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AUGUST 2026 I VOL. 37, NO. 7
PUBLISHER Kevin R. Maher EDITOR Katie Kailus EDITORIAL ASSISTANT Kimberly Kapela CONTRIBUTING EDITOR Ed Enright SALES MANAGER Chris Maher DESIGNER Žaneta Čuntová
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August 2026
THE 2026 FALL PRODUCT PREVIEW
Max Iishi
26 I FROM THE TOP Max Iishi, president and CEO of Pearl Drums, discusses the brand’s 80th anniversary, how it got here and where he hopes to take the brand in the next several years. 30 I BACK-TO- SCHOOL PRIMER
Electro-Harmonix Big Muff Pi 2
35 I FALL PRODUCT PREVIEW Our annual Fall Product Preview is back. This curated gear guide is packed with the latest products that are sure to be best-sellers this holiday season.
A look at tips, tricks and gear to help B&O dealers survive the busiest time of the year.
36 I GUITARS, AMPS & ACCESSORIES 42 I AUDIO & RECORDING 45 I DRUMS & PERCUSSION 48 I PIANOS, KEYBOARDS & SYNTHESIZERS 50 I BAND & ORCHESTRA 51 I DJ & LIGHTING
20 I MY TURN X Myrna Sislen gives a firsthand reflection of the 2026 NAMM Advocacy D.C. Fly-In.
14 I NEWS X Thomann Sues Fender Over Cease-and-Desist X NAMM NeXT Europe 2026 X MOMM Names New Executive Director X Muse Group’s New Chapter X Armadillo Enterprises Files for Chapter 11 X RATstands Celebrates 50 Years X Beyerdynamic Names New Managing Director X Jam Industries USA Selects Director of Sales 12 I INDUSTRY PROFILES X Tokai Guitars is reestablishing its U.S. presence for the first time since the 1990s.
22 I IN THE TRENCHES X Cyph Shah shares his best tips for product pitches.
24 I VIEW FROM THE REPAIR BENCH X Steve France discusses three esseential steps in developing a shop’s standard operating procedures. 25 I WOMEN OF NAMM X Jennifer Lantz on how teamwork and collaboration are needed more than ever in the age of AI.
RETAILER ASK THE 54 I ASK THE RETAILER
X What is one product or accessory you always make sure to stock heading into the holiday selling season?
On the cover: Product images courtesy of Eastman Winds, Slingerland Drums, Gretsch Guitars, Yamaha Keyboards.
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A s we move further into the second half of 2026, the upcoming holiday selling season is most likely on the minds of most MI retailers. And if this month’s Fall Product Preview, which starts on page 35, is any indication, MI manufacturers are ramping up product offerings after a few slower years for new launches. With that, the broader retail outlook appears to support this renewed mo- mentum. According to a late-March report by the National Retail Federation (NRF), U.S. retail sales are forecasted to grow 4.4% in 2026 to approximately $5.6 trillion, a pace that outstrips the 10-year pre-pandemic average of 3.6% and signals continued consumer durability despite the chaotic economic con- ditions faced so far this year. PERSPECTIVE I BY KATIE KAILUS THE HOLIDAY CRYSTAL BALL
With this in mind, many retailers across the country, including Sweetwater, are antici- pating strong sales in the typical MI holiday best-seller categories.
“We expect to see the classic, entry-level instruments and bundles perform well, in- cluding guitars, ukuleles, keyboards, drums and band and orchestra instruments,” said Adam Crampton, Sweetwater’s director of music store operations. “We also expect sub- $400 DJ controllers, groove production gear and drum machines to be popular this year. Of course, amps and effects are a staple of the season, and we have more powerful and plentiful options than ever for every type of player.” To appeal to a wider customer base, Sweetwater plans to broaden its of- ferings outside of the usual MI categories. “We’re ramping up to have something for everyone,” Crampton said. “Head- phones are huge, and we’ll sell them to fitness enthusiasts, casual listeners and discerning studio professionals. Drones are exciting and new for us, and we expect them to be incredibly popular. Cameras will be a huge hit as well, and we expect high interest in all varieties, from point-and-shoot models to action cameras.” One MI trend worth keeping an eye on is consumers’ continued focus on value-driven purchasing. Customers aren’t necessarily spending less, but they are spending more intentionally. Products that clearly communicate quality, longevity and practical benefits are likely to resonate. Success this holiday season may also be less about any single “hot category” and more about intentional spending and the used market. Retailers who cre- ate a customer experience that goes above and beyond by telling compelling product stories, providing knowledgeable guidance from staff and creating memorable in-store experiences could be real winners come December. But, if there’s one prediction that holds steady, it’s that musicians will continue to invest in their passion. Whether it’s a first guitar, a new record- ing setup or an upgrade years in the making, the desire to create music will continue on. Retailers who meet customers with the right products, the right expertise and the right experience will be positioned to finish 2026 on a high note. MI
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Safeguarding UK Brass Manufacturing T hank you for your excellent recent Industry Profile article shining a spotlight on Rath Trom- bones and the continued develop- ment of the treasured U.K. brass brand as it celebrates its 30th an- niversary. From Michael Rath’s early ca- reer working for Paxman Horns, to building the first Rath trombone for jazz legend Mark Nightingale and the instruments being performed all over the world today, the Rath journey has been a fascinating one. Rath Custom trombones are manufactured in the U.K., hand- crafted to the highest of standards by a small and very dedicated team with a passion for their craft. It’s what has made every Rath trom- bone special for the past 30 years — and it’s why Rath Trombones are played in concert halls, record- ing studios, military parades and more, all over the world. Here’s to the next 30 years, and the continued safeguarding of U.K. brass instrument manufacturing. Mark Good Group Marketing Manager Rath Trombones West Yorkshire, United Kingdom Expanding Educa- tional Reach Abroad W hen most people think about supporting a music program, they think about donating instru- ments. Earlier this year, I was re- minded that instruments are only part of the solution. In May, I had the opportunity to work with El Sistema Punta Cana, a public school in the Do- minican Republic. Through a partnership with Instrumental Horizons, Bandwagon Music & Repair helped to expand an initial donation effort from five instruments to 29 instruments along with more than $6,000 in supplies and materials. While the donations were im- portant, they weren’t what inter-
repairs, adjustments and mainte- nance, I was reminded why any of this matters in the first place. Music is the only international language! When I left Punta Cana, I didn’t feel like the project was finished. My hope is to return with addi- tional tools, supplies and training so these educators can continue building their repair knowledge. I would love to see El Sistema Punta Cana develop a dedicated repair space that not only supports its own students but also serves the surrounding community. Success won’t be measured by how many instruments were delivered. Suc- cess will be measured by how many instruments are still playing years from now, how many students are still making music and whether the people in that room have the knowledge and confidence to solve those problems themselves. Linden Lantz Owner Bandwagon Music Nashville, Tennessee Thank You to the Players O ne aspect that cannot be em- phasized enough is that our journey would not have been pos- sible without the dedication of countless people over the years — from Manuel Rodríguez and the craftsmen in Spain to our artists, dealers, distribution partners and loyal players around the world. As we continue to develop the brand for future generations, our goal re- mains unchanged: to preserve the tradition of Spanish guitar making while bringing these instruments to musicians across the globe. We’re grateful to everyone who continues to be part of this story. Laurids Riedl
ested me most. As a former band director and now a repair techni- cian, I’ve spent my entire career helping students stay involved in music. I’ve witnessed firsthand that a broken instrument isn’t just a repair problem. It can become a barrier that keeps a student from participating. That’s why I offered to lead a repair and maintenance clinic while I was in El Sistema. The clinic brought together in- structors from El Sistema Punta Cana along with 10 additional music educators from across the Dominican Republic. When I ar- rived that morning, people were already there waiting. What I found was a group of passionate educators doing everything they could with the resources they had available. One of the first things I noticed was that they didn’t even have a proper screwdriver for instrument adjustments. We
ended up using a screwdriver from a glasses repair kit. The challenge was that nobody had the tools or training for success. We spent time covering basic adjustments, troubleshooting and instrument regulation. More im- portantly, we talked about how to think through a repair. When something isn’t working, where do you start? What are you looking for? How do you narrow down the problem? The nearest repair re- source was more than three hours away. What would normally be a simple adjustment had become a major obstacle because there wasn’t anyone nearby with the knowledge or tools to address it. That experience reinforced some- thing I’ve believed for a long time: Access to repair is access to music. At the end of the visit, I had the chance to sit in and play with the students during rehearsal. Af- ter spending days talking about
Head of Global Marketing Guitarras Manuel Rodríguez Madrid, Spain
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
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INSIDE NEWS > Page 14 NAMM NeXT Europe 2026 > Page 15 Thomann Sues Fender > Page 16 RATstands Marks 50 Years > Page 17 Muse Group’s Next Chapter
language website designed specifically for the U.S. market. “Tokai honed in on what really makes a handcrafted guitar, and even up to this year they haven’t changed quite a bit about how they build guitars,” said Matt Desilet, director of product marketing for Audio Collective Group brands. “They got their reputation going in the late 1960s as they started to build guitars based on the golden era of American guitar manufacturing in the 1950s and ’60s,” he added. “Tokai picked up the torch as some of those other companies sold to larger compa- nies and lost their way in terms of building great guitars.” A CULT CLASSIC RETURNS Beyond its storied heritage, Tokai’s return fills a gap in the guitar market when many players are reevaluating what they want from their instruments. As prices continue to rise across the MI industry and consumers become conscious of long-term value, durability and repairability, Tokai has remained commit- ted to producing instruments designed to withstand years, if not generations, of use. Tokai’s luthiers continue to build guitars in small batches that meet the demand of the U.S. market. “The brand felt that now is a great time to come back, as people are demanding value. Everything’s expensive, everything seems like it’s harder to repair and every product life cycle seems like it’s getting shorter and shorter,” Desilet explained. “Because of the way Tokai guitars are built, it’s like time traveling back to the 1950s and ’60s and buying a guitar that’s going to last, like an heirloom that you pass on to your kids and grandkids. So now felt like the right time to bring a product like that back.” For decades, Tokai found its way into the hands of American players through overseas travel and international touring circuits. According to Desilet, response from the U.S. market has been like welcoming
After decades of cult-like status among collectors and players, Tokai Guitars is reestablishing its U.S. presence for the first time since the 1990s, bringing the brand’s renowned craftsmanship, vintage-inspired de- signs and dealer-focused support back to the market. — By Kimberly Kapela TOKAI MAKES ITS AMERICAN REVIVAL Matt Desilet, director of product marketing for Audio Collective Group brands.
O ne of the revered names from the “made in Japan, crafted in Japan” movement, Tokai Guitars, is making its return to the U.S. market for the first time since the 1990s. With its signature Golden-era construction, Tokai Guitars created a name for itself in the 1970s and ’80s for its craftsmanship and affordable takes on classic American guitar designs.
Now, through a new distribution partner- ship with Audio Collective Group (ACG), Tokai is making an effort to reconnect with American dealers and consumers. Announced during this year’s NAMM Show, the partnership will bring expanded inventory availability, Texas-based customer support and service, and a dedicated English-
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back an old friend. “Tokai’s original reputation was grown in America from our artists going out on tour — being in the E.U. and especially being in Japan in their famous guitar shops like Ishi- bashi in Tokyo — and playing these guitars and bringing them back home,” Desilet said. “Tokai has really been this 70-year story of word-of-mouth that just keeps working. It feels like you’re bringing an old friend into a bar.” A LEGACY REAWAKENED Within just a few months of reentering the market, several models have exceeded ex- pectations according to Desilet, with Tokai’s bass offerings quickly becoming one of its strongest performers. “The Tokai Hard Puncher has been our No. 1 seller, and that’s like your P-style bass: Anyone who’s ever worked with one knows that they’re just rock solid,” Desilet said. “It would be crazy not to think that over time the Goldstar will probably become our No.1. The shape just won’t leave guitar players’ minds, and it’s so comfortable and easy to play. It also helps that we have that in an HSS, so we have the humbucker version, and then a triple S, so if you want to go a little more vintage, you can go with your three single coils.” For retailers, Tokai is a brand that attracts customers to the store, according to Desilet. The relaunch not only reconnects those longtime fans with a trusted name, but also introduces a new generation of players to a brand with one of the strongest word-of-mouth legacies in the guitar industry. “It’s something that’s often seen online, and rarely something you can test drive, because you’re only looking at vintage,” Desilet said. “So being able to say you have new Tokai in the store will help with foot traffic. I always make the joke that you don’t walk into the Chevy dealership and get convinced to buy a Ferrari, right? We’re not going to claim that you’re going to all of a sudden change your budget in a really meaningful way, but if you walk in with a certain range, it’s really hard not to choose a Tokai.” While the guitars themselves carry decades of heritage, ACG understands that long-term success in the MI market depends on making the business side of the relationship as seam- less as possible for dealers. “We’re very dealer-friendly,” Desilet said. “We work with a ton of independent retailers, and we understand the pains around minimums and RMAs and buybacks, and we just want to make it easy for people. We try to make it really easy for dealers we know and are aware of how difficult it can be to order from brands
— whether it’s freight costs or difficulty with service and warranty, communication, timely shipping, all that stuff. We really try to make all that easy.” As Tokai establishes its footing in the American market, it looks to preserve the construction and design that built the brand’s roots, while also exploring updates that reflect the preferences of modern players. Among the developments currently under consideration are expanded finish options, contemporary colorways, alternative neck treatments and new pickup configurations across select models. “We have all of the really classic colors,”
Desilet continued. “We’re starting to look into some of the new and modern color techniques that you see. Right now we’re looking at things like satin or worn finishes on necks for some players that have very different preferences. We’re definitely looking at some new pickup options on the Breezysound, so, as opposed to just a two single-coil traditional, those are actually imminent. “The little Easter egg I’ll give is that we’re looking at other styles of guitar that Tokai is really known for and how to bring those into the U.S. in a way that’s fair and legal, and everyone will be happy.” MI
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Attendees of NAMM NeXT Europe 2026 gather for a group photo.
NAMM NEXT EUROPE 2026 ELEVATES GLOBAL MI STRATEGIC VISION N AMM held its NAMM NeXT Europe 2026 executive leadership summit June
industry together in one place,” said Mar- cel Messner, CEO of GEWA Music. “None have really pulled it off, until now. NAMM NeXT in Amsterdam made it happen. That’s what sets NAMM apart as the global, leading association of our industry: They deliver. Bringing manufacturers and the education sector to the same table — two worlds that, frankly, barely knew each other existed — is where real opportunities for the future are born. The mission is clear: Create more music makers. And with the European Soundmak- ers stepping up, we’re moving in the right direction.” The 2026 summit featured presentations from economic, technology and education experts alongside interactive executive work- ing groups designed to generate actionable business insights and cross-sector collabora- tion. Discussions focused on global trade and economic trends; artificial intelligence; evolving consumer behavior; the latest de- velopments in retail, manufacturing and live events; and music education advocacy. A central component of NAMM NeXT Europe remained its executive working-group format, where participants collaborated across three strategic tracks: commercial, retail and live event. These facilitated sessions explored next steps for growing the industry, adapting to disruption and creating more music mak- ers. The groups also encouraged participants to develop collaborative strategies designed to support sustainable industry growth and innovation beyond the summit. “It was a pleasure to be part of NAMM NeXT Europe and engage with industry
leaders on the economic and geopoliti- cal forces shaping our future,” said Koen Berden, managing director of Trade Impact B.V. and senior fellow at ECIPE. “During my session, I explored the European geo- economic and trade outlook, highlighting how the weaponized economy with control of chokepoints, evolving trade policies, shift- ing global alliances and broader economic trends are creating both challenges and op- portunities for businesses across the music products industry. As Europe continues to navigate a complex global geopolitical land- scape, staying informed, adaptable and being prepared for the unexpected will be critical for organizations looking to thrive in the years ahead. I appreciated the thoughtful discussions and exchange of ideas that made NAMM NeXT Europe such a valuable forum for forward-looking leadership.” The summit reinforced the growing im- portance of collaboration between the music products industry and European music educa- tion organizations. Education leaders shared updates on advocacy initiatives and explored untapped opportunities to support future generations of music makers and strengthen music education access throughout Europe. NAMM plans to continue the NeXT platform. The next NAMM NeXT sum- mit will take place in South America with NAMM NeXT Latin America, taking place in São Paulo, Brazil, in November 2026. Additional details about the 2027 NAMM NeXT event calendar, including programs in the U.S., will be announced during The 2027 NAMM Show. {namm.org}
10–11 at the Renaissance Amsterdam Hotel in Amsterdam, the Netherlands. The event gathered senior executives and industry lead- ers representing Europe’s MI, pro-audio, live event, retail, education and distribution sectors. Building on the success of last year’s inaugural Brussels summit, NAMM NeXT Europe 2026 expanded its role as a forum for high-level industry dialogue, bringing together leaders for two days of market intelligence, strategic discussions and col- laborative working sessions focused on the future of the industry. “The continued growth and engagement around NAMM NeXT Europe reflects the importance of creating spaces where industry leaders can collaborate on the opportunities and challenges shaping our global business environment,” said John Mlynczak, president and CEO of NAMM. “The conversations in Amsterdam reinforced a shared commit- ment to innovation and expanding the global community of music makers.” NAMM NeXT Europe 2026 drew par- ticipation from leading global and European companies across manufacturing, distribu- tion, retail and live event production, in- cluding C.F. Martin Guitar, Henri Selmer Paris, Buffet Crampon, GEWA Music, Roland Europe, Taylor Guitars Europe, Thomann, Gear4music, Adam Hall Group, Audiotonix, Focusrite Group, QSC, Solid State Logic, Musik Meyer, Algam and Hal Leonard Eu- rope, among others. “Many have tried to bring Europe’s music
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Thomann Sues Fender Over Cease-and-Desist Campaign A s of June 22, Thomann, Europe’s largest MI retailer, is suing Fender in an effort to
ing with each other have always been part of our philosophy,” said Thomann, who argues that the Stratocaster’s cultural significance is influenced by generations of musicians, builders and manufacturers who have ex- panded upon the concept. “The history of the Stratocaster has not been written by one company alone,” Thomann’s statement continued. “It has been shaped by musicians, luthiers, de- velopers and manufacturers around the world. Its importance for the music world also arises from the sheer number of people who built on it and developed new ideas from it … We urge Fender to stop issuing cease-and-desist demands against manu- facturers, distributors and dealers and to return to a fair, cooperative partnership. Because we are convinced of this: The future of the guitar world depends on diversity, innovation and the freedom to create.” MI — By Kimberly Kapela
stop the company’s ongoing cease-and-desist campaign targeting guitar makers that produce Stratocaster-style body designs. In taking legal action, Thomann said it’s fighting not only on behalf of its own Harley Benton brand, but also for the broader community of manu- facturers affected by Fender’s legal claims. Several weeks ago, Fender issued cease- and-desist letters to guitar companies over the use of Stratocaster-style body shapes, including U.S.-based manufacturers such as PRS Guitars, as previously reported by Music Inc. Thomann’s Harley Benton brand was also among these brands, making the retailer the first company to bring Fender to court. “We used to be a small music store our- selves and know exactly where we have come from,” said Hans Thomann, Thomann CEO, in a statement. “Many of those affected do
not have the financial and legal means to conduct such a legal dispute. We therefore see it as our responsibility to have this mat- ter clarified in court not only for our own company, but for all parties involved.” Thomann named manufacturers beyond its own catalog that have been impacted by Fender’s actions, including Tyler, Tom Anderson, Suhr, LSL, Maybach, Pensa, FGN and PRS. The company’s legal position echoed arguments previously raised by industry attorney Ronald Bienstock that the S-style design shouldn’t be considered copyright- able, but rather an influential example of functional guitar design. “Diversity, fairness and respectfully deal-
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MUSEUM OF MAKING MUSIC TAPS KATHERINE PALMER AS ITS NEW EXECUTIVE DIRECTOR N AMM has appointed of Katherine Palmer as the new
that role, she has led the insti- tution’s educational and public engagement initiatives, including management of the Taylor Swift Education Center. At the Museum of Making Music, Palmer will lead the mu- seum’s mission to celebrate and
executive director of the Muse- um of Making Music (MoMM), effective this summer. The an- nouncement comes as Carolyn Grant concludes her NAMM career, which included leading
Katherine Palmer
the museum since its inception in 2000. An accomplished museum leader, arts educator and musician, Palmer joins MoMM from the Country Music Hall of Fame and Museum in Nashville, Tennessee, where she currently serves as senior director of education and community engagement. In
advance the history, impact and future of the music products industry and active music making through exhibitions, educational initiatives and public programming. Palmer also served as curator of educa- tion at the Musical Instrument Museum in Phoenix. {nammfoundation.org}
RATstands Marks 50 Years with Community Program R ATstands, a U.K.-based manufacturer of music stands and performance equipment, has launched its RATstands Community Programme, marking 50 years of supporting music, education and performance worldwide. As part of this milestone, RATstands will donate £10,000 (approximately $13,200) worth of products to charities, schools and non-profit organizations across the United Kingdom and internationally. The program is designed to support organizations where access to reliable equipment can make a meaningful difference to teaching, rehearsal and performance environments. Applications for the program are open now and available to educational institutions, music departments and community organizations that can demonstrate clear impact through the use of RATstands products. “For 50 years, we have been proud to support musicians at every stage, from the classroom to the stage” said Jacqueline Thomson, managing director at RATstands. “The RATstands Community Programme is a way of recognizing the vital work being done by schools and organizations across the U.K. and beyond, and contributing to the next generation of music-making.” The company expects to allocate the total value across multiple recipients, prioritizing organizations that demonstrate clear need, measurable impact and alignment with music education or community engagement. Successful applicants will be selected by a review panel, with consideration given to how the products will enhance learning environments, support performance and improve accessibility to music. Applications will remain open until Sept. 18, with recipients announced shortly thereafter. {ratstands.com}
BEYERDYNAMIC SELECTS JESSE DEAN AS MANAGING DIRECTOR OF THE AMERICAS B eyerdynamic has appointed Jesse Dean as managing di-
of business development, vice president of audio and global vice president of sales at several highly respected companies in the industry. Most recently, Dean served as director of business develop- ment–Americas at RØDE, where
rector of the Americas. In this role, Dean will oversee beyerdy- namic’s business operations, sales strategy and brand development across North and South America. Dean brings more than 25
Jesse Dean
years of experience across the professional audio, video, creator and consumer technol- ogy industries to beyerdynamic. Throughout his career, he has held a range of leadership roles, including global operations manager, director of business development–Americas, vice president
he played a key role in the brand’s expansion across the U.S., as well as vice president of global sales at Mackie. “Jesse brings exactly the kind of experi- ence and passion we were looking for in this role,” said Andreas Rapp, CEO of beyerdy- namic. {north-america.beyerdynamic.com}
JAM INDUSTRIES USA NAMES DIRECTOR OF SALES, PRO-AUDIO J am Industries USA has named Mike Gabriel as its land and ultimately national director of sales. “I’ve always approached the
new director of sales, pro-audio. Gabriel brings a balanced ap- proach that blends data-driven decision making with real-world retail perspective to the role. During his career, Gabriel
MI business with a competi- tive mindset, driving growth, challenging the status quo and finding new ways to win in every channel,” Gabriel said.
Mike Gabriel
has developed expertise spanning retail, distribution and go-to-market strategy. He began at Guitar Center, advancing through leadership positions that included store management in the New York City metro area, regional sales manager in New Eng-
In addition to his retail leadership experience, Gabriel has held key positions on the manufacturer side with several brands including Gibson, Korg USA/ Marshall Amplification, KMC Music and Casio. {jamindustries.com}
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Muse Group Enters Next Chapter of Growth M use Group has announced the next chap- ter in its growth journey, following the successful conclusion of Francisco Partners’ investment in the company. the Muse ecosystem more connected and valuable for creators.”
“It’s been a privilege to work with Eugeny, Mo and the Muse Group team over the course of our partnership,” said Lee Rubenstein, managing director at Francisco Partners. Muse Group’s brands include Ultimate Guitar, MuseScore, Hal Leonard, Audac- ity, Audio.com and MuseHub. {mu.se}
Francisco Partners initially invested in Muse Group in 2023. During the partnership, Muse Group expanded its global footprint, strengthened its technology capabilities, com- pleted the transformational acquisition of Hal Leonard and delivered consistent performance across its brand portfolio. The concluding transaction between Francisco Partners and Muse Group was supported by senior credit facilities arranged by J.P. Morgan and cash on hand. Muse Group remains majority owned and controlled by founder and CEO Eugeny Naidenov, part- nering closely with Mo Chahdi as executive chairman and COO, alongside an experi- enced management team with expertise in technology, product development, growth, AI, global operations, finance and organi- zational scaling. “I founded Ultimate Guitar in 1998, driven by a passion to improve the lives of musi- cians every day. Francisco Partners helped us expand that vision to more markets, more products and more creators around the globe,” Naidenov said. “Muse Group is now ready for its next phase. We have the products, the team, the community and the ambition to keep building technology that helps musicians do even more with their creativity.” Moving forward, Muse Group will con- tinue to partner with and acquire products that support its mission. The company will look for businesses with loyal communities, strong product foundations, high-intent users and the potential to become more valuable as part of the Muse Group ecosystem. Muse Group remains committed to invest- ing in product innovation and AI-enabled creative workflows. The company’s ambition is to build the definitive technology platform for music learners and creators, helping them move more naturally from learning to produc- ing, recording, publishing, sharing, licensing and monetizing their work. “This is an important milestone for Muse Group and a strong reflection of what the team has built,” Chahdi said. “We are grate- ful for Francisco Partners’ partnership and the support they provided across this journey — helping to execute and fully integrate the acquisition of Hal Leonard and acting as a
valuable strategic partner in the strengthening of our global footprint, product offering and technology. Our next chapter is focused on execution, product innovation and making
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ARTIST APPROVED
with wanting to figure it out.
writing to as well, as it really opens up a song to go in so many different produc- tion directions. My current live show includes drums and an alternating acoustic/electric guitar. My show relies a lot on cool pedalboard tones, as well as keeping most of the pop elements in track. I really enjoy that setup because my music is so guitar heavy, and I think it really gives those elements the time to shine. MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your attention or inspired you in the creative process? CR: I bought a little removable rubber bridge recently from a local Nashville company called Dead Ringer, and I’m obsessed. It’s causing me to write wordier songs and find melodies that I normally wouldn’t jump to. It’s such a simple thing, but I love that I can just take it on and off whenever. MI — By Kimberly Kapela
MI: What’s your all-time favorite instrument? CR: I’d say my Taylor acoustic guitar is definitely my all-time favorite. It was the guitar I bought when I first began com- ing to Nashville to write and play shows, and I truly feel like it’s grown up with me. In many ways it’s operated as a core part of my sound (both in writing and live performance), but the way I’ve used and incorporated it has changed over the years. It’s got this brightness to it that I love, and at the end of the day, it’s just a great guitar to accompany any emotion, mood or sound I’m feeling. MI: Are there any instruments that are your go-to choices for recording or performing live? CR: Lately I’ve kept things pretty simple. When writing, I always return to either an acoustic guitar or a ’90s electric guitar sound. Piano is always so fun to begin
Alt-pop singer-songwriter Caroline Romano shares why she credits her Taylor acoustic as the core of her musical journey. CAROLINE ROMANO Music Inc. Magazine: What was your very first musical instrument? CAROLINE ROMANO: My first instrument was a Best Choice guitar from Toys “R” Us. It was bright blue with flowers on the front, and I got it for Christmas when I was 5. I had absolutely no idea how to play it, but I remember being fascinated
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Low Boy Teams with Sweetwater to Launch Exclusive Bass Drum Beater Finish L ow Boy, maker of handcrafted bass drum beaters, has launched its newest exclusive colorway in partnership with Sweetwater: Natural with Red Sparkle Stripes. The re- lease, part of Low Boy’s Drum Shop Designed program, marked the third exclusive finish collaboration between the two companies. The Natural with Red Sparkle Stripes finish is available across all eight of Low Boy’s signature beater models. Drummers can choose between the Standard (95g) and Lightweight (80g) weights, with each turned from premium North American hard maple and offered in wood, felt, leather or lambswool striking surfaces. “I know money is tight for everyone right now, including musicians,” said Jeremy Brieske, Low Boy founder. “When devel- oping this line, Sweetwater challenged us to create a beater that was stunning while remaining highly affordable — to build a true boutique piece of drum gear at a $35 price point. I think we delivered.” “We love every opportunity to collaborate with Low Boy and have fun coming up with new designs,” said Evan Turner, senior cat- egory manager at Sweetwater. “This latest offering is simple but elegant, and feels amazing — just like every Low Boy beater.” {lowboybeaters.com} {sweetwater.com}
Armadillo Enterprises Announces Chapter 11 Reorganization C oncordia LLC, the intellectual property holding company for the Dean Guitars, Luna Guitars and ddrum brands, and its authorized operating company, Armadillo Distribution Enterprises, have announced a voluntarily filing for protection under Chapter 11 of the United States Bankruptcy Code in the Middle District of Florida. Chapter 11 is a court-supervised reorganization that allows the companies to restructure financial obligations while continuing normal business operations. “This is a proactive step to strengthen our financial foundation and position these iconic brands for long-term success,” said Pamela Keris, owner and CEO. “Resolving the financial pressures of recent years allows us to focus fully on growing what we’ve built. We remain fully committed to our customers, our dealer network and our employees. Dean, Luna and ddrum are strong brands, and this process will allow us to emerge as a more resilient organization.” The companies have filed customary first-day motions seeking court authorization to continue paying employee wages and benefits and to maintain vendor and dealer relationships without interruption. Concordia LLC retains full ownership of all intellectual property associated with the Dean Guitars, Luna Guitars and ddrum brands throughout this process. Armadillo said in a statement that it “wishes to assure both its retail and consumer partners that all existing orders, dealer relationships and customer commitments will continue to be honored without interruption.” {armadilloent.com}
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> Page 22 In The Trenches > Page 24 View from the Repair Bench > Page 25 Women of NAMM
MY TURN I BY MYRNA SISLEN MAKING MOVES IN D.C. A s NAMM celebrates its 125th anniver- sary this year, what better way to mark the occasion than to all made possible by support from NAMM. THE ASK
This year’s Fly-In was unique. In addition to lobbying for continued funding for music education in schools, the effects of tariffs on the MI industry took a front-and-center role. One-third of congressional meetings this year were focused on tariffs. Industry leaders, includ- ing Julie Robbins of EarthQuaker Devices and Ryan Richman of Eastman Music Company, high- lighted how current tariffs increase raw material costs by up to 30%, squeeze retail margins and threaten the affordability of instruments for students and families. During their meetings, delegates highlighted their challenges by re- vealing the devastating effect tariffs are having on the music industry, and ultimately on American chil- dren. They spotlighted how many families might not be able to afford the beginner band instruments stu- dents need for the music classes. NAMM delegates were lobbying Congress for funding to continue — an outcome most delegates (and myself) had not fully considered. Eastman Music Company, headquartered in Pomona, Cali- fornia, has felt the crunch of the increased tariffs. “When the tariffs were raised a year ago, we had to do something to make sure that our business was still going to remain healthy,” said
travel to Washington, D.C., for the 20th annual NAMM Fly-In? From May 11–14, 100 member delegates from 74 MI companies representing all 50 states came to Capitol Hill with two goals: to ask Congress to protect federal funding for mu- sic education, and to request tariff exemptions for musical instruments, along with the components and raw materi- als used to make them. And I was honored to join them. John Mlynczak, NAMM president and CEO, said in a Music Inc. pre-Fly-In in- terview: “I can tell you, this will be the largest and most impactful Fly-In that NAMM has ever done. And I think a lot of that has to do with just the momentum of the industry now, behind working together in times of uncertainty.” And I have to agree. Mlync- zak and his NAMM staff, working alongside Connie Myers and Chris Cushing of NAMM’s lobbying firm Nel- son Mullins, delivered one of the best-run, most informative Fly-ins in recent memory. THE BREAKDOWN The week began with The
A firsthand reflection of the 2026 NAMM Fly-In.
NAMM Foundation hosting its annual day of service at McKinley Tech High School in Northeast D.C., connecting students with music professionals through its Careers in Music initiative. The program provides mentorship and career insights, helping inspire the next generation of music makers and industry leaders. The NAMM Foundation presented the McKinley Tech Music De- partment with $10,000. The following day was de- voted to training sessions to prepare delegates for their meet- ings on Capitol Hill, followed by a reception where NAMM presented Congressmen Ron Estes and Lloyd Doggett with
the SupportMusic Champion Award, followed later that eve- ning by the third annual NAMM Jam — curated once again by Mike Risko of Mike Risko Music and sponsored by Chuck Levin’s Washington Music Center. All day Wednesday, delegates crisscrossed Capitol Hill, hold- ing more than 200 meetings with members of Congress, congres- sional staff and legislative aides. It was topped off that night with the Congressional Record, a biparti- san event celebrating the unifying power of music and the arts. The event included partic- ipation from members of the Congressional Musicians Caucus and Congressional Arts Caucus,
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Richman, Eastman Music Com- pany’s executive vice president. “When you think about it, a com- pany like Eastman makes instru- ments for beginning musicians. We understand the high end of the market, but we also understand the lower end of the market. And the low end is what really suffers when these products are made less accessible. It becomes very chal- lenging for schools or parents to afford a quality instrument for their child.” Robbins, CEO of EarthQuaker Device in Ohio, offered a prime example of how tariffs are impact- ing the MI industry’s American manufacturers. “My company manufactures guitar effects pedals in Akron, Ohio,” Robbins said. “We have 35 employees, two manufactur- ing facilities and we make more than 50,000 pedals a year. It’s always been very important for us to manufacture in Ohio. It would have been less expensive and easier to outsource it. But for us, it was important to create good jobs in Akron and to maintain control over our supply chain.” Robbins noted that today EarthQuaker Devices manufac- tures about 50 different pedals. “In order to make all of those pedals, we use over a thousand individual, unique components from 16 different countries,” Rob- bins said. “And they go across 34 different harmonized tariffs, and it’s the tariff code and the coun- try of origin that determine the tariffs’ cost. “For us, a small company, even though we’re making 50,000 ped- als a year, it’s been a real challenge to even be tracking all these com- ponents. When the tariffs initially hit last April, we had spent the early part of the year preparing. We knew something was coming, but we weren’t prepared for the catastrophe that ended up hap- pening. We saw sharp increases in our prices for what we pay for raw materials to the tune of 30%.” As a strong supporter of U.S. businesses and U.S. manufactur- ing, Robbins brought that sense
with her into her meetings on Capitol Hill. “Our company was awarded the 2019 Exporter of the Year by the Small Business Association, and for an Ohio company to win that [award] was a really proud moment for us,” she said. “Re- cently consumer spending, which we rely on, has been even more crunched by increasing infla- tion and things like fuel prices. So, there’s all kinds of motiva- tion for companies to move their manufacturing overseas. If I was doing my manufacturing overseas for products that are destined to go to other markets, I could just export them from there. I wouldn’t even need to bring them to the U.S. and have tariffs applied to them. “That’s what a lot of people are moving to do. They’re mov- ing to have regional locations, they’re moving to have consoli- dated warehouses and other ter- ritories to serve their international business. So, it’s really fascinating and sad, in fact, to see how some- thing that is purported to help us manufacturers is harming us.” THE RESPONSE NAMM 2026 delegates made the trek from across the country to Washington, D.C., including Jen- nifer Lantz of Bandwagon Music & Repair in Nashville, Tennessee, who referred to her group as “The Tennessee Dream Team.” Lantz met with Sen. Bill Hagerty (R– Tenn.) staffers and Sen. Marsha Blackburn (R–Tenn.). “The committee’s office asked some really great questions,” Lantz said. “We were pleas- antly surprised that everybody was ready to talk about tariffs this time around. The first two meetings were with senators, and that was our focus. Marsha Blackburn’s office is already a huge supporter of music educa- tion and music as a whole. We really wanted to focus those ef- forts on the tariffs, and I hope she can lead the charge going forward in trying to find exemptions for musical instruments and parts.”
Jerry Goldenson, president and CEO of KHS Music, also based in Tennessee, described an especially interesting moment in their Capitol Hill meetings. “One thing that came up in our meeting with Sen. Hagerty’s staff was that we met with Nate Kennard, who’s the general coun- sel,” Goldenson said. “The coolest thing happened, which is that he shared that he majored in piano performance and political science. When he was taking interviews at very high-end law firms, he just point-blank asked them, ‘Why are you interviewing me?’ And they said, ‘We look for musicians be- cause we found that musicians, or folks with a musical background, pick up on patterns way better.’ So, he was very much on board.” Jenna Day, owner of Day Violins in Chantilly, Virginia, said one of the most memorable moments of this year’s Fly-in was the Congressional Record event. “People from across the po- litical spectrum came together
through a shared appreciation for music and the arts,” Day said. “In a city often defined by division, it was remarkable to see senators, representatives, their spouses, community leaders, professional musicians, music industry leaders and even Miss America gathered in the same room. “As the event unfolded, I watched lawmakers step away from their official roles and be- come performers, sharing their talents through piano, guitar and song. The room filled with mu- sic as voices blended together. What could have been a room full of differences instead became beautiful harmony. In the midst of a noisy world, music brought people together, reminding all of us that connection, under- standing and collaboration are still possible when we focus on what unites us rather than what divides us.” MI Myrna Sislen is the former owner of Middle C Music in Washington, D.C. She remains an active supporter of music education.
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IN THE TRENCHES I BY CYPH SHAH Hone Your Product Pitch
R ecently, I was surveying a project site when I had an encounter with another like-minded individual. I’ve been the project manager for permanent installations at our dealership — Astro AVL in Glendale, California — for about a decade now. This like-minded individual has been in the same game since 1983. When it comes to choosing the right gear to use on jobs we agreed on one simple premise: We’re less interested in the preliminary spec talk and more keen on sav- ing our evaluation for final product performance under real-world
potatoes. Dented, bruised and battered, they plugged it all in to show it still works. THE BETA TESTER CUSTOMER When a product ships as “al- most done,” the early adopter becomes the beta tester, car- rying with it some buzzkill firmware updates or, worse yet, recalls. This increases the potential for the early spread of polarized dissent on back-chan- nel forums. Understandably, not every bug can be flushed out during design and testing, but pitching firmware releases for critical fixes after the grand debut can kill consumer con- fidence and sales momentum. A little more due diligence can circumvent this entirely. FORWARD-THINKING FASTIDIOUSNESS Differentiate your product by im- proving on the failure points of products from your competitors. Think ahead on your own po- tential shortcomings. Don’t wait for complaints on your initial model and then use the fix as a selling point for the “Gen. 2.” My point is: Try not to sell the flavor short by smothering the steak in butter. Have confidence in the product to do the heavy lifting. Encapsulate the value be- fore giving out the ingredients. Too much data can be lost in the mix because the dinner menu is longer than the average attention span. Sometimes the sizzle and accompanying smell is all you need to hear your customer say, “I’ll have what they’re having.” MI
conditions. In fact, it’s genuinely all that matters. Oftentimes manufacturers and their constituents are so honed in on communicating tech specs that they overlook the importance of disconnecting from the engineering bullet points to align more with the purchaser’s digestion of information. How much of those specs will the client really retain after 10 minutes? MORE SHOW, LESS TELL When it comes to buyer meetings, my vote is to focus on the demo first. Let the product speak for itself. If the product wows the client, they’ll naturally ask how you achieved that end result. From there, they’ll be more likely to remember the material and production insights because they want to associate the magic sauce with the taste they just sampled.
“Aim to demo products in challenging environments to prove their mettle and leave an impression.”
THE FAILURE POINT OF FEATURES I’m not saying manufacturer reps should skip over speaking about the innovation entirely. Exciting product features are a key part of a sales pitch’s prowess. But let’s face it: If 10 qual- ity features are throttled by a poorly planned user menu, it’s going to make accessing those attributes a tangled trudge instead of a brisk walk. The result will be the features going
largely unused and overlooked, adding little real value.
TRUTHFUL TESTING Veteran DJs know that a set prepared in the bedroom rarely receives the accolades they imagined when played in the club for a live audi- ence. There are too many other variables in the room that dictate the response it will garner. If a manufacturer promotes design attributes that ultimately don’t translate well to real-world environments, the sales pitch will also result in a negative return. Aim to demo products in challenging environments to prove their mettle and leave an impression. A great example of this are a few social media videos Mackie circulated. They kicked over the brand’s Thump speaker onto concrete and flung it like a sack of
Cyph Shah is the manager of Astro Audio Video and Lighting in Glendale, California.
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