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APRIL 2025 I VOL. 36, NO. 3
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. For all others: $60 one year (11 issues). $100 two years (22 issues) to U.S.A. addresses. $85 one year (11 issues), $150 two years (22 issues) to Canada and other foreign countries. Air mail delivery at cost. SINGLE COPY (and back issues, limited supply): $14.95, plus shipping, surface mail. Air mail, delivery at cost. We cannot be responsible for unsolicited manuscripts and photos. Nothing may be reprinted in whole or in part without written permission from Maher Publications Inc. Copyright 2025 by Maher Publications Inc., all foreign rights reserved. Trademark register pending. OTHER MAHER PUBLICATIONS: DownBeat, UpBeat Daily CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include your current MUSIC INC. label showing your old address. MUSIC INC. (ISSN 1050-1681) Published monthly, except March. Printed in U.S.A. by Maher Publications Inc. 188 W. Industrial Drive, Suite 310, Elmhurst, IL 60126. Periodical Postage Paid at Elmhurst, IL and at additional mailing offices. POSTMASTER: Send address changes to:
MUSIC INC., 188 W. Industrial Drive, Suite 310, Elmhurst, Illinois 60126
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April 2025
THE NAMM SHOW ISSUE
ALSO IN THIS ISSUE:
Kala’s Dave Cafiero and Mike Upton.
30 I FROM THE TOP Kala founder Mike Upton and COO/partner
Dave Cafiero lend insight into what it’s like to lead the biggest ukulele brand into its 20th year.
14 I NEWS X DPA Mics Acquires Austrian Audio X Guitar Center Opens New Brooklyn Store X Shure Turns 100 12 I PROFILE X How Ear Trumpet Labs is leaving its unique mark on the mic market.
Toca Percussion’s Jim Rockwell, Dave Cywinski, Rick Taylor and Brad Kirkpatrick.
34 I THE 2025 NAMM SHOW REPORT Full coverage of all the breaking news, big events, market trends and hottest gear — straight from January’s NAMM show floor. Plus: Our annual Editors Choice Awards.
36 I NAMM SHOW NEWS 42 I GUITARS, AMPS & ACCESSORIES COVERAGE 48 I AUDIO, RECORDING & DJ COVERAGE 54 I DRUMS & PERCUSSION COVERAGE 58 I BAND & ORCHESTRA COVERAGE 62 I PIANOS, KEYBOARDS & SYNTHS COVERAGE
RETAILER ASK THE 74 I ASK THE RETAILER X Dealers discuss their biggest takeaways from The 2025 NAMM Show. 26 I E-COMMERCE REVERBERATIONS X Reverb’s Mark Anzelc advocates retailers focus on small touches that give players reasons to come into their store. 28 I WOMEN OF NAMM X Angelica Primachenko reflects on her first NAMM show experience and receiving the WoN Scholarship.
The 2025 Best in Show panel highlights their top gear and services at show.
66 I BEST IN SHOW Recapping all of the winners of the annual NAMM session.
ON THE COVER: Clockwise from left: Gospel singer CeCe Winans (photo by Ryan Kotrlik), Grammy winner Jon Batiste (photo by Ryan Kotrlik), singer-songwriter Jacob Collier (photo courtesy of NAMM) and guitarist John Mayer (photo by Mikko Dumadag).
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O ne of my favorite parts of NAMM show conversations is hear- ing other people’s “show count.” Often worn like a badge of honor, longtime NAMM attendees will gleefully tell you the number of NAMMs they’ve attended: “This is my 25th show,” or “I’ve been coming for the last 40 years.” Despite The 2025 NAMM Show “only” being my 15th show, I have a pretty good gist of what a traditional NAMM show experience looks, sounds and feels like. And the 2025 show was it. Shoulder-to-shoulder Friday traf- fic in the aisles of the convention center, big-name artists like Jon Batiste, PERSPECTIVE I BY KATIE KAILUS ONE FOR THE BOOKS
John Mayer and Jack White performing at NAMM events, an influx in brands dis- playing, and even the reopening of Hall E all made January’s event channel classic NAMM show vibes. This month’s issue is dedicated to that show. The biggest news (which starts on page 36), the latest market trends and gear (beginning on page 42) and full Best in Show coverage (page 66) are all highlighted in this month’s issue. We’ve also included a slew of reflections from attendees. Retailers shared their biggest takeaways in this month’s Ask the Retailer (page 74), while others shared their thoughts in the form of letters to the editor (page 10). In fact, we received so much response
on The 2025 NAMM Show, that we couldn’t run it all. One of those reflections came from Erik Uslan, senior seller engagement manager for Reverb, who said this year’s show allowed him and his team to deepen relationships. “NAMM allows close-knit virtual relationships to evolve into face-to-face friendships in a space where we are all invested in the growth and health of our industry,” Uslan said. “Whether independent brick-and-mortar stores or large-scale retailers, we are all looking for ways to grow our industry. The energy, passion and innovation on display at NAMM were unmatched, and it’s inspiring to witness firsthand how the industry continues to adapt and thrive.” Thomas Ripsam, Martin Guitar president and CEO, shared with us posi- tive sentiments about the show’s traffic. “Our Martin booth was busy throughout, and attendance for our new Martin Acoustic Guitar Stage events were great, too,” Ripsam said. “My colleagues and I connected with many Martin players, partners, artists and influencers and made some new connections. It will be important for all key industry players to be [a] visible and active part of the show going forward.” There’s no doubt attending and exhibiting at The NAMM Show is a heavy lift for both retailers and suppliers financially and time-wise. However, there’s something to be said about uniting as one industry with one sole purpose: creating a better music-making experience. Because, buzzy concerts and networking parties aside, that’s what The NAMM Show is all about. MI
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Reverb CEO: State of the MI Industry E ach year, I get inspired at The NAMM Show, and this year that was especially true. While there’s been a lot of talk about industry declines, my time at the show reminded me that there’s also much to be optimistic about. Here are a few of the top trends I talked about with sellers at the show. First, musicians continue to buy music gear — particularly used music gear. While indus- try sales were reported to be down between 2019 and 2023, used music gear sales on Reverb were up 53% during that same period. As musicians seek out value, used music gear offers just that. How do we know? According to a recent survey we ran with insights company Ma- terial, the top reason musicians say they choose used music gear is affordability. Dealers and manufacturers are finding success with used music gear. Among the top sell- ers on Reverb, nearly all sell used music gear and more than half of their growth over the last five years came from used. If you’re not already, think about how you can better incorporate used music gear into your inventory mix to meet musician demand. Second, musicians are in- creasingly selling music gear so that they can buy more. On Reverb, more than half of musi- cians who sold an instrument went on to buy another within the next year, and musicians who both buy and sell spend nearly twice as much as those who only buy. As an industry, we should be encouraging these sales. According to another survey, the top reasons musicians say they’re likely to sell gear is so they can buy a different item. The ability to sell unused gear is an important part of the playing process for musicians, helping
leadership role as a newly elected NAMM YP board member. From the first NAMM show she at- tended with my husband, Rand, and I, we witnessed Hailey truly grasp the depth of NAMM’s im- pact. Her commitment to NAMM YP reflects the bright future of our industry. Seeing the next generation dive in with enthu- siasm and fresh ideas, while also mentoring the industry’s up-and-coming leaders, reinforces our faith in the resilience and evolution of music retail.
Cindy Cook Co-Owner Candyman Strings & Things Santa Fe, New Mexico
Thanks for the Support
I just wanted to send a heart- felt thanks to Music Inc. for the coverage of Elixir Strings’ brand refresh in the February/ March 2025 issue. Our whole team feels incredibly confident in our new identity and Tone for Life philosophy. This refresh was shaped by real players through extensive consumer research — including surveying 8,000 guitarists — so the response at NAMM was ev- erything we could have hoped for and more. We also want to extend our deepest gratitude to NAMM for putting on such a great show. Witnessing the indus- try pull together under extremely challenging circumstances was truly inspiring and a testament to the creativity and passion that make this community so special.
NAMM Is ‘More Than a Trade Show’ T he NAMM Show is so much more than a trade show. At- tending is a powerful reminder of why we dedicate our lives to sharing the joy of making music. It’s where passion, innovation and community converge to drive our industry forward. ‘The Music Begins Here’ isn’t just NAMM’s tagline; it’s a truth that resonates throughout the show. Inspiration gained compels us to take action, and we always come back from NAMM with new strategies to incorporate into our business. In fact, we’ve al- ready begun implementing ideas sparked by what we learned at the 2025 show. We’re excited to see how these changes help us better serve our community. One of the highlights for us was watching our general man- ager, Hailey Earp, step into a
them buy something new, ex- periment, sell and repeat. How can you support this flywheel? Accept trade-ins and consider how to make selling a natural part of the buying process — just like we do with automobiles. Finally, musicians love stores. Our data shows that testing in- struments and purchasing gear in-store is still very important to music-makers. If you have a physical space, you have a super power — lean into it. Consider how to promote your space as a destination to try gear, buy gear, help people ship gear and more. In short, the increasing popu- larity of used music gear is an opportunity for the entire indus- try — and I know many of us will rise to meet the opportunity.
Bill Fabiszewski Global Marketing Leader Elixir Strings Elkton, Maryland
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
David Mandelbrot CEO Reverb Chicago
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INSIDE NEWS > Page 17 Guitar Center Opens New Brooklyn Location > Page 18 Dansr Promotes Fenoglio, Murphy > Page 22 RAD Distribution Partners with Music Tribe
For the Grahams, Ear Trumpet Labs is a community effort built on craftsmanship, creativity and a shared love for music. From its beginnings in Philip Graham’s basement to becoming a respected name among musicians, the company has thrived by staying true to its core values: handcrafted quality, intentional design and an unwavering focus on the needs of artists. — By Kimberly Kapela Ear Trumpet Labs’ Phillip and Malachi Graham pose in their microphone workshop. A FAMILY AFFAIR
I n the heart of Portland, Oregon, a small workshop hums with the sounds of cre- ation, not just of music, but of the very
tools that bring music to life. Ear Trumpet Labs isn’t just a microphone company; it’s a labor of love, shaped by the hands of Philip
and Malachi Graham, a father-and-daughter duo whose passion for craftsmanship and sound has turned a basement hobby into
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a well-respected microphone brand. Philip, a former software engineer with an eye for industrial design, never intended to start a microphone business. His journey began in 2011 when his daughter Mala- chi, a musician herself, wanted to record her own songs. Using his knowledge of acoustics and electronics, he built her a microphone from spare parts, aiming to capture an accurate, natural sound. Word spread, demand grew and Philip found himself refining his designs to meet the demands of live performances. Now, he, alongside his daughter, run a workshop of six craftspeople and has had his micro- phones used by more than 20 Grammy- winning artists. “I started off making condenser mi- crophones as a hobby and then when a few musicians were interested in them, I had the realization that acoustic music is presented live using the tools of rock ‘n’ roll,” Philip said. “That didn’t really make any sense for a quieter stage volume where delicate fidelity is what the music was really asking for. I was wondering why people didn’t use condenser mics more. That really started me on the path of do- ing some research into it and doing the design work to make condenser mics that are as stable as possible in a live setting.” “It’s been such a delight, both as my music career has grown as a performer and to get to be the business manager helping these microphones reach more artists,” Malachi added. “It’s so cool for me to get to both be an artist and spend my time helping people find the best tool for them.” With growing demand, the Grahams expanded their operation into a small workshop, enlisting a team of six skilled craftspeople — each a musician themselves. This musician-centered approach ensures that the mics are not just visually stun- ning but also highly functional, capable of delivering rich, natural sound in both studio and live settings. A DEEP FOCUS ON THE MIC At Ear Trumpet Labs, microphones are never an afterthought in the music-making process. The company’s design process is deeply intentional and always evolv- ing, ensuring that each microphone is an artistic statement. “Something that we’re really known for also is the distinctive visual looks and designs of the mics, and that’s absolutely a factor of Philip figuring out how to do this himself, and him being really drawn
creates reverence and excitement around what a microphone looks like?” One of the brand’s most celebrated cre- ations is the Myrtle — a spring-suspended, medium-large diaphragm condenser mi- crophone that has become a favorite for acoustic ensembles. According to Malachi, its growing popularity stems from its abil- ity to capture the warmth and balance of an entire group with just a single mic. “We call it gab around miking where ev- erybody plays into one microphone, which is a performance style that’s popular in bluegrass,” Malachi said. “It enables big touring artists to strip down their whole show for a really intimate, magical moment where a whole group is playing and singing harmonies into a single microphone, and we’re really proud that our microphones have made that possible.” FILLING THE GAP Bridging a unique gap in live performance, Ear Trumpet Labs’ microphones offer a high-quality, visually appealing and soni- cally rich alternative tailored specifically for acoustic musicians. This direct con- nection to musicians has set Ear Trumpet Labs apart. “We fill a very specific gap in live performance that I don’t think there are other people really stepping up and fill- ing,” Philip said. “What’s interesting from a retail point of view is that a lot of our sales are directly to artists, but also when we work with resellers, it is often shops that may not carry other microphones at all. They tend to be instrument shops that are just very connected to acoustic music communities. I don’t think other people are really stepping up to provide that kind of resource.” Expanding into new sonic territory, Ear Trumpet Labs’ recent release of its Wanda microphone is its first new model in several years. Wanda takes inspiration from a different design era, capturing the aesthetic of 1940s and 1950s microphones while delivering the same intentional craftsmanship and sonic excellence the company is known for. “It’s a stand-mounted, medium-large diaphragm condenser microphone tuned to work really well on high SPL sources,” Philip said. “It’s great as a vocal mic, great on horns and even as a snare mic. We’re just finalizing it, but people can expect to see that on our website, or if resellers are interested in working with us, that will be available in the next month.” MI
“We fill a very specific gap in live performance that I don’t think there are other people really
stepping up and filling.” — Philip Graham
to the visual designs of 1920s, 1930s, and 1940s microphones, which are so classic and emblematic in the history of music and the history of American music,” Malachi said. “He was noticing people put so much attention and care into how other pieces of gear look and are designed visually and the look of the microphone in front of you seemed like such an afterthought. I remember hear- ing him talk about that being an aspect of the early design process where sonic considerations are paramount, but how do you pair that with a visual design that
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DPA MICROPHONES ACQUIRES AUSTRIAN AUDIO D PA Microphones has announced it has acquired the majority share of Vienna-based Austrian Audio.
theatre, live events and recording studios. By joining forces, the brands will design and develop professional audio solutions that meet the evolving demands within the acoustical and digital fields, all while prioritizing the user experience. “Austrian Audio is a rising star for high-end audio solutions, and I am excited to join forces with such a strong team of audio professionals,” said Kalle Hvidt Nielsen, DPA Microphones’ CEO. “I know that together we can deliver increasingly innovative products and further enhance the service for our customers, which will elevate both brands to new heights. It is impressive to see what Austrian Audio has already achieved in its short lifetime, and we are thrilled to welcome such a competent partner into the family.” Martin Seidl, Austrian Audio CEO and shareholder, said this acquisition is an important step towards the dream of intro- ducing the brand’s high-quality solutions to even more sound engineers worldwide. “Kalle first approached me at an in- dustry event where both our brands were participating, and I was thrilled,” Seidl
(MI), solidifying MI as a showcase center for Pearl’s flagship Masters and Reference series drum sets. This collaboration gives MI’s percussion students exclusive access to perform and refine their craft on Pearl’s drum kits. To celebrate the partnership, Pearl Drums and MI hosted a launch event on March 8, featuring renowned drummer Nate Morton, best known for his work on NBC TV show The Voice. “MI College of Music and Pearl Drums share a deep commitment to excellence, innovation and the next generation of musi- cians,” said Todd Berhorst, MI president. “For decades, MI has been a cornerstone for aspiring artists, providing a hands- on, immersive education rooted in real- Founded in 2017 by former AKG Vi- enna employees, Austrian Audio builds on that heritage to deliver high-quality audio products. Leveraging more than 350 years of com- bined engineering experience, the mission of the Austrian Audio team is to “make passion heard.” This is accomplished by developing and producing innovative mi- crophones, headphones and audio tools while maintaining a strong connection to the brand’s deep acoustical heritage. According to a statement from DPA, Austrian Audio caught the attention of DPA Microphones with its fast-growing brand, highly skilled team of dedicated engineers and product portfolio that complements DPA’s offerings. DPA is a manufacturer within several miniature microphone cat- egories, while Austrian Audio has a strong offering of large diaphragm microphones. Together, the brands provide a broader product range for discerning sound engi- neers in industries like broadcast, musical,
said. “To be recognized as a strong and influential brand after only four years in the market was such a great honor for Austrian Audio, and me personally. It is fantastic to have been selected to join forces with such an experienced and globally re- nowned partner. I very much look forward to what lies ahead for both brands, which are now in a great position to serve the professional audio industry with passion- ate innovations.” Working in partnership with DPA Mi- crophones, Austrian Audio will continue to develop and manufacture high-quality audio products under its own name in Vienna. {dpamicrophones.com; austrian.audio} rectly into MI’s classrooms, studios and performance spaces. By giving students direct access to Pearl’s industry-leading equipment and expertise, we’re ensuring that MI continues to set the standard for contemporary music education. We are thrilled to collaborate with Pearl and Pro Drum Hollywood, who share our vision of inspiring and equipping the next genera- tion of musicians.” “We’re thrilled to partner with Musi- cians Institute in our mission to support and inspire future drummers,” said Glen Caruba, Pearl Drums’ vice president of sales and marketing. “Providing students with hands-on experience with Pearl’s Masters and Reference series aligns with our com- mitment to excellence in sound, crafts- manship and education. {pearldrums.com}
Pearl Drums Partners with Musicians Institute P earl Drums has announced a new part- nership with the Musicians Institute
world industry connections. Likewise, Pearl Drums has a long-standing legacy of crafting some of the finest percussion instruments in the world — trusted by legendary drummers across genres. This partnership marks an exciting new chap- ter, bringing Pearl’s world-class drums di-
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ARTIST APPROVED
The guitarist for rock band Young the Giant shares his love for his Fender Strat, named ‘Rose,’ as well as his favorite pedals at the moment. ERIC CANNATA Music Inc.: What was your first instrument? Eric Cannata: My first instrument was a blue Fender Squier Strat that was a gift from my parents when I was 10 years old. I still have it laying around, although it doesn’t work anymore, and I made some questionable childhood “mods,” such as cutting the pickguard and add- ing red sharpie to the knobs. MI: What is your all-time favorite guitar? EC: This is a hard one, but my 2008 Fender Strat I named Rose has a spe- cial place in my heart. I’ve had it for half my life, played it on many record- ings and toured with it for years. It’s very comfortable to play and versatile. I love the rounder bell-like sound of the neck pick-up to the chime-y chirp of the bridge pick-up. MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your eye or inspired you? EC: I went down a pedal rabbit hole over the years that I’m only now climbing out of. Most recently, I’ve been enjoy- ing different boutique fuzz pedals like the R2R Electric Supa MKII Fuzz, the Soundgas Type 636P and the Jext Telez White Pedal. Another semi-new pedal that I love is the Generation Loss from Chase Bliss. I like its particular flavor of lo-fi warble. — By Kimberly Kapela
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Muse Group Unifies Hal Leonard U.S., Hal Leonard Europe
O ne year after its acquisition of Hal has completed the integration of Hal Leonard U.S. and Hal Leonard Europe into a global digital, publishing and distribution powerhouse with a unified strategy and operations across all regions. This strategic integration aligns with the company’s global mission to empower music-makers worldwide by providing them with quality content and digital tools, making music playing, learning and creation more accessible to all. Hal Leonard’s global teams now operate as one — curating, promoting and distributing content at a global scale while retaining Hal Leonard’s essential regional expertise. Beyond publishing, internal operations have also been Leonard, music tech firm Muse Group streamlined across regions, strengthening Hal Leonard’s ability to provide access to quality content and greater value for publishing partners worldwide. This integration also marks a new era of opportunities between print and digital sheet music. Muse Group’s digital platforms, including MuseScore and Ultimate Guitar, are now fully connected to Hal Leonard’s U.S. and Europe extensive catalog. This means that MuseScore subscribers can now access official Hal Leonard scores, Hal Leonard songbooks are featured on Ultimate Guitar and MuseScore, and ArrangeMe composers get the opportunity to earn from MuseScore subscription views, further expanding opportunities for musicians and partners. Over the past year, Muse Group and Hal Leonard have achieved double-digit growth and have achieved a strong market position. Today, the company reaches more than 400 million users worldwide. Hal Leonard Europe has also played a pivotal role in this journey, securing key partnerships and expanding its publishing and distribution capabilities. Moving into 2025, Hal Leonard under Muse Group is reinforcing its commitment to partner-centric growth, fostering more strategic, data-driven relationships with publishers, retailers and industry partners. “This integration is a natural evolution for Hal Leonard, reinforcing a strong foundation for sustainable growth while pioneering new opportunities in the music publishing industry. This next chapter enables us to innovate while staying true to our mission — making music education and creation more accessible worldwide,” said Larry Morton, executive board advisor at Muse Group. “By uniting Hal Leonard’s publishing legacy with Muse Group’s digital innovation, we are expanding access to high-quality content and reshaping how everyone interacts with music in both its traditional and digital formats,” said Eugeny Naidenov, CEO and founder of Muse Group. {mu.se; halleonard.com}
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The opening of the store was marked by a grand opening event on Jan. 30. The celebration included a ribbon-cutting ceremony, compli- mentary t-shirts for the first 500 customers, raffle giveaways and more. Visitors got access to special offers on lessons and gear, and a special live set by DJ, radio personality and hip-hop icon Funk Flex. Recognized as one of the pioneers of modern DJing and a key figure in the development of hip-hop culture, Funk Flex is known for his innovative techniques and dedication to breaking new talent. “I had a real good time rocking my set at the grand opening of the new Guitar Center in Brooklyn,” Funk Flex said. “The energy was all the way up, and the vibe was straight love with everyone who came through to celebrate.” The new store hosts 75 linear feet of guitar wall, a dedicated acoustic room, drum area with cymbal room and interactive DJ displays. In-store services include Guitar Center Lessons, Guitar Center Repairs, Guitar Center Rentals and a hands-on electronic music experience. {guitarcenter.com}
The storefront of the new Brooklyn, New York, Guitar Center location.
GC CELEBRATES GRAND OPENING OF NEW BROOKLYN STORE G uitar Center has opened its latest retail location, a 19,000-plus-square-foot facil- music needs of the community. The Brooklyn store is Guitar Center’s 13th location in New York and the company’s first store opening in 2025. ity in Brooklyn, New York. The store offers a wide set of services and gear to serve the
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L-ACOUSTICS NAMES BRYAN BRADLEY AS CEO AMERICAS L -Acoustics has named industry vet- eran Bryan Bradley CEO Americas. The announcement jointly comes from worldwide L-Acoustics co-CEOs Lau- rent Vaissié and Hervé Guillaume, to whom Bradley reports. Bradley now oversees all North, Central and South American operations and will be shar- ing his time between the global hub in Westlake Village, California, and a new Americas operations and creative hub in Nashville. Bryan Bradley Recently, Bradley spent six years serving as the president of Group One Limited, the U.S. distributor for DiGiCo, Solid State Logic and several other manufacturers. Prior to that, he held multiple executive management positions at Harman. “L-Acoustics has experienced tremendous growth over the past five years in the Americas,” Vaissié said. “To lead this high-performing team, we have conducted an extensive search over the past 18 months to find an outstanding executive who knows our industry. Bryan’s experience, management philosophy and successful track record were a natural fit for the role.” {l-acoustics.com} DANSR ANNOUNCES FENOGLIO, MURPHY PROMOTIONS D ansr has promoted Mi- chael Fenoglio to the
position of vice president of marketing and Stepha- nie Murphy to the position of director, dealer sales and corporate events.
Michael Fenoglio and Stephanie Murphy.
Fenoglio has been with Dansr for seven years in a vari- ety of roles, including product specialist, Vandoren brand manager and director of marketing. “Michael’s skill set is impressive and through his mu- sicianship, his understanding of education and his insight into social media marketing he is the perfect person to man- age and direct our marketing programs and concepts,” said Michael Skinner, Dansr president. “Our continued growth through heightened consumer awareness is due to Michael’s insight. We’re lucky to have him.” Murphy has been with Dansr since January 2012. She manages and directs all Dansr events, including The NAMM Show and the Vandoren Artist Clinician yearly summit. “Stephanie has been and integral part of Dansr’s growth over the years, and we feel fortunate to have her on our team,” Skinner said. “I believe her customers feel the same way.” {dansr.com}
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Industry Vets Ron Japinga, Scott Friedland Launch Next Level Music
F ormer Guitar Center CEO Ron Japinga and Scott Friedland, CEO of RocketMPS, have announced the formation of Next Level Music, a company dedicated to the consumer products, music instrument and accessory industry — with an approach that includes strategic acquisitions, innovative marketing and global manufacturing. Beyond acquisitions and manufacturing, Next Level Music offers business consulting
services tailored to companies within and beyond the music industry. With expertise in strategic growth, operational excellence, brand positioning and product development, the company provides hands-on guidance to businesses at every stage of development and growth. The inaugural acquisition under Next Level Music is RocketMPS, integrating its strategies and services into the holding company’s portfolio. {rocketmps.com}
Buffet Crampon Makes Moves at Powell Flutes T o better serve the North American mar- ket and its dealer and customer bases, Buffet Crampon USA (BCUSA) and Powell Flutes Boston have united to streamline management resources and foster a col- laborative spirit. As a result, the companies have announced several strategic position changes, effective now. Daniel Sharp has been promoted to vice president of business strategy and product development flutes for the Buffet Crampon Group. In this role, Sharp will be responsible for developing the European market, providing product and market- ing support, and leading Powell’s product development efforts. Monique Collins has promoted to chief financial officer North America and will lead the Buffet Crampon USA and Powell Flutes Boston financial teams. Daniel Comire has joined Powell Flutes as workshop manager and will oversee all production-related activities. Julia Viviano has been promoted to Pow- ell Flutes product specialist North America. The Buffet Crampon USA Sales team, led by Al Maniscalco as director of sales and marketing, will now be responsible for selling Powell instruments and accessories to our dealers. Kyler Hadley is the new Midwest di- vision manager for Illinois, Wisconsin, Indiana, Michigan, Ohio and Kentucky, while Nicolas Maldonado will be the new West Coast division manager for California, Washington, Oregon, Nevada, Arizona, Idaho, Alaska and Hawaii. Finally, Jes- sica Bell has joined the BCUSA team as clarinet market specialist and technician. {buffetcrampongroup.com} New hires Jessica Bell (left) and Kyler Hadley.
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KMC MUSIC ADDS KAITLYN TRAHAN AS NEW MARKETING MANAGER K MC Music has appointed Kaitlyn Trahan marketing
to complete projects that made measurable positive sales and marketing impacts on the orga- nizations. Specifically, Trahan worked on integrated campaigns, creating engaging content for social media, analyzing social
manager. Trahan previously worked on the American Music & Sound (AM&S) marketing team as an intern through its partnership with Women in AV/IT (WAVIT).
Shure Celebrates 100 Years S hure Incorporated is celebrating its 100th anniversary this year, marking a century of audio excellence. S.N. Shure started the company in downtown Chicago in 1925 selling radio parts kits. In 1932, Shure became one of only a few U.S. microphone manufacturers with the introduction of the Model 33N microphone. Since then, the company has grown into a global technology leader, offering a portfolio of innovative wired and wireless microphones, conferencing and meeting solutions, and personal and professional listening products. Over its 100-year history, more than 50,000 different electronics products have been developed by Shure. Shure products are now sold in more than 120 countries, and through the decades, they have been trusted and used around the world by such luminaries as Dr. Martin Luther King, Jr., Elvis Presley, Nelson Mandela and The Beatles. Over the past 100 years, Shure has introduced products that have become staples in the audio industry. The Shure SM58 microphone, known for its durability and reliability, has remained a top choice for vocal performances. The SM7B vocal microphone has equally earned a distinguished reputation in broadcast, recording and podcasting. Shure introduced the first wireless microphone in 1953, the Vagabond 88 Wireless Mic, long before wireless technology became popular by the 1990s. The company introduced digital wireless in 2011, and today, Shure digital wireless microphones are used across the world from the biggest sporting events and global concert tours to the top business conferences. Shure is also known for developing the first phonograph cartridge (1937), the unidyne microphone (1939), first handheld wireless microphone system (1953) and the first integrated wireless system (1990s). Today, Shure has five global engineering centers dedicated to product development and software excellence: Niles, Illinois; Copenhagen; Edinburgh; Suzhou, China; and Hyderabad, India. {shure.com}
Kaitlyn Trahan
media and digital campaign performance, coordinating commercial events and trade shows, and conducting in-depth market research. {kmcmusic.com}
Trahan worked closely with the AM&S marketing team, various departments across Jam, and key customer accounts
GC NAMES JERRY BRANDEHOFF CHIEF MERCHANDISING OFFICER G uitar Center (GC) has ap- pointed Jerry Brandehoff to
ing performance and fostering collaboration. He was selected after an extensive search, and he stood out as the clear leader to help deliver our critical strategic priorities this year.” In his new position, Brande-
the position of chief merchandis- ing officer. The announcement was made by Gabe Dalporto, Guitar Center CEO. “Jerry is a dynamic and inspi-
Jerry Brandehoff
rational retail executive with over 30 years of experience leading merchandising and product teams for world-class global brands,” Dalporto said. “Through his leadership style, he is dedicated to empowering teams, driv-
hoff will lead Guitar Center’s merchandising organization, which encompasses the buying and planning of general merchandise and private label brands for GC. Brandehoff joins GC from Wayfair. {guitarcenter.com}
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ACUS Amps Taps Godin for Distribution G odin Guitars has announced it has been tapped as the exclusive distribu- tor of ACUS amplifiers in Canada and the U.S., effective immediately. Designed, developed and manufactured in Recanati, Italy, ACUS amplifiers embody the heritage of Italian technical innovation and design, backed by the Canale family’s more than 40 years of experience in the music industry. ACUS amplifiers are known for sound clarity and superior warmth, thanks to quality custom-made components. With bi-amplified power sections and Class A output stages, these amplifiers deliver a performance comparable to that of tube studio amps. While these amps are ideally suited for use with Godin’s range of acoustic and acoustic-electric guitars, the ACUS amps are equally suited for use with most acoustic guitars, basses, double basses and a variety of other instruments. ACUS line of amplifiers are also ideal for high-quality music playback. The amps offer a range of features, output and price options, ensuring that the superior sound quality these amps produce are within reach of most players. {godinguitars.com}
APRIL 2025 I MUSIC INC. I 21
PAS TO RECEIVE $20K AWARD FROM NATIONAL ENDOWMENT FOR THE ARTS
T he Percussive Arts Society (PAS) has announced it has been approved by the National Endowment for the Arts (NEA) for a Grants for Arts Projects award of $20,000. This grant will support activities related to the 50th Percussive Arts Society International Con- vention (PASIC). The NEA will award 1,127 Grants for Arts Projects awards nation- wide totaling more than $31.8 million as part of the recent announcement of fiscal year 2025 grants. “The NEA is proud to continue our nearly 60 years of supporting the efforts of organizations and artists that help to shape our country’s vibrant arts sector and communities of all types across our nation,” said Maria Rosario Jackson, NEA chair. “It is inspiring to see the wide range of creative projects taking place, including PASIC.” “The arts play a valuable role in people’s
lives, through performance, education and culture. The NEA provides critical support to the endeavors of so many artists and edu- cators, and PAS is proud to be recognized by this highly competitive award through the
RAD Distribution Partners with Music Tribe R AD Distribution has struck a partnership with Music Tribe, bringing its portfolio of brands, including — Behringer, Midas, TC Electronic, TC Helicon, Tannoy, Turbosound, Klark Teknik, Lab Gruppen and Bugera — to more dealers and locations across the U.S. “We’re excited about this game-changing collaboration,” said Jon Haber, CEO of RAD Distribution. “Myself and everyone at RAD Distribution are super excited to be working with Music Tribe. Uli Behringer is a man who loves his company, loves gear and musicians of all types worldwide. He is the real deal who puts his heart into his passion every day. It is inspiring for us to be involved and to be working closely with the company and the amazing products that are being produced.” {raddist.com; community.musictribe.com}
Grants for Arts Projects pro- gram,” said Joshua Simonds, PAS executive director. “We will use this generous gift to help further our mission to inspire, educate, and support
percussionists and drummers throughout the world, and to further establish Indianapo- lis as the definitive drums and percussion capital of the world.” PASIC, held each November in In- dianapolis, brings together performers, educators, students and percussion en- thusiasts for dozens of concerts, clinics, masterclasses, workshops, panels and presentations. PASIC50 will take place from Nov. 12–15. {pas.org}
22 I MUSIC INC. I APRIL 2025
“We are absolutely thrilled to announce Full Compass Systems as the official and exclusive retail partner of the John Len- non Educational Tour Bus for 2025. As a company that has always been deeply committed to supporting musicians, music educators, and music technology enthusi- asts, this partnership is a natural exten- sion of our mission,” said Dave Chaimson, president of Full Compass Systems. Founded in 1998 by Yoko Ono Lennon and Brian Rothschild, the John Lennon Educational Tour Bus and the crew of on-board producers/engineers have been a positive force in education, providing students of all ages and backgrounds with opportunities to express their creativity through music and video production. “We have long wanted to provide educa- tors inspired by the Bus to build or aug- ment their own technology labs with the best products to prepare their students for careers in the audio, video and en- tertainment industries,” Rothschild said. {fullcompass.com/lennonbus}
Inside the John Lennon Educational Tour Bus.
John Lennon Bus Names Full Compass Official Retailer
F ull Compass Systems has been named the official online retailer of the non-profit John Lennon Educational Tour Bus and kicks off the Lennon Bus Store with the products and solutions found on-board the non-profit mobile recording studio dedi-
cated to providing students with hands- on production sessions and workforce development experiences. Full Compass also provides services for educators and institutions aimed at providing maximum value for any budget size.
APRIL 2025 I MUSIC INC. I 23
Bach to Rock Opens New Massachusetts Location B ach to Rock has announced the grand opening of its newest location in Marl-
operated by husband-and-wife team Patrick and Amanda Faucher, first-time franchisees who share a passion for music and their community. Patrick brings more than 20 years of expertise as an entrepreneurial tech product leader, known for delivering innova- tive solutions and building high-performing teams. A Berklee College of Music alumnus, Patrick’s musical background complements his business acumen. Amanda is a graphic design professional and booking manager for the band Soul Function Boston. “We’re thrilled to welcome Patrick and Amanda Faucher to the Bach to Rock family,” said Brian Gross, president of Bach to Rock. “Patrick’s extensive leadership experience in the tech industry, coupled with his musical background, and Amanda’s creative expertise and community connections make them an exceptional team.” {bachtorock.com}
borough, Massachusetts. This new school opened March 8 and serves musicians from Marlborough and neighboring communi- ties, including Northborough, Southborough, Hudson, Berlin, Sudbury and Westborough. Bach to Rock Marlborough is owned and
Patrick Faucher, co-owner of Bach to Rock Marlborough, in front of the new location.
MUSICMAX PROMOTES BILL TERRILL TO VP SALES, MARKETING M usicMax has promoted Bill
Terrill to vice presi- dent of sales and marketing. Terrill has held key roles at notable organiza- tions, including Gui-
Bill Terrill
tar Center, Toontrack Software and Shure. Since joining MusicMax, Terrill has been instrumental in advancing the com- pany’s data-driven approach to sales and marketing. He has had involvement in the development of MaxVision, MusicMax’s proprietary SaaS analytics platform. “Bill’s combination of industry expertise and customer-focused leadership makes him the ideal choice for this role,” said Rob Joseph, MusicMax’s founder. “His ability to bridge the gap between manufacturers and end-users through actionable insights and innovative strategies will drive suc- cess for MusicMax and our partners.” {musicmaxinc.com}
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> Page 28 Women of NAMM
E-COMMERCE REVERBERATIONS I BY MARK ANZELC TURNING NAMM LESSONS INTO SUCCESS B y now, we’ve all have always sold old gear to spruce up their rig, it represents an opportunity for stores that either don’t have a trade-in strat- egy or have left theirs neglected. This year is already a quarter
recovered from yet another NAMM show — even if our ears are still ringing with the repetitive sounds of a select few guitar riffs. While the show itself is certainly chaotic and loud, it remains a one-of-a-kind oppor- tunity for the entire industry to get together and celebrate the instruments that make music so special. Whether it was put- ting faces to names or talking about how to make the most of 2025, the Reverb team had great conversations with so many of you on the convention center floor, and now, armed with fresh inspiration and a number of big ideas, we’re sharing our biggest takeaways from the show. Music shops are the lifeblood of the MI industry. Full stop. While there are more ways than ever to buy music gear, a place to learn and play guitars, synths, and more is invaluable. Having these local touch-points gives players confidence they can quickly get the gear they need, and get help if any issues arise. We like to think of shops as the home base for local mu- sicians, and these days, that means offering even more services. By doing the little things like offering returns and providing mods, you give play- ers more reasons to come into your store — creating more opportunities to buy your gear.
of the way over, but there’s still plenty of time to spruce up your trade-in program, making it more visible both in-store and online. You should always be looking to give players more reasons to walk into your shop, and taking used gear, which you can then sell yourself, provides your buyers with more chances to expand their sound. NOW WHAT? After NAMM, my team and I try our best to take a few days off to rest and recover … but while many think that surviv- ing NAMM is half the battle, it’s only just the beginning. Musicians change their minds more than anyone, and our job is to give them all the options they could possibly want, from that new Fender to a vintage Les Paul. No matter how small the changes you make might seem, they can have a massive impact, and it’s impor- tant to be just as flexible as your customers. Don’t be afraid to add new instruments to your inventory, or complement all the latest and greatest new gear with some more affordable used offerings to entice your buyers. After all, sometimes, it’s as simple as making some demo units available for purchase. MI
“By doing the little things like offering returns and providing mods, you give players more reasons to come into your store.”
However, the gear they’re buy- ing is changing. DIVERSIFY YOUR INVENTORY. It’s no secret that music-makers are playing a wider variety of instruments than ever. It’s also unsurprising that they’re seeking out a variety of price points. One thing we heard over and over again at NAMM was that used gear is an increasingly intriguing option to add to an inventory mix in or- der to meet demand. From unique used gear local buyers can’t find anywhere else, to used gear at price points that meet their budget, of- fering secondhand instruments is another great way to attract buyers into your shop — and something that 94% of the top 300 sellers on Reverb are already taking ad- vantage of, accounting for 53%
of their growth over the past five years. In fact, you might already be doing so too, even if you don’t know it. These days, B-stock isn’t just a term you hear at Apple Stores or Best Buy. From open-box re- turns or demo units on the floor of your shop, you might have used gear to sell that you hadn’t even considered — and you can get even more of it from the players walking into your shop. SELLING TO BUY. Another big takeaway from the show is the increasing number of players walking into shops to sell gear … so they can buy more gear! As a player myself, I recently sold a MXR M87 Bass Compressor Pedal to buy a JHS Packrat. And while musicians
Mark Anzelc is the director of sales at Reverb.
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WOMEN OF NAMM I BY ANGELICA PRIMACHENKO Finding My Place in MI
G rowing up surrounded by music, I always knew there was nothing I wanted to do more than play music. It was a constant in my life, but making a career out of it was an entirely different story. I eventually moved into the world of business, with music becoming more of a hobby on the side. Even after becoming marketing manager at the Baroque Violin Shop in Cincinnati, I didn’t fully see myself as a part of the music in- dustry. I wasn’t a string player, and my focus was on marketing, which felt like a separate world. But everything shifted when I attended my first NAMM show in January as a Women of NAMM (WoN) scholar.
and determination.
As I reflect on this experi- ence, I no longer see myself as an outsider in the music industry. Instead, I feel more connected to our industry than ever before. Whether you’re a musician, a marketer, or any- thing in between, we all have a role to play in shaping the future of the music industry. If there’s one valuable trait I want to encourage in others, it’s to get involved. Whether you’re a seasoned professional or just starting out, throughout the year NAMM offers so many ways for us to connect, support and grow. I encourage you to participate in a Deep Dive ses- sion, listen to the podcast, or apply for the WoN scholarship. These opportunities will help build relationships as we con- tinue developing our careers. This experience reminded me personally that success isn’t only measured by individual achievements, but it’s about how we can support and uplift those around us. By connect- ing, supporting and growing together, we can take our ca- reers to new heights. I’m ex- cited to be an integral part of this community and contribute in my own way. I encourage you to take that first step. You never know where that first connection or introduction might lead or how it could shape your future. It certainly changed mine, and I’ll always be grateful. MI
Attending The 2025 NAMM Show was an ex- perience I’ll never forget. Walking through the convention halls, I was struck by the energy, in- novation and diversity on display. The scale of the event was overwhelming at first, but excite- ment quickly replaced any hesitation I had. For the first time, I truly felt like I belonged in this vibrant industry. One of the highlights of the show was being introduced to this community of women. The WoN scholarship played a huge role in making this experience so transformative. It wasn’t just a ticket or a badge into The NAMM Show — it was an invitation into a community of women who share the same passion for music and the drive to
uplift one another. It opened my eyes to the many ways we can all be part of the music industry, regardless of our background or specific skills. I realized we’re all after the same thing — looking to inspire one another and empower those around us to keep mak- ing and playing music. Each conversation became a valuable opportunity for growth, and those connections continue to shape how I approach my work and professional development. We don’t grow in isolation; we grow when we share our knowledge, support each other, and build meaningful relationships. THE POWER OF THE WON SCHOLARSHIP The WoN scholarship also encouraged me to step outside my comfort zone, knowing I had the backing of NAMM and an entire community. Attending WoN gatherings was par- ticularly meaningful. Being surrounded by talented, driven women who were invested in each other’s success left a lasting impact on me. It gave me a renewed sense of purpose
A reflection on my first NAMM show experience and the Women of NAMM (WoN) Scholarship.
Angelica Primachenko is the marketing manager for Barqoue Violin Shop in Cincinnati and a member of Women of NAMM.
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