. Juliana Virant Owner & General Manager Flight Ukulele Ljubljana, Slovenia Supporting the Next Generation T here are definitely growth op- portunities across the market right now, and one of the most exciting things is seeing more peo- ple picking up the guitar for the first time. It’s amazing to watch a new generation of players getting started, and with so many incred- ible young artists making their mark, they’re already inspiring
Richard Campbell Managing Director Beyerdynamic Farmingdale, New York
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 NAMM Show Registration Opens with New Online Portal > Page 20 JodyJazz Celebrates 25th Anniversary > Page 24 Zoom Acquires Instamic
Launched in the U.K. in 2017, and pur- chased by Tampa, Florida-based ERA Music Brands in 2024, Meters Music represents both reinvention and resilience. Evan Ru- binson, owner of ERA Music Brands and now CEO of Meters Music, has given the brand new life by strengthening its market- ing and sales networks and pushed Meters into the mainstream consumer view with partnerships like its recent one with the NFL’s Tampa Bay Buccaneers. “Our products really are showstoppers,” Rubinson said. “We’re doing something in the audio market that no one else has ever done, which is focusing equally on style, functionality and sound. I think that’s a groundbreaking thing. Most headphones are pretty sterile. They’re all black or white, but with our custom, patented VU Meter, it really does attract a lot of attention. We’ve seen a lot of great web sales as well, because the product is so striking. They sound amaz- ing, as well.” That VU Meter is Meters’ secret weapon. Built into every pair of headphones, this mix of function and design makes every pair of Meters headphones both a conversation piece and a trusted tool for musicians. Meters’ products are tuned with a musi- cian’s ear in mind, delivering clarity, depth and balance that go beyond standard con- sumer audio. For Rubinson, that’s the heart of the brand: offering listeners products that look as bold as they sound. “They look like nothing else anyone has ever seen in a headphone with our patented VU Meter that tracks music and audio levels if it’s damaging in terms of decibel level in real time, and it’s always a conversation starter,” Rubinson said. Its main flagship products include the OV-1-B-Connect and its LINX System. “With both of those products, it’s our flag- ship for our in-ear and over-the-ear products with athletes, people that are working out in the gym, people that want the earbuds,”
Meters Music blends style, sound and lifestyle into headphones and home audio systems designed for music lovers everywhere. Under CEO Evan Rubinson, the brand is combining musician-grade audio with conversation-starting design. — By Kimberly Kapela HEADPHONES THAT SPEAK LOUDER THAN WORDS Meters Music’s Evan Rubinson
M
eters Music is shaking up the audio world. From noise-cancelling wire- less headphones to sleek Bluetooth home
systems, the brand is built for consumers who are looking for their music to move them, and look good while doing it.
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Rubinson said. “The LINX system is defi- nitely our flagship product. We’re going to be improving that as well, but right now we have our OV-1-B that we’re really focused on for our new Gen Two model, and that’s our flagship over-the-ear product.” GAME ON Meters has thrived on wide-reaching partner- ship campaigns, tapping into industries far beyond audio and MI. From international DJs spinning in Europe’s most popular clubs to professional soccer teams and, most recently, the NFL’s Tampa Bay Buccaneers, Meters is proving its sound has universal appeal. “I think one of the coolest parts about our campaign with partnerships and sponsor- ships is that it’s a third-party verification,” Rubinson said. “When you get people like the NFL, pro soccer teams, DJs in Europe, famous musicians — when they all believe in the product, use the product and enjoy the product — that’s the clearest way to verify a brand. You don’t have to spend years trying to prove that concept up. The validation comes directly from those big names. If all these other big third parties love your brand and they want to partner with you, I think that’s the best way for a consumer to see the value in that brand, as well.” For Rubinson, Meters is a brand for ev- eryone. “Not everyone can play an instru- ment, but everyone can listen to music and enjoy it. That’s really what we’re striving for,” he said. “We really want our brand to be ubiquitous.” The Buccaneers partnership has been a standout, aligning Meters with one of the NFL’s biggest franchises during its milestone 50th season. The collaboration extends beyond game day, with the team’s marketing, social media and in-stadium signage amplifying Meters’ reach. “It’s been an amazing partnership,” Ru- binson said. “Not just the team on the field, but the back-office team as well. They’ve been so good with connectivity, so good with marketing, so good with social me- dia, so good with in stadium signage for us and collateral, very accommodating. Being a part of the Buccaneers’ 50th season is a groundbreaking year.” This particular partnership, which began earlier this year, is set to run for three years, giving the brand sustained visibility both on and off the field, while showing that Meters Music has no plans to slow down. This winter, the brand is set to release
its Gen Two OV-1-B-Connect Headphones, an upgrade that promises both smarter features and longer-lasting performance. “It contains super upgraded components, brand new, state-of-the-art features, USB- C charging, extended battery life from 18 hours to 24-plus hours,” Rubinson said. “We’re really looking forward to our new Gen Two products, and the new tuning that’s going to make them even better. We also have a new application coming out as well that’ll match that product launch, and that’ll have features like transparency mode
that AirPods have. We wanted to upgrade some of the modern components to what people demand when they’re commuting, traveling and other aspects.” Building off the momentum of the Buc- caneers partnership, Meters Music is al- ready eyeing more growth across different industries and borders. “We do have a couple exciting potential partnerships that we’re in talks with for a few different arenas, [as well as] maybe sponsoring a few games for college football,” Rubinson said. “A lot is in the works.” MI
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REGISTRATION OPENS FOR THE 2026 NAMM SHOW N AMM has announced the online regis- tration for The 2026 NAMM Show is
a new suite of immersive half- and full- day professional development summits. This includes workshops on everything from leadership, marketing and financial strategies to deep dives into recording and studio innovations, as well as new devel- opments in entertainment technology. On Wednesday evening, NAMM will host the newly rebranded NAMM Retail Awards (formerly the NAMM Dealer Awards). Thursday, Jan. 22, begins with the NAMM U Breakfast Session: “Industry Insights.” This session will feature a live panel of industry luminaries in conversa- tion about key trends, challenges and oppor- tunities shaping the global music market. At 10 a.m., the doors of the exhibit hall open, and more than 1,800 state-of-the-art exhibitions from brands and companies based all over the world come to life. That evening, the NAMM TEC Awards will recognize achievements in audio. Friday night features the She Rocks Awards, an event that honors women who are changing the face of music and audio. Friday evening also draws thousands of NAMM attendees to the center point of The NAMM Show campus, the Yamaha Main Stage. This live performance stage will feature a star-studded performance. Saturday, Jan. 24, opens the last day of the show with a “Grand Rally for Music Education.” Once the exhibit halls close at 5 p.m. that Saturday, a special 125- year anniversary bash will take place in the main plaza, leading into the Parnelli Awards. {namm.org}
now live. The music industry will gather January 20–24, 2026, at the Anaheim Con- vention Center in Anaheim, California, as The NAMM Show, which celebrates 125 years in January, will feature five days of education, live concerts, special events, new offerings in AI, product announce- ments, and a wide range of exhibits and brand activations. New this year, NAMM has launched an online dashboard to serve as the central hub for NAMM members and NAMM show attendees to update their profiles and streamline the registration process. Attendees can get started at: dashboard. namm.org. “We’re putting together an unforgettable 125th anniversary event with exciting new experiences, starting with our new in-depth education summits, and continuing with a new NAMM Show App launching later this fall,” said John Mlynczak, NAMM president and CEO. “The 2026 NAMM Show will once again bring relevant and exciting education programming that di- rectly addresses the needs of our music industry, [while] also being the perfect place for attendees to explore the latest products from leading brands across all musical instrument categories.” Beginning Tuesday, Jan. 20, The 2026 NAMM Show will offer an extended slate of education sessions. Wednesday will feature expanded edu- cational opportunities, as well, including
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Roadworn axes, an array of Tone Master amps for guests to plug in to, Ernie Ball cables, and more. Throughout the evening, musicians tested out sounds and riffed off each other, conjuring an ever-shifting jam that echoed across the club. Downstairs, attendees honed their chops on EFNOTE electronic drum sets and Denon and ProX DJ equipment, with one-on-one instruction from Guitar Center experts. As the evening progressed, the crowd gathered to hear Guitar Center CEO Gabe Dalporto share words of welcome from the stage. He also spoke about the vital importance of brick-and-mortar music stores not just for the health of the MI industry, but as places of discovery and inspiration for new generations of music pioneers. Following Dalporto’s words, ris- ing star Blu DeTiger took the stage for a funky set that combined virtuosic electric bass fireworks, DJ grooves, live percussion and vocals. Guitar Center’s Guitar-A-Thon ran from Sept. 18–Oct. 8. {guitarcenter.com} — By Michael Gallant
Guitar Center Jams at NYC’s Bowery Electric O n Sept. 18, Guitar Center lit up the Bowery Electric music club in New Guitar Center CEO Gabe Dalporto (right) addresses the crowd during the Guitar-A-Thon kickoff on Sept. 18 in New York.
celebration of guitar culture. Guests mingled over drinks and arti- sanal sliders in and around the Lower East Side venue. The club’s upper level hosted an immersive, living-room-like hideaway jam space, complete with vintage Fender guitars and basses, Fender’s new Vintera II
York with deep-grooving jams, vintage and cutting-edge gear, hands-on music experi- ences, and a vibrant community of creatives. The event marked the kickoff of Guitar-A- Thon, Guitar Center’s three-week sale and
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MARTIN ANNOUNCES RETIREMENTS, NEW LEADERSHIP APPOINTMENTS C . F. Martin & Co. has announced the retirements of two top executives and named their successors. Nathan Eckhart, chief financial officer, and Mitchell Nollman, vice president of sales, will be retiring at the end of the year following long stints with the company. In their place, the company named Linda M. Fonner, CPA, as incoming vice president and chief financial officer, and Dennis Webster as incoming vice presi- dent of sales and customer engagement. “On behalf of the company, I would like to say thank you to Mitchell and Nathan for their many significant contribu- tions to Martin Guitar during their time with us, and I wish them a well-deserved retirement,” said Thomas Ripsam, Mar- tin’s president and CEO said. “I would also like to welcome Linda and Dennis, two proven leaders, who will now step into these two critical roles and help us continue to write the next successful chapter for the company.” Fonner is a seasoned finance executive with more than 25 years of experience in global manufacturing, financial services and private equity-backed businesses. Eckhart, Martin’s CFO since 2010, guided the company to some of its most profitable years in its long history. Webster will assume the vice president of sales and cus- tomer engagement role after six years with Martin manag- ing national account sales and leading key initiatives. With nearly three decades of sales and leadership experience at leading guitar brands, he brings deep industry knowledge. Nollman, who headed global sales at Martin for nearly a decade, helped the company achieve record sales levels. {martinguitar.com} Clockwise from left: Nathan Eckhart, Linda M. Fonner, Dennis Webster and Mitchell Nollman.
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D’Addario Launches Players Choice Custom String Shop
D ’Addario has launched the Players Choice Custom String Shop, an on- line platform that empowers musicians to design their own personalized string sets with complete creative control. Avail- able on daddario.com, this tool lets players select their instrument and choose from D’Addario’s most popular gauges and alloys across electric and acoustic guitar strings, including support for standard six- and 12-string guitars, as well as extended-range seven-, eight- and nine-string configura- tions. The platform features no minimum order requirements and integrates seam- lessly with Players Circle profiles for easy reorders and rewards point accumulation. “Musicians looking for their ‘perfect string set’ need an intuitive way to ex- periment on screen and find the perfect combination of gauges and alloys to satisfy
Prestige Guitars Partners with Veritree P restige Guitars has partnered with veritree, a Canadian-based, data-driven restorative platform that connects nature-based solutions with mission-driven companies ready to lead the restorative economy. As builders of handcrafted guitars, Prestige Guitars has been mindful of the natural resources that bring each instrument to life. Now, the company is taking the next step by giving back to the forests. For every guitar Prestige builds, a portion will directly support verified tree planting through veritree’s global restoration projects. Currently, Prestige Guitars is supporting the Post Wildfire Reforestation project in Nicola, British Columbia. {impact.veritree.com/prestigeguitars}
their requirements,” said Jim D’Addario, D’Addario’s founder. “We created the Players Choice Custom String Shop to satisfy everyone’s customization needs.” {daddario.com}
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ARTIST APPROVED
the neck hanging in my home studio, a victim of DIY fretboard scalloping. MI: What is your all-time favorite instrument? JM: It’s a tie for first place between a 1980 Greco Les Paul copy and a 1975 Fender Strat. Both were unbelievably heavy (upwards of 15 lbs each) but they played like a dream. I had put my favorite set of PAFs in the LP and replaced the no name electronics in the Strat with a set of noiseless Fender pickups, and they gave me exactly the sound I wanted from both of them. I gigged both mercilessly. Around the time I had both, I was into the neo-classical style of playing and both guitars were so smooth and fast I had no trouble running scales as fast as possible. MI: What instruments are currently in your arsenal? JM: My go-tos have been my Gibson Melody Maker Flying V, a 1970s reissue Fender Strat and a Dan Armstrong Lucite guitar. Over the years I’ve learned to appreciate simplicity in the guitars I play, and I’m a firm believer in just running a single bridge pickup and a volume control. I enjoy using Les Pauls and Strats in the studio for their versatility but you’d be hard pressed to see me live without a single humbucker rock ’n’ roll machine. — By Kimberly Kapela
The frontman and guitarist of rock band Satin Banshee talks about the guitars that shaped his musical journey, as well as his live arsenal, which centers around a Gibson Melody Maker Flying V, a 1970s reissue Strat and a Dan Armstrong Lucite guitar. JORDAN MARKS OF SATIN BANSHEE Music Inc.: What was your first instrument? Jordan Marks: My first instrument was a Squier Stratocaster in Seafoam Green. It was a re- ally great guitar, and I got it from this weird hole-in-the-wall shop in my hometown. It kickstarted my love for Strats, and I learned how to fix guitars by tinkering with it. Most of the guitar has been lost to time, but I have
JodyJazz’s Jody Espina (left) performs during the jazz fest.
J odyJazz recently celebrated its 25th anniversary with a special performance by Kirk Whalum at the 44th annual Savannah Jazz Festival, held Sept. 19–20 in Savannah, Georgia’s Forsyth Park. The 2025 edition of the festival featured a lineup of world-recognized jazz artists, including Jocelyn Gould, Tony Monaco, Anat Cohen and Spyro Gyra. The highlight of the second evening was a headlining performance by Grammy winner and multiple Grammy-nominated saxophonist Kirk Whalum, a JodyJazz endorser artist celebrated for his soulful sound and dynamic stage presence. Just before Whalum took the stage, Jody Espina, founder and president of JodyJazz, was honored with a proclamation from the mayor of Savannah, which was presented by the festival’s executive director. The proclamation recognized JodyJazz’s 25th anniversary and Espina’s ongoing contributions to the Savannah community and to the art of jazz as a whole. At the start of his set, Whalum invited Espina on stage for a special rendition of Grover Washington Jr.’s “Mister Magic.” With Espina on alto and Whalum on tenor, the two paid fitting tribute to the legendary sax master . {jodyjazz.com} JodyJazz Celebrates 25th Anniversary with Performance at Jazz Fest
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Sweetwater Named a Top 100 Inspiring Workplace for 2025
S weetwater has been named a Global Top 100 Inspiring Workplace for 2025. This recognition is reserved for organizations that go beyond offering a great place to work and set new workplace standards, foster- ing high-performing, values-driven cultures that promote trust, purpose and belonging. Sweetwater ranked 12th in its first ap- pearance on the Global Top 100 list, which comprises the highest-scoring winners in
each of Inspiring Workplaces’ regions, in- cluding Asia, Australasia, Europe, Latin America, the Middle East and Africa, North America, and the U.K. and Ireland. The global accolade follows Sweetwater’s second consecutive ranking as an Inspir- ing Workplace in North America, where Sweetwater ranked ninth overall in North America and fourth among North Ameri- can large businesses in 2025.
Additionally, Sweetwater earned special recognition for its wellbeing and inclu- sion efforts. “Recognition on a global scale for how we care for our employees is especially meaningful,” said Mike Clem, Sweetwater CEO. “By always doing the right thing, starting with our employees, we empower them to extend that same ethos to our customers.” {sweetwater.com}
Yorkville Sound Partners with Lienau A/V Associates Y orkville Sound has partnered with Lienau A/V Associates to represent its brands in the New York metropolitan area and northern New Jersey, effective immediately. Lienau A/V Associates is an independent manufacturers’ representative firm serving the professional audio, video, lighting and MI retail markets since 1948. “Yorkville Sound has been manufacturing world-class P.A.[s] since 1963,” said Jeff Cowling, Yorkville Sound’s vice president of sales and marketing. “Our valued New York Metro and North Jersey territories have always been supportive and played Yorkville loud. We have every confidence that the team at Lienau A/V Associates will continue to deliver our brand message and passionately present our products.” “We’re thrilled to be partnering with Yorkville in the Metro N.Y. territory,” said Chris Hutnick, principal at Lienau A/V Associates. “We’ve always recognized Yorkville’s reputation for high-quality and extreme value, but we never fully appreciated their innovation. Their latest range of battery-powered and IP-rated products give us truly innovative solutions to real-world challenges, all with the quality and value customers have come to expect from Yorkville.” Dealers in the New York Metro and North Jersey areas are encouraged to reach out the Lienau team for any information on Yorkville’s brands and products. {yorkville.com}
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GIBSON APPOINTS ANNE ROHOSY AS CCO G ibson has appointed Anne Rohosy as its new chief commercial officer
(CCO). In this expanded role, Rohosy will lead Gibson’s global commercial strategy, overseeing wholesale, direct-to-consumer and retail channels. “I am excited to step into the role of chief commercial officer,” Rohosy said.
Anne Rohosy
“Gibson has a legacy unlike any other, and we have incredible opportunities ahead to expand our reach, strengthen our brands, and deliver for our fans and partners worldwide.” “Anne’s leadership has been instrumental in shaping Gibson’s transformation over the past several years,” said Cesar Gueikian, president and CEO of Gibson. “Her deep experience in building global brands, leading complex commercial organizations, and driving innovation makes her the right leader to take Gibson’s commercial strategy to the next level.” Rohosy has been a key member of Gibson’s leadership team since 2021, serving as chief human resources and impact officer, as well as managing director of the Gibson Amplifiers business. {gibson.com}
R everb has relaunched Reverb UK, complete with lower selling fees and new tools for sellers. Now, sellers on Reverb UK will pay a bundled 5% fee once their music gear has sold, 3% less than before, getting more money for their music gear. With Reverb UK’s all-in 5% fee, hundreds of U.K.-based mu- sic shops, as well as the hundreds of thousands of musicians on Reverb UK, will make more money on each sale. The addition of discounted postage labels via DPD, Yodel and Evri, as well as U.K.-specific market trend data that sellers can use to price their gear, further empowers sellers to get their gear into the hands of musicians throughout the U.K. and beyond using the music gear marketplace created by musicians for musicians. “We were working on the score for Barbie, and we realized that director Greta Gerwig was in love with the sound of ’70s and ’80s analog synthesizers,” said Mark Ronson, Reverb user and BRIT Award-winner, during his ‘Industry Insights’ talk at The 2024 NAMM Show. “I looked on Reverb for a Yamaha CS- 80, and I saw that there was one about an hour and a half away, so we drove out to get it and its sound became a key part of the movie’s soundtrack.” Featuring a wide range of instruments, from the console used by the Beatles to record Abbey Road to more than 150,000 second-hand and new instruments, the leading music gear mar- ketplace has proved popular with enthusiasts, local bands, and world-renowned musicians alike, from Muse and Duran Duran to Placebo and many more. “Since 2016, Reverb has played a key role in the UK’s music- making community by connecting musicians with music gear they love,” said Tiffany Miller, Reverb’s COO. “Whether you’re parting with a vintage Telecaster or looking for unique pedals that can reshape your sound, our straightforward fees and key product improvements make selling music gear more rewarding than ever before, giving musicians more time to focus on what really matters: making music.” {reverb.com} Reverb UK Relaunches with a Lower Seller Fee
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Instamic in North America on September 25th, with product available shortly after. “We are thrilled to officially welcome Instamic into the Zoom family,” said Shun- suke Kudo, Zoom’s CEO. “Their unique technology and passionate team align per- fectly with our mission to empower every creator with the best audio tools. Together, we’ll accelerate the development of next- generation wireless recording solutions.” “The acquisition of Instamic reflects our ongoing commitment to innovation and to expanding our reach in the audio market,” said Eric Battin, vice president of sales and planning at Zoom NA. “Instamic’s compact design and advanced technology complement our existing portfolio, while also giving creators new ways to capture audio and make their work even better.” “Joining Zoom Corporation is a powerful validation of what we’ve built at Instamic,” said Michele Baggio, Instamic’s founder and CEO. “This acquisition enables us to scale our technology and vision while remaining true to our core values of innovation and creator empowerment.” {zoomcorp.com}
Zoom Expands Product Line with Instamic Acquisition Z oom Corporation has acquired Instamic Inc. (U.S.) and Instamic AB (Sweden). choice for creators in film production, ac- tion sports, wedding videography and other demanding environments.
With this transaction, Instamic becomes a wholly owned subsidiary of Zoom Cor- poration. Founded in California and operating across the U.S. and Europe, Instamic has established itself as an innovator in ultra- compact wireless microphone technology. Its products feature 32-bit float recording, waterproof construction, and simple clip- on functionality, making them a preferred
The acquisition strengthens Zoom’s ability to deliver solutions across the full spectrum of audio recording needs. By combining Instamic’s expertise in minia- ture wireless microphones with Zoom’s established product lines, the company is well-positioned to develop new offerings that serve both professional and enthusi- ast markets. Zoom will officially launch
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GREG RICH JOINS GOLD TONE AS PRODUCT DEVELOPMENT SPECIALIST G old Tone has appointed Greg Rich as its new product development specialist. with Gold Tone’s commitment to quality, innovation and musical excellence.”
Rich, an experienced luthier and designer in the acoustic instrument industry, brings a wealth of knowledge and a passion for innovation to the Gold Tone team. Rich’s career spans decades, including revitalizing banjo production at Gibson dur- ing the late 1980s and early 1990s. Following his tenure at Gibson, Rich played a pivotal role in relaunching the Gold Star banjo line for Saga Musical Instruments, significantly contributing to their market success. “We are incredibly excited to welcome Greg Rich to the Gold Tone family,” said Wayne Rogers, president of Gold Tone. “Greg’s unparalleled expertise in instru- ment design and his deep understanding of what musicians desire will be invaluable as we continue to develop and expand our product offerings. His vision aligns perfectly
In his new role, Rich will focus on con- ceptualizing and developing new instru- ment models, enhancing existing product lines, and collaborating with the Gold Tone manufacturing team to ensure the highest standards of craftsmanship and playability. His extensive experience in banjo building, engraving, and design is expected to drive significant advancements across Gold Tone’s diverse range of instruments. “I am honored to join Gold Tone, a com- pany that shares my dedication to crafting exceptional instruments,” Rich said. “I have long admired Gold Tone’s commitment to innovation and their passion for providing musicians with high-quality, affordable in- struments. I look forward to contributing my skills and experience to help shape the future of Gold Tone and create instruments
that inspire players around the world.” Rich’s appointment signifies Gold Tone’s ongoing commitment to pushing the boundaries of acoustic instrument de- sign and manufacturing, further solidify- ing its position as a leader in the industry. {goldtone.com} Gold Tone’s Justin Grizzle (left) with Greg Rich.
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loved artists. Standout pieces included Eric Clapton’s famed “Blackie” Stratocaster. This was followed by a hands-on guitar lesson inside the store’s Vintage Room led by Grammy Award-winning guitarist, educator and founding member of Velvet Revolver, Dave Kushner, Guitar Center’s new senior director of music education experience. Guests played their first riffs on the Guitar Center-exclusive Taylor GS Mini-e Rosewood Sunset Blvd Acoustic-Electric Guitar, a special-edition model designed in collaboration with Guitar Center and inspired by the Hollywood Flag- ship itself, as attendees learned the funda- mentals of guitar playing before tackling the riff to Metallica’s “Enter Sandman.” Midway through the session, Metallica bassist Robert Trujillo made a surprise appearance. Playing his Guitar Center-exclusive Godin A4 Robert Trujillo Yellow Flame Acoustic-Electric Bass, he joined the group for the riff ahead of the instrument’s launch on Sept. 26. The event underscored Guitar Center’s mis- sion to inspire and connect musicians at every level by combining hands-on education with unforgettable experiences. {guitarcenter.com}
Metallica bassist Robert Trujillo (standing) surprises attendees during a guitar lesson at the Hollywood flagship location of Guitar Center on Sept. 25. Metallica Bassist Surprises Guests at Guitar Center Event
O n Sept. 25, Guitar Center held a special event at its Hollywood flagship store that highlighted the brand’s enhanced in-store experience through an immersive guided tour, a guitar lesson and a surprise appear- ance by Metallica bassist Robert Trujillo. The morning began with a guided tour led by Guitar Center CEO Gabe Dalporto, who highlighted the many enhancements he
has driven across stores nationwide. Guests toured the Hollywood flagship store, trying out the latest gear along the way. The tour also stopped at Guitar Center’s RockWalk, where guests learned its history and viewed the handprints cemented at the store’s en- tryway. Inside, they discovered the flagship doubles as a living gallery of music history, filled with legendary memorabilia from be-
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> Page 30 AI in MI > Page 32 NAMM YP
> Page 34 Women of NAMM
IN THE TRENCHES I BY CYPH SHAH AV INSTALLATIONS 1O1 W e’ve talked about instal- lation proj- ects in this magazine be-
fore, but just like any venture, there’s always a painful plethora of subcontext under the surface that isn’t so straightforward. This month, I’m going to skip the basics and jump straight to what I wish I knew before I was the installation foreman for As- tro AVL in Glendale, California. FIND THE HEAD OF THE SNAKE. First things first, it’s always important to remember: The bigger the project, the more cooks will inevitably be in the kitchen. And it can get messy. If you’re lucky, there’s a general contractor who’s recep- tive to your needs and follows through. But, more often than not, there are numerous sub- contractors sharing the space. There are specialized AV, electri- cal, HVAC and/or any number of other trade crews that may not match the same attention to detail as you, nor care to make the effort. It’s critical from the outset to establish the point person from each subcontractor. Identify who has the decision-making power and represents their company on the ground floor, but also has a direct line of contact to the
heads at headquarters.
what your expectations are as their performance is going to play a direct role in your suc- cessful system launch. Be able to mutually manage the client by collaborating on presenting the best avenues that meet both of
the teams’ needs and reflect the customer’s interests. It’s best to be chummy and create rapport on this level. We tend to bend more for individuals we like to work with. Remember that favors are going to be needed
Establish a protocol for trans- parency by having a one-on-one to address how you operate, share the information you were given, as well as the plans and schedule you’ve created. Define
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from both sides of the fence when trudging through the trenches. If you fail to do this, expect mismanaged schedules that cause you to have to send technicians home last minute and disputes over who gets the priority on executing their scope of work. The client isn’t always going to have the foresight to alert other contractors of the changes they make to their priorities, and you can’t always depend on the news to trickle down through the
educated, on the technical aspects of AVL infrastructure, making it difficult for them to know when to act when the wool is be- ing pulled over their eyes. Being a voice that advocates for their best interests in these discussions may add a bit to your plate in terms of interfacing with multiple parties, but it’ll create value and reduce strain on your logistics in the long run. ALWAYS CYA (COVER YOUR ASS–ETS). All of the aforementioned is to be pre- emptive in doing your best to minimize overhead and headaches. But, if all else fails, encapsulate some standard practical disclaimers at the end of your quotes for a client that address common situations that cause conflict in accountability and liability disputes. Draw from your own experiences as examples that help illustrate the validity of cat- egorical overages and justify additional billable hours. FINALLY: THE HONEY AND VINEGAR. Don’t be heavy-handed with your terminol- ogy on contract disclaimers to clients. No one likes to speak legalese and you might create distrust. Be practical in presenting your logic behind your liability waivers, and be firm with stubborn contractors whom you’re forced to work with but prove to be slippery. They will be quick to fingerpoint when things go awry, so create accountability and enforce it within your means. Be fastidious in documenting third-party failures during the project that impact your timeline or costs. It’s critical to perform this postmortem daily because even if you think you’ll remember, after a few days on a busy project, the specifics tend to blur together and you may forgot. If you can’t refer to those details when it counts, it reduces the legitimacy of your statements. And you don’t always know what hiccup might turn into a full-blown problem later down the road. So, there you have it. The back alley, how-to guide to staying AV installation savvy and steering clear of costly and frustrating headaches. It’s a layer cake, folks, so don’t get distracted by the frost- ing. Good luck out there. MI
leading them to attempt more devious ways of recouping that hit. Best to avoid this manure altogether. DON’T BECOME THE LEAD SUSPECT. Just like a crime scene, the last person to put their fingerprints on something is generally the assumed guilty party when something goes wrong. It’s common for clients to request repurposing or integrat- ing pre-existing hardware to save costs.
“It’s critical from the outset to establish the point person from each subcontractor. Identify who has the decision-making power and represents their company on the ground floor.”
procedural pipeline. Plan for communica- tion fail-safes and redundancies so you can adapt and improvise without being caught with your pants at your ankles. SNAKES CAN TAKE MANY SHAPES. It’s also important to remain wary of other contractors seeking to increase their capi- tal influx, thus shrinking your operating budget. This could be through their own negligence or from intentional attempts to do things like “double dip.” Technically complex and nebulous areas may be the blind spot that the client can’t understand enough to call out. Oftentimes, when dealing with more bureaucratic, multi-layered city projects, the budget for your scope of work may fall under another larger contractor’s budget. If that contractor fails to incorporate all your estimates or line items then they will also fail to include them properly in their submittals to the approval commit- tee. I’ve seen that attribute to a delta of over $50,000 in oversight. That contrac- tor was obligated to eat that cost, but it caused a long string of avoidable phone calls, contract reviews and deliberations. It also fertilizes ground that can sprout discontent from the contractor, potentially
You may be there to take over a project which requires a hand-off transition that can quickly turn into treacherous terrain. Regardless if I’m using QSC, JBL or Mackie, I’ve never encountered a perfect system when you tie it into a string of other net- work components. There are always bugs or caveats to be aware of. Make your needs known to the client and the other third parties from the start. Talk tech spec, get an understanding of the signal flow and hardware to a level that answers all of your questions or opens the door to finding the answers on your own. Once that other party begins their departure from the scene, you won’t get the level of attention needed to save you hours of CSI forensic work. Make clear the level of cooperation you expect from them in order to facilitate an amicable transition. Ideally, have the client present to witness and mediate the conversation. Ask questions like, “what are the known failure points of this current system that your team has encountered?” and “what steps did you take to resolve them?” SPEAK NOW, OR FOREVER HOLD YOUR PEACE. As I mentioned earlier, understand that some clients can be more timid, or un-
Cyph Shah is the manager of Astro Audio Video and Lighting in Glendale, California. He is also the lead instructor of the DJ School (Astro Mix Lab) and designs/commissions AVL systems for nightlife, art exhibits, corporate showrooms, sports facilities and live performance venues as Astro’s installation foreman. He has performed across the country for more than 20 years as a club DJ.
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AI IN MI I BY PETER DODS Lessons of an AI Awakening
“I don’t understand AI.” “I don’t think I need AI.” “It all seems very complicated.” “I’m too busy.” “I’m too old for this.” These are common refrains from those hesitant to embrace artificial intelligence. But if we’re being candid, these statements really trans- late to something else: “I’m not curious.” “I’m fine with the world evolving around me.” “I’m fine without understanding what’s happening.” And, the more frightening: “I don’t want to improve my efficiency, save time or money, enhance my work or embrace progress.”
When my dad claimed he didn’t understand how to use AI, I explained it to him like this: “Saying you can’t use AI is like saying you can’t talk or write.” My dad is an excellent conversationalist, so clearly, communication wasn’t the is- sue. Instead, the reason was fear — fear of technology and fear of the unknown. I advised him: Talk to AI just as you would another person. Provide details and context just as naturally as you would in a conversation. Treat AI like a super-smart intern that’s often overly confident in its answers, which can frequently be incor- rect. Nevertheless, it’s a power- ful tool to assist you, growing more capable every day. Today is the worst AI’s capa- bilities will ever be. Tomorrow, it will be way better. So, it’s never too late to start learning. If you lived through the 1980s and 1990s, you probably remember the computer revo- lution. Personally, I’ve always regretted my youthful indiffer- ence to computers. The peers who embraced computing early on carved out incredible oppor- tunities for themselves. Many are now leaders in their fields. AI represents another pivotal moment in technology. Don’t let this one pass you by. In my next article, I will share the prompts and tips I use when invoking AI in my MI business. In the meantime, stay curious. Your future depends on it. MI
If you’ve been in this business long enough, you’ve seen tech revolutions before — the inter- net, e-commerce and social media. But, the AI revolution is different. Past tech breakthroughs provided tools that primarily augmented human capabilities. AI has already shattered this. It’s not just empowering humans, it’s systematically displacing them. We’ve crossed the tipping point: AI is actively replacing humans across industries, from creative fields to analytical roles. The workforce is frac- turing into those who wield AI as their weapon and those who are now becoming obsolete. And the window to choose your fate is rapidly closing. Nabil Bukhari, CTO of Extreme Networks, pos-
sible put it best when he said: “You won’t be replaced by AI, but you will be replaced by someone who knows how to use AI.” THE LESSONS I LEARNED.
“Talk to AI just as you would another person. Provide details and context just as naturally as you would in a conversation.”
My own AI awakening began just four months ago. Until then, I had considered myself an AI “power user.” I interacted daily with LLMs (large language models) like ChatGPT, Gemini and NotebookLM. Yet, compared to experts deeply immersed in this technology, my understanding was superficial and surface-level. In fact, I had barely scratched the surface of AI’s true potential, nor was I actively seeking to deepen my knowledge. Realizing this, I committed at least 20 minutes each day to learning and expanding my AI skills. As such, this article marks the beginning of a series aimed at guiding you, my fellow music industry professionals, through a similar transformative journey and share what I learned in the process. If you’re among those who haven’t yet dipped your toes into AI, I encourage you to start now. Download one of these LLMs to your phone.
Peter Dods is the owner of Honolulu-based Easy Music Center and is navigating using AI in his small business, just like many MI retailers.
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