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MAY 2025 I VOL. 36, NO. 4
PUBLISHER Kevin R. Maher EDITOR Katie Kailus EDITORIAL ASSISTANT Kimberly Kapela CONTRIBUTING EDITOR Ed Enright SALES MANAGER Chris Maher DESIGNER Žaneta Čuntová
CHAIRMAN Kevin Maher PRESIDENT Frank Alkyer ASSISTANT TO THE PRESIDENT Sue Mahal
CIRCULATION MANAGER Evelyn Hawkins BOOKKEEPING Evelyn Hawkins
OFFICES Phone: (630) 941-2030 Email: editor@musicincmag.com CUSTOMER SERVICE (630) 941-2030 ext. 122
Jack Maher, President, 1970–2003 SUBSCRIPTION RATES: Free to qualified retailers and suppliers of musical instruments. 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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May 2025
THE GUITAR ISSUE
Christine Schyvinck
28 I FROM THE TOP Shure CEO Christine Schyvinck discusses a century of audio innovation. 42 I 9 PEDALS TO STOCK NOW From distortion to overdrive, these are a few must-stock effects all retailers should consider. 46 I THE ART OF THE GUITAR WALL
Tone Central Station’s Todd Austin and Jamie Jackson.
32 I RISING FROM THE ASHES How the former Sam Ash Music employees behind Tone Central Station, Garden State Drums and Percussion, and Recycled Rock and Roll used the expertise they learned on the job at Sam Ash to launch their own MI businesses.
Like the finest art gallery wall, a well-appointed guitar wall can be a sight to behold. Here are five designs to inspire your next renovation.
23 I THE MARKETING GURU X Tracy Hoeft describe how social media has changed — and how to keep up.
50 I GUITARS, AMPS & ACCESSORIES 54 I AUDIO & RECORDING 56 I DRUMS & PERCUSSION 57 I BAND & ORCHESTRA 58 I PIANOS, KEYBOARDS & SYNTHESIZERS 59 I DJ & LIGHTING
12 I INDUSTRY PROFILE X How the originally China-based brand Kepma Guitars USA has positioned itself as one of today’s most aggressive guitar manufacturers.
24 I NOTES & CENTS X Amanda Rueter shares best practices for improving your business’ GMROI.
14 I NEWS X Cosmo Music to Close After 57 Years
X Breedlove Reaffirms Commitment to MI Dealers X Yorkville Sound Distributes Manhasset Stands X GC Holds In-Store Event with Famed Drummer X Avid Expands Leadership Team X Hal Leonard Names New Sales Leads X Korg’s President Passes Away X Jordan Kitt’s Music Grows Sales Team
26 I NAMM YP X Artist Jameyel “J. Dash” Johnson on the power of getting involved early in music advocacy.
RETAILER ASK THE 62 I ASK THE RETAILER X Retailers share best practices for selling beginner guitars.
27 I WOMEN OF NAMM X School of Rock’s Stacey Ryan advocates for being OK with making mistakes.
Cover photo by Tausha Dickinson.
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S ince the Trump Administration announced the potential dissolu- tion of the U.S. Department of Education, concerns have been growing regarding how such changes could negatively impact arts education funding. Turn to page 10 to find a letter to the editor from Marcia Neel, a 36-year veteran of public school music education programs and the current educa- tion advisor to the Music Achievement Council (MAC), a non-profit dedicated to the professional development of music educators. In her letter, Neel advocates for MI industry professionals to stay informed, support teachers, advocate for music education at a state- and national-level, and actively engage in their communi- ties to help sustain and grow music programs despite these potential budget cuts. PERSPECTIVE I BY KATIE KAILUS FUNDING THE FUTURE
Here are a few key points Neel made in her note that didn’t make it onto our Letters page. “Stay connected with your chamber of commerce, local arts council and other such organizations,” Neel advocated. “Speak with your influential community members who sit on budget committees or district advisory groups so that you can remain informed. Better yet, become one of those influencers by serving on these types of committees. Remember to keep the interests of the students at the center of all your conversations.” Neel also suggested that music retailers and suppliers who are contacted by a teacher re- garding potential program reductions at their
school get all the facts then “rev up” their advocacy tools. “As much as teachers are the education experts, they can often be dissuaded from speaking publicly on these matters,” Neel said. “You’re a member of the arts community and can work miracles by bringing together like-minded advocates to address potential cuts at the local level. Do you know the leaders of the various booster organizations in your area? If not, make that a priority and attend their meetings. They should feel [comfortable] to call upon you to host a gathering in your location if the occasion arises. Be proactive and relentlessly positive. “On behalf of the students in your district’s programs, make a point of at- tending school board meetings to learn more about the budget process and what changes may be coming,” Neel continued. “Plan to speak as necessary during public comment periods to share copies and reference the ‘Top Ten Workforce Skills Developed in Music’ article that can be found at musicedconsultants.net. If they see the economic impact of an education in music, they may think differ- ently about what our programs provide beyond the music itself.” Finally, Neel recommended MI industry members contact their Members of Congress to voice support for continuing the AAE (Assistance for Arts Educa- tion) program that promotes arts funding for all students under the Every Student Succeeds Act (ESSA). This month, from May 5–8, NAMM will hold its annual NAMM Fly-In to advocate for music education on Capitol Hill. In the meantime, as Neel put it, staying informed is crucial for the next-generation of music students, as well as our music businesses. MI
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Thanks for the Feature W e’re writing to express our sincere gratitude for the feature on Ear Trumpet Labs in the April issue. It’s an honor to have the story of our microphone workshop shared. Since the article was published, we’re excited to share that our newest microphone, Wanda — mentioned in the piece — is now available. Wanda blends the visual elegance of 1940s and 1950s de- signs with the rich, natural sound that artists have come to expect from our mics. We’ve been thrilled to see it finding a home with musi- cians who value both sonic quality and timeless aesthetics. Ear Trumpet Labs Portland, Oregon ‘Proud of the Legacy’ Left Behind A fter 57 years, closing the doors of Cosmo Music has been an emotional journey. Our mission has always been to serve musicians at every stage — whether they were picking up their first instrument or finding the perfect gear for the next big performance. The support we’ve received from our customers, partners and the wider music community has been overwhelm- ing, and we are deeply grateful. Music retail is more than just selling instruments — it’s about fostering passion, creativity, and lifelong connections. We’re incred- ibly proud of the legacy Cosmo Music leaves behind and the role we played in Canada’s music in- dustry. To everyone who walked through our doors, took lessons, attended an event or simply shared their love of music with us — thank you. While this chapter is coming to Philip & Malachi Graham Owners an end, the spirit of Cosmo Music will always live on in the musi-
So, to my colleagues in MI, don’t panic — get more engaged. As you visit music teachers, reas- sure them. If they seem concerned, urge them to continue following their district policies until directed otherwise. Share Morrison’s article. The best advice to give any teacher is for them to continue giving stu- dents their best every single day. Strong programs with robust en- rollment are less likely to face cuts. The more students a program serves, the less likely it is to be affected. Help your teachers with program-building by providing re- cruitment and retention materials. Become a distributor of the free, open-sourced Music Achievement Council recruitment and retention assets. Think about the ways you can promote the music programs in your area. Do you have districts that have been recognized as one of the NAMM Foundation’s Best Communities for Music Education? If so, arrange to make a formal pre- sentation to the school board at one of their meetings and be sure that all of the music educators are in- vited to participate in that acknowl- edgement. Are there schools which have had students participating in All-State ensembles? Meet with the principal and determine a strategy to acknowledge that program at a school assembly and engage the principal in that presentation. Help teachers write up press releases for their students’ accomplishments and assist in getting them into the local newspaper. Staying informed and engaged isn’t just good citizenship — it’s good business.
cians we’ve supported and the community we’ve built together.
ics and economics. Before the pan- demic, federal funding for public education averaged about 9%. To address the challenges that ensued, that amount rose to 13.7% with state and local governments cover- ing the balance. With those funds now exhausted and cuts looming at the Department of Education, alarm bells are sounding. New York governor Kathy Hochul warns that eliminating the U.S. Department of Education could cost her state $5.5 billion, poten- tially increasing property taxes. Oregon governor Tina Kotek’s proposed budget counts on $1.5 billion in federal support — critical for programs serving low-income and disabled students. Still, Morrison reminds us that while federal policy affects funding and regulation, it doesn’t dictate what is taught in music and arts classrooms.
The Hebert Family Owners Cosmo Music Richmond Hill, Ontario
Stay Informed on Federal Education Funding I n the April issue of In-Tune Monthly (for Teachers), Bob Morrison, CEO of Quadrant Research, wrote in “Federal Di- rectives and You” that “while national policy discussions can cause confusion, it’s important to understand how these federal actions interact with state and local education systems before reacting.” The same applies to MI industry professionals. Indeed, the impact of federal education funding varies widely depending on district demograph-
Marcia Neel Education Advisor Music Achievement Council Las Vegas
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 Cosmo Music Announces Closure > Page 18 Bach to Rock Opens New Massachusetts Location > Page 20 Avid Expands Leadership Team
Since its launch in 2019, Kepma Guitars USA — originally a China-based brand focused on its do- mestic market — has positioned itself as one of the most aggressive manufacturers, delivering superior craftsmanship and cutting-edge technology at accessible price points. — By Kimberly Kapela BREAKING INTO THE U.S. MARKET Kepma Guitars USA’s Brandon Foster (left) and Tony Moscal.
K epma Guitars has been a prominent name in the Chinese market for years, known for its dedication to precision craftsmanship and high-quality acous- tic instruments. But in 2019, the brand made a bold move — expanding its reach into the U.S. market with Kepma Guitars USA. With this move, Kepma began of- fering American players a new standard in guitar construction. This expansion wasn’t just about availability; it was about reshaping expectations for what a high- value acoustic guitar could offer players. Tony Moscal, president of Kepma USA, has been instrumental in driving this vision.
guitar meets the highest standards.
“We’ve gone out of our way to ingra- tiate ourselves into the U.S. market,” Moscal said. “We’re aggressive pricing- wise, feature-wise and in terms of what we deliver to players.” This aggressive strategy has positioned Kepma Guitars USA as one of the most competitive acoustic brands in the U.S., making waves with its blend of affordability and premium construction. Kepma’s approach is rooted in meticu- lous attention to detail. The brand inte- grates advanced manufacturing techniques, including precision CNC machining and hand-finishing processes, ensuring each
A BOLD EXPANSION When Moscal first encountered Kepma, it wasn’t at a trade show or from an industry distributor — it was through a colleague from his years at Peavey Electronics. Moscal had worked closely with Karen Ping, who specialized in approving factories for Peavey’s manufacturing needs. Moscal connected with Ping to explore new opportunities with Chinese manufacturers. What he said he didn’t expect was to discover a brand that had remained hidden from the global market — Kepma.
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“The first factory she introduced me to was one I had never heard of before — Kepma, which, as it turned out, was owned by her brother-in-law,” Moscal recalled. “She told me, ‘This factory was never going to do business outside of China. They’re huge, but strictly focused on the domestic market.’” Curious, Moscal traveled to China to see Kepma’s operation firsthand, and what he found he described as nothing short of astonishing. “This place had lasers, robots, CNC ma- chines, and it seemed to go on for miles. I was in awe,” Moscal said, adding when he asked how many guitars they produced each month, he was floored by the response. “‘About 30,000,’ they told me. I was shocked. I said, ‘You make 30,000 guitars a month, and nobody has ever heard of you?’” When Kepma Guitars USA expanded into the U.S. market in 2019, the brand intro- duced its Premium series with six models and later on, added more higher-end guitars. “Our decision to expand was driven by the product quality — it was simply too good to ignore,” said Brandon Foster, managing director of Kepma Guitars USA. “When the guitars arrived, I was floored. This wasn’t the kind of Chinese guitar I was expecting; it was something entirely different. The craftsmanship was outstanding, far beyond what was typically associated with Chinese manufacturing. When Tony told me the price points, it was a no-brainer. Introducing these guitars to the market just made sense.” MARKET DISRUPTION Kepma has carved out a niche by offering professional-grade instruments at prices accessible to everyday players. From the moment a player picks up a Kepma guitar, the craftsmanship is evident — from the precision-cut tonewoods to the smooth, hand-finished details. But beyond the construction, Kepma is also pushing the envelope with technology that enhances the playing experience. “I think we have to start with the build quality of the instrument, but we have some other features, like our pickup system,” Fos- ter said. “It’s called the AcoustiFex, and it gives the player reverb to land a chorus when they’re sitting in their living room just playing and not plugged into an amp. Then, you can also plug it into an amp and you get a microphone and undersaddle plays a pickup with a blend control so that you have a really great, well-balanced sound.” But Kepma doesn’t stop there. Some of the brand’s newer models now feature
Bluetooth audio streaming, letting players stream music from their phones directly to their guitars, making it a great teach- ing tool. Additionally, its Elite series is a lineup that not only features solid tops but also incorporates torrefaction — a process that mimics the natural aging of wood to enhance resonance. “Most companies that have torrefied tops typically buy their torrefied tops from various wood suppliers,” Moscal said. “We actually now have a guitar that we intro- duced at The 2025 NAMM Show that has a torrefied solid spruce top for $249, so
you buy our solid top and get the rest of the guitar for free.” Kepma’s latest offerings, which pre- miered at January’s NAMM show, fea- ture the Fenix series of grand auditorium acoustic guitars and its FC Mini series, the brand’s new three-quarter-size gui- tar series. “Our goal is market disruption,” Fos- ter said. “We [are continuing to plan our] expansion in the U.S. and then eventually [are looking to] get into more international expansion. But, primarily we’re focusing on market disruption.” MI
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a larger Yonge Street location in 1985. By 1990, Cosmo Music opened the Brass and Woodwind Centre. In 2008, the store com- bined its locations into one large superstore. In recent years, the store was run by Tom’s son, Mark. When speaking with Music Inc. shortly after the closure announcement, Mark said the decision was also attributed to a costly and labor-intensive ERP (enterprise resource planning) project that strained the store’s cash flow, along with future economic concerns. “It was kind of a decision like backward looking, we had issues and forward looking, we didn’t see any positive cycle [coming along] anytime soon,” Mark said. “And that’s kind of how we came to the decision. It wasn’t really one thing. It was like a pros and cons list where you stack up all the pros and all the cons. There were way more things on the cons list than the pros list.” Cosmo Music’s retail store will remain open for a limited time, with a closing date to be announced. Fellow Canadian retailer Long & McQuade has acquired the building and will take over the location, continuing Cosmo’s rentals, repairs and lessons — and eventually — sales under the Long & Mc- Quade brand. MI — By Katie Kailus
Cosmo Music to Close After 57 Years C osmo Music, based in Richmond Hill, Ontario, has announced it will be clos- ing after 57 years. Mark Hebert (third from left) made the store’s closing announcement on YouTube alongside his family.
Beginning in 1966 as Cosmo Guitars, Tom Hebert’s import business expanded into a retail store in 1968. The store in Downsview, Ontario, offered guitars and accessories, and by 1971, Cosmo Music relocated to Richmond Hill, adding lessons and a wider range of instruments. In 1975, brass and woodwind instruments were introduced, followed by
Dubbed Canada’s largest MI retail store, Mark Hebert, owner of Cosmo Music, said he and his family made the decision follow- ing “significant challenges faced after the COVID-19 pandemic.”
SHURE SCORES VICTORY AGAINST PRODUCT COUNTERFEITING NETWORK S hure has collaborated with two other international counterfeit Shure products. The case concluded in December
audio equipment brands to address a network in China engaged in the large-scale manufacture and export of counterfeit products, includ- ing microphones, headphones and amplifiers. In May 2023, Shure re-
2024 with seven suspects sentenced to imprisonment ranging from two to four and a half years and fines total- ing $1.1 million USD. Shure and one other participating brand also concluded settlement agreements with the suspects for considerable compensation. “We are grateful to China’s PSB, pros- ecutors, and courts for showing determina- tion to fight these counterfeit crimes,” said Eric McAlpine, Shure’s vice president and chief legal officer. “Counterfeit products hurt everyone, including customers and au- thorized retailers, and we will continue to protect our brand from these illegal activities. Shure has been in business for 100 years and we want our customers to experience the quality of a genuine Shure product.” {shure.com}
counterfeit operation. China’s police force in the province, the Guangdong Province Public Security Bureau (PSB), launched simultaneous raids against the targets, seizing counterfeit products onsite at several locations in August 2023. The PSB investigated the trading company at the heart of the network and through careful forensics, discovered records showing more than $1.7 million USD in sales of coun- terfeit products from various international brands, including nearly $900,000 USD of
ceived information about a network of nine entities in China exporting counterfeit audio equipment to Southeast Asia. The network operated more than 80 separate online stores selling to customers in Vietnam, Thailand, Indonesia, Malaysia and Philippines. Shure, working through IP services business Rouse and its strategic part- ner firm, Lusheng, collaborated with two other audio equipment manufacturers to launch coordinated action against the
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CONTEMPORARY MUSIC CENTER OWNER WRITES BOOK Music retailer Menzie Pittman discusses his new book “The New Musician,” what he hopes fellow retailers will get from reading the book and more. — By Kimberly Kapela
I n mid-2024, Menzie Pittman, owner of Contemporary Music Center in Haymar- ket, Virgina, released his book “The New Musician: The Art of Entrepreneurship in Today’s Music Business.” The book explores the importance of entrepreneurial skills for musicians in today’s music industry and offers insights and advice from some of the industry’s brightest. We sat down with Pit- tman to hear more about his debut book. Music Inc.: What made you want to write a book on the music industry? Menzie Pittman: The first was that there are many talented young musicians who simply can’t afford the cost of a reputable music university. So, what happens to those who aren’t fortunate enough to attend notable music schools? They still need access to that important information. My intent was to bridge that gap by providing a dependable working guide that was wide in scope. I knew I had access to successful business leaders, as well as a wide array of unique musicians, who were willing to share their insights on how to sustain a career in today’s music
a variety of creative topics. A good example would be the chapter on entrepreneurship. It’s no secret that today’s musicians no longer have the luxury of letting someone else make their business decisions for them. They have to wear many hats, and the book is a guide that empowers them to do so. MI: Why should a fellow MI retailer pick up your book? MP: Every savvy retailer wants to be one step ahead of the competition, and we cer- tainly want to be leaders in the discussion of music education. Whether a retailer has a music lesson program or not, “The New Musician” puts the MI retailer inside the conversation. It makes no difference if you’re selling gear or providing music education to students — the purpose of the book is to shed light on what it takes for a creative to succeed. Every interview subject in this project has cracked that code, whether they’re a musician, studio engineer, university president or even the former Secretary of Education. The book is an open dialogue about success, and that topic is relevant to all retailers. MI B.A.C. Musical Instruments Strikes Partnership B .A.C. Musical Instruments has partnered with Dynasty Japan, a distributor of marching and wind instruments in Japan. Dynasty Japan will now offer a selection of B.A.C.’s woodwind and brass instruments, including its 825 Marching brass and bugles, bringing the company’s designs to musicians across Japan. Dynasty Japan will provide details on product availability, pricing and purchasing options through its website and social media channels. Dynasty Japan, headquartered in Mizuhodai, Saitama Prefecture, Japan, is a manufacturer and distributor specializing in marching and wind instruments. As the exclusive distributor of the Dynasty brand, the company is committed to equipping musicians with high-quality instruments. {coolisbac.com}
industry. Lastly, I had strong relationships with music educators. When you put all those pieces together, “The New Musician” is a natural byproduct. MI: What are some takeaways you hope readers get from the book? MP: The most important takeaway from the book is that it’s honest and informative. It’s a collection of thoughts and opinions offered up by music industry heavyweights, the likes of Brent Mason, Chuck Rainey, and Dave Cobb. Even Glen Campbell’s daughter Ashley Campbell contributed to the project. One spe- cial aspect of the book is that every chapter is followed by an essay, written by myself, about
Yorkville Sound Distributes Manhasset Stands Y orkville Sound has announced its Cana- dian distribution of Manhasset Specialty Yorkville Sound’s vice president of sales and marketing. “We look forward to deliver- ing Manhasset-level excellence to Canada’s classrooms and concert halls.”
Company’s full line of stands and accessories. Based in Washington state, Manhasset Specialty Company has been a leader in the manufacturing of concert-style music stands worldwide since 1935. “Yorkville’s partnership with Manhasset is directly in line with our growing band and orchestra initiatives,” said Jeff Cowling,
The distribution partnership with Yor- kville Sound and Manhasset Specialty is effective immediately. Canadian retailers can contact their Yorkville Sound sales rep- resentative for more information. {yorkville. com; manhasset-specialty.com}
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ARTIST APPROVED
Drummer Matt Halpern addresses event attendees at GC’s flagship Hollywood store.
Guitar Center Holds In-Store Event with Drummer Matt Halpern G uitar Center (GC) recently held an exclusive in-store event with Matt Halpern, drummer for the progressive metal band Periphery. The event took place at GC’s flagship Hollywood, Cali- fornia, store on March 6. The session was held in conjunction with GC’s Big Bang drum promotional period celebrating drumming and percussion gear. Halpern took center stage to offer a comprehensive presenta- tion of his gear, offering the audience playthroughs and detailed demonstrations. Throughout the session, he provided an explora- tion of the tools that shape his sound and offered insights into his approach to music-making. Halpern also held a Q&A session, where he shared his expertise on techniques, equipment and his personal journey as a professional musician. An autograph-signing followed the event. {guitarcenter.com}
The violinist, who founded the pioneering string group, Quartet San Francisco, discusses his first instrument, looping stations and his favorite violin in his collection. JEREMY COHEN Music Inc.: What was your first instrument? Jeremy Cohen: My first violin was made by a luthier named Alfio Batelli. He worked for many years in Southern California. I also played a Conn Tenor Trombone in the jazz band in high school. I think that it might have been a 6H. It had me playing jazz and swing in the big band, which started all this crossover playing I’ve been involved with on the violin for so many years. MI: What is your all-time favorite violin, and what makes it stand out from the rest? JC: My main instrument now is a violin made in 1868 by Jean Baptiste Vuillaume. Before it came to me, it was owned by Lou Raderman, the concertmaster of the MGM orchestra from 1939 to 1969. This violin has an amazing legacy and [was used in] every violin solo of every MGM film soundtrack for the MGM years, including ‘Wizard of Oz,’ ‘American in Paris,’ ‘Singin’ in the Rain’ and so many other iconic recordings. MI: What instruments are currently in your arsenal? JC: I’m mostly using my main acoustic violin for recordings [working today at Skywalker Sound] but I do have an ‘old school’ solidbody Zeta electric violin with some effect pedals. I use it when there’s a lot of sound on stage, and I need to compete with things like rhythm sections with big amplifiers. Also, cymbals have a tendency to wash out the natural resonances of the violin, so the electric violin makes things easier. I do also use a Sennheiser E100 wire- less microphone on my acoustic violin when conditions permit. I generally defer to the acoustic, but appreciate the ability to play lightly on the electric violin and let the amplifiers do the work of projecting the sound when it’s appropriate. MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your attention? JC: Lots of players are using looping stations these days. I find that it’s a lot of fun to play and experiment with these effects. I also find just a few of these [technologies] actually apply well to the violin and string world. — By Kimberly Kapela
Breedlove Reaffirms Commitment to Indie Dealers with New Promotion B reedlove Guitars announced it’s reaffirming its commitment to independent dealers and music stores with its latest promotion. Through April 2025, customers who bought a U.S.-made Breedlove guitar from a dealer received a free Discovery guitar from Breedlove. Because Breedlove doesn’t sell direct, this promotion helped Breedlove dealers sell to customers to who were made aware of the campaign through the brand’s aggressive digital marketing. “Music is about community, and community thrives through real connections between people,” said RA Beattie, Breedlove’s director of marketing. “What better place to build those relationships than a local music store? At Breedlove, we’re proud to support our dealers and hope this promotion inspires consumers to visit, connect and experi- ence their local music community firsthand.” {breedlovemusic.com}
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KHS AMERICA LAUNCHES ALIANZA ACADÉMICA WITH FREE VIRTUAL FESTIVAL K HS America has introduced Alianza Académica, an opportunity for school programs to join a community of top educators, artists, ensembles clinician or artist appearance support, and national exposure for member schools. This is offered in close cooperation with the best music retailers
and music retailers — along with leading mariachi, conjunto and Regional Mexican music pro- grams nationwide. In celebration of this new program, KHSA will also host a free virtual festival to showcase school ensembles. Since 2017, the offer- ings and activity of the KHS America Academic Alliance pro-
in the country in order to foster important relation- ships between educa- tors, KHSA, and other businesses that sup- port music education. To celebrate this new Alianza Aca- démica, KHS America is hosting a free virtual festival, inviting schools to submit video entries in one of three categories: Middle
Martin Announces Artist Showcase Class of 2025 M artin Guitar has introduced the Martin Artist Showcase Class of 2025. Launched in 2024, the Martin Artist Showcase was created to celebrate, support and amplify breakthrough artists who are redefining genres and inspiring the next generation of songwriters and performers. Following the success of Martin’s inaugural class, the 2025 lineup features nine artist, including country-rock artist JD Clayton, singer-songwriter Karley Scott Collins, southern country artist Kashus Culpepper, folk artist Madi Diaz, Mexican-American musician Wyatt Flores, country artist Dylan Gossett, country honky-tonker Braxton Keith, singer-songwriter Michael Marcagi, and indie-rock artist Michigander. {martinguitar.com}
borough, Massachusetts. The grand opening event was held on March 8 at the new loca- tion where attendees enjoyed guided tours, information sessions, live performances, explored the school’s recording studio and participated in free toddler “Mommy and Me” music classes. This new school will serve musicians from Marlborough and neighboring communities, including Northborough, Southborough, Hudson, Berlin, Sudbury and Westborough. Bach to Rock Marlborough is owned and 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 gram have provided next-level support to school band programs. Hohner, H. Jimenez, Hercules, Jupiter, XO and Mapex strive to strengthen the connection between Latino musical heritage and the next generation of musicians. When schools join the KHS America Alianza Académica, they will receive ac- cess to benefits intended to enhance the experience of students, promote program growth and bring attention to the initia- tives that educators are doing to pass along this musical heritage. Benefits will include access to exclusive resources from renowned educators, purchase rewards,
School Mariachi, High School Mariachi or Conjunto/Regional Mexican/Open. The KHS America Alianza Académi- ca Virtual Festival supports and salutes schools across the U.S. as they showcase their Latin music ensembles. This free, virtual event provides schools with ex- pert feedback from renowned educators and rewards top-performing groups with high-quality instruments. By eliminating travel expenses and simplifying the com- petition process, the festival lifts barriers to participation and empowers schools to focus on delivering experiences for their students. {academicalliance.com}
Bach to Rock Opens New Massachusetts Location B ach to Rock has announced the grand opening of its newest location in Marl- design professional and booking manager for the band Soul Function Boston.
“We are thrilled to welcome Patrick and Amanda Faucher to the Bach to Rock fam- ily,” said Brian Gross, president of Bach to Rock. “Patrick’s extensive leadership experience in the tech industry, coupled with his musical background, and Aman- da’s creative expertise and community connections make them an exceptional team. Their enthusiasm for music, and commitment to providing top-notch edu- cation, will undoubtedly make Bach to Rock Marlborough a vibrant hub for local families. We’re excited to see the positive impact they will bring to the community through our progressive music programs.” {bachtorock.com}
Patrick Faucher, co-owner of Bach to Rock Marlborough, in front of the new location.
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
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AVID ADDS 3 TO LEADERSHIP TEAM A vid has expanded its execu- tive leadership team with three new appointments. Joining Avid’s existing ex-
“With the appointment of Tom, Dominic and Kenna we now have a world-class leader- ship team that will steer our vi- sion, and support our focus on providing the most complete and flexible end-to-end workflows
Hosa Adds Director of Marketing, Brand Marketing Manager H osa Technology has appointed Jon Croft as its new director of marketing. Croft brings a wealth of experience in music marketing and digital strategy to the role, where he will lead the company’s marketing efforts to drive growth and brand awareness in the MI/retail space while also reaching into new markets in the AV pro-installation and integration markets. “We are thrilled to welcome Jon to the Hosa team,” said Mayumi Allison, CEO of Hosa Technology. “His proven track record of success in developing and executing integrated marketing campaigns, combined with his passion for our industry and connecting with audiences, makes him the ideal person to lead our marketing department into the future.” Croft joins Hosa from idfive, a digital marketing agency, where he served as media account manager, developing and implementing digital marketing and media strategies for a variety of clients. Prior to idfive, he held marketing and sales leadership positions at music product manufacturers Mojotone and Ovation Guitars. “As a longtime user of Hosa products, I am excited to join Hosa and contribute to the company’s continued success,” Croft said. “Hosa is a respected brand with a rich history in the music industry and production spaces, and I look forward to working with the talented team to develop and implement innovative marketing strategies that connect with customers and drive business growth.” Hosa Technology has also named Jason Lynn as its new brand marketing manager. In this role, Lynn will be responsible for driving the company’s brand development, content creation and customer experience. Lynn brings to Hosa Technology a wealth of experience as a senior creative strategist specializing in art direction, branding and graphic design. He is known for delivering impactful solutions that drive successful products and marketing campaigns. A collaborative leader, Lynn excels in orchestrating design initiatives. “Jason’s creative vision will be pivotal as we evolve our brand and enhance our customer experience in alignment with our strategic goals,” Croft said. Lynn’s career includes positions
ecutive leadership team and broadening its talent base is Tom Sharma, who has been
Tom Sharma
appointed as chief technology officer; Dominic Constandi, who has been named chief customer officer; and Kenna Hil- burn, who has been named senior vice president of product.
in News and Postproduction,” said Avid CEO Wellford Dillard. “Their expertise and leadership will enable us to deliver for our customers and empower them to be greater creators.” {avid.com}
DAVID JAHNKE DEPARTS HAL LEONARD, COMPANY NAMES NEW SALES LEADERSHIP H al Leonard has announced the de- parture of David Jahnke, senior vice
president, North America, after more than 30 years with the company. Stepping into new leadership roles, Tom Gierke, chief growth officer for sales and education, will oversee B2B sales alongside Timothy Cose, head of global strategic sales operations. Jahnke, who began his Hal Leonard ca- reer as a telesales representative in 1993, played a pivotal role in building and expand- ing the company’s sales division during a period of significant global growth and digital transformation. Beyond his contributions to Hal Leonard, he has been deeply involved in the music industry, serving on the boards of the Music Achievement Council and the Retail Print Music Dealers Association. For the past six months, Jahnke has worked with Gierke and Cose to ensure
From left: David Jahnke, Tom Gierke and Timothy Cose.
a smooth transition. Gierke’s background includes 13 years at Google, where he played a leadership role shaping the company’s education business. Now, he spearheads initiatives to develop new strategies, programs and technology to fuel Hal Leonard’s growth. Cose is a 16-year Hal Leonard veteran with experience spanning both the sales and finance teams. Cose will focus on implementing advanced analytics tools to equip sales reps and customers with the best data to drive business growth. {halleonard.com}
JORDAN KITT’S MUSIC EXPANDS ROCKVILLE STORE’S SALES TEAM J ordan Kitt’s Music Group (JKM) has announced Jason
In addition to his Jordan Kitt’s Music career, Bonilla is also currently studying digital animation as a student at Mont- gomery College. “My greatest passion contin- ues to be music,” Bonilla said.
Bonilla has joined the company’s Rockville sales team, reporting to store manager Tom Grace. Bonilla has been a musi- cian, primarily of bass guitar,
Jason Bonilla
for about 12 years, having started as a church musician. He’s mostly self-taught save for some mentoring while in the Northwestern High School Jazz Band.
“And being [a part of Jordan Kitt’s Music] and being a setting where I am able to in- teract and provide for other musicians is such an honor.” {jordankitts.com}
at Yamaha Guitar Group and Line 6, where he led brand and product design initiatives . {hosatech.com}
20 I MUSIC INC. I MAY 2025
Roland Achieves “B” Score in the CDP Climate Change Report 2024 R oland Corporation has announced its newly accredited “B” score in closes the results of the environmental initiatives of more than 24,000 compa- Roland said it is expressing its commit- ment to accountability and transparency
the 2024 climate change survey con- ducted by CDP, the world’s only in- dependent environmental research and information disclosure system. Recognized as the global standard for corporate environmental reporting for 25 years, the UK-based international non- profit organization CDP surveys and dis-
nies worldwide. The “B” rating achieved by Roland is considered “management” level and indicates that CDP evaluated Roland as a company that is “managing and working on its own environmental risks and impacts.” As a voluntary CDP survey participant,
for its environmental impact and its willingness to track, manage and reduce carbon emissions. According to a statement from the company, Roland is continu- ously working to strengthen its sustainability contributions and help solve climate change. {roland.com}
Seiki Kato
KORG PRESIDENT KATO PASSES AWAY K org has announced its presi- dent and representative director, Seiki Kato, passed away peacefully at 8 p.m. local time on Feb. 21 fol- lowing an illness. He was 67. Born in Tokyo on March 28, 1957, Kato was the eldest son of Tsutomu Kato, the founder of Korg. After gradu- ating from Tokai University’s Depart- ment of Marine Science and Aqua- culture, he joined Keio Giken Kogyo Co., Ltd., now Korg Inc., in 1980. Early in his career, he worked in domestic sales, handling Korg products. By 1985, he became head of product planning, playing a pivotal role in the development of instruments such as the M1, an innovative music workstation. In 1988, he moved to Korg USA, and, in October 1989, he was ap- pointed president of Korg USA, where he played a key role in ex- panding Korg’s presence in the U.S. market. In 1995, he became execu- tive vice president of Korg Inc., and in October 2003, he assumed the position of president and CEO. According to a statement from Korg, Kato dedicated himself to the growth and success of the com- pany, “guiding us with exceptional leadership and a warm, compas- sionate spirit.” {korg.com/us}
MAY 2025 I MUSIC INC. I 21
22 I MUSIC INC. I MAY 2025
> Page 24 Notes & Cents > Page 26 NAMM YP > Page 27 Women of NAMM
THE MARKETING GURU I BY TRACY HOEFT SOCIAL MEDIA’S CHANGED, HAVE YOU? S ocial media has changed. The good news? No matter how many follow- ers you have, your
sicians? Weekend hobbyists? Studio engineers? Once you know exactly who you want to talk to, you can create content that actually speaks to them. It is easier to come up with ideas to appeal to the people that you want to reach if you really un- derstand them and create for them. You need to tightly define your target audience and then understand their needs before you can implement the other keys to success on social media. Posting for everyone will reach no one and posting for no one will reach no one. INJECTING VIRAL POTENTIAL For any post to get reach, it must perform with a specific audience. Platforms consider a number of factors, but the two keys are post-retention and engagement. Retention means that people stop their scroll to view your post and spend more time with it. This is especially important with video posts. You need peo- ple to watch your video to the end. Engagement is a combina- tion of comments, likes, shares and saves. When you create a post where people stop to watch — and watch the entire video — and then engage with that post, now your social post has viral potential. MAKE CONTENT THEY CARE ABOUT Instead of optimizing for how much you post, craft content
that informs, surprises, enlight- ens, delights or entertains your ideal audience. Prioritize the ideation process to develop ideas that will appeal to your customer. Think about why your customer will like your post. In most cases, just creat- ing for your customer and not your internal goals will do the trick. Instead of just posting product shots, tell a story about why that product matters. Instead of listing specs, high- light an interesting or surprising feature. Instead of posting for the sake of posting, ask yourself: Would my ideal customer stop scrolling for this? HOOK THEM IN THE FIRST 3 SECONDS Today, most social media users’ attention spans are short. If someone doesn’t know within three seconds why your post is relevant to them, they’ll keep scrolling. So, be sure to lead with something compelling. Ask a question, show some- thing unexpected and spark their curiosity. The shift from old-school social media thinking to today’s approach isn’t complicated. It comes down to focusing on what actually works: engaging, audience-first content. The so- cial platforms will reward you for creating it, and so will your customers. MI
next post has the potential to reach far beyond them. The bad news? Even your follow- ers won’t see your content unless it grabs attention and gets engagement. Social media platforms are in the business of keeping people entertained, informed and engaged — if your content isn’t doing that, it won’t get shown. The algorithms reward content that captures attention and sparks engagement. That means if you’re still posting the way you always have — focusing on what you want to say rather than what your audience actually cares about — you’re likely shout- ing into the void. Instagram, TikTok, Facebook and You- Tube give you the potential to reach a massive amount of target customers. But, you need to understand what’s required for success and be willing to adopt the correct approach. From my work with dozens of dealers and brands in our industry, I have seen that few have evolved. If you want to get more from social media, read on. It’s time to stop prioritizing how often you post and start focusing on how good your posts are. The old “post daily
to stay relevant” approach is outdated. If you post 20 times a week and none of those posts get traction, you’re just spin- ning your wheels. One correctly crafted post can outperform dozens of ill-conceived ones. So, how do you thoughtfully create a post that has viral potential? Here are four keys: KNOW YOUR AUDIENCE The key to success isn’t reach- ing everyone, it’s reaching the right people. Define your ideal customer. Are they gigging mu- “It’s time to stop prioritizing how often you post and start focusing on how good your posts are.”
Tracy Hoeft is the president of Amplify 11, a marketing firm specializing in the MI industry.
MAY 2025 I MUSIC INC. I 23
NOTES & CENTS I BY AMANDA RUETER Real Strategies to Improve GMROI
I f you want to know how efficiently your inventory is working for you, look no further than GMROI, or Gross Margin Return on Investment. This key retail metric tells you how many dollars of gross profit you’re making for every dollar you’ve invested in inventory. For music store owners and managers, it’s one of the clearest indicators of how well your product selection, pricing and inventory control are performing. GMROI is often misunderstood as simply being about how fast you sell product, i.e. turnover. But the truth is, it’s a balancing act involving three critical levers: carrying less inventory, selling more inventory and selling inventory more profitably. Improve
chandising and training. Feature best-sellers and high-margin items prominently. Rotate displays and use targeted promotions to move aged inventory — not your newest stock. Train your team to recom- mend accessories, upgrades and complementary items. These add- ons increase average transaction size and help inventory turn faster. SELL MORE, PROFITABLY Improving margin comes from sourcing smarter and selling smarter. Look at your vendor re- lationships. Can you consolidate purchases for better terms? Are there private label or house brands that offer better margins? Then look to your sales team. Are they equipped to sell value over price? Focus on the benefits of buying local, expert advice and personal- ized service. Bundle in setups or extended warranties — and price those services accordingly. Improving GMROI isn’t about squeezing one lever un- til it breaks. It’s about balance. Even small changes — trimming dead stock, refining your buys and training your team — can lead to real gains in profitability. Start by identifying which le- ver is weakest. Is inventory sitting too long? Are margins thinner than expected? Are products flying off the shelves, but profit isn’t following? Then implement one targeted change and measure the results. When you get the balance right, GMROI becomes more than just a metric — it becomes a reflection of a healthy, profit- focused retail operation. MI
any one of those, and your GMROI goes up. But the challenge? Changing one often impacts the others. The formula for GMROI is simple: GMROI equals Gross Margin/Average Inventory Cost. It measures the return you generate for each dollar tied up in inventory. The higher your GMROI, the better, because it means you’re generating more gross profit per dollar of inventory investment. A low GMROI doesn’t automatically mean you’re losing money, but it can signal inefficiencies in your buying process, pricing strategy or sales execution. Excess inventory, low-margin products or sluggish sell-through can all drag the metric down. To improve GMROI, you need to either reduce how much inventory you carry, sell more inventory or increase your margins. The trick is optimizing these
levers together — not maximizing just one. Let’s say you improve GMROI by reduc- ing inventory levels. Less inventory means a lower denominator in the GMROI equation, but go too far, and you risk stocking out on popular items. Want to raise prices to boost margin? That works if customers still buy. But if higher prices slow your turns, your gains evaporate. That’s the GMROI dance. One lever moves, and the other two shift with it. Here are some
“Improving GMROI isn’t about squeezing one lever until it breaks. It’s about balance.”
real-world strategies to improve GMROI:
CARRY LESS INVENTORY Don’t slash inventory across the board. Use sales data to identify slow movers and reduce their footprint. Invest more in fast-turning, high-margin items with predictable demand. Avoid overbuying based on gut feeling or vendor pressure. Use open-to-buy plans and historical sales data to guide your purchasing. SELL MORE, FASTER Improve turnover without sacrificing margin through strong mer-
Amanda Rueter is the president of Ernie Williamson Music and an experienced vice president of finance.
24 I MUSIC INC. I MAY 2025
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