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.
10 I MUSIC INC. I AUGUST 2026
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