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SEPTEMBER 2025 I VOL. 36, NO. 8
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
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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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September 2025
InMusic’s Jack O’Donnell
30 I FROM THE TOP InMusic’s founder Jack O’Donnell discusses the importance of listening while managing employees and acquiring businesses.
Peavey’s Fred Poole
40 I HOW TO WIN THE INSTALLATION GAME AV installations have been a sought-after, but challenging, area for MI retailers. Here, a few successful retailers share their experiences, while one supplier offers tips on breaking into the market.
ProAudioStar’s Ron Wolf
34 I HONING THE PROCESS Ron Wolf, owner of ProAudioStar, shares how his business went from a $5,000 investment in some Yorkville gear to a $60 million company over the last two decades.
24 I IN THE TRENCHES X Cyph Shah ponders AI’s influence on our industry. 26 I MY TURN X Lars Rundquist teaches retailers how to save on credit card fees. 28 I NAMM YP X Chris DiCorpo on how to wear many hats. 29 I WOMEN OF NAMM X Hilary Brown shares ideas for “disrupting” in MI.
44 I GUITARS, AMPS & ACCESSORIES 46 I AUDIO & RECORDING 48 I DRUMS & PERCUSSION 49 I PIANOS, KEYBOARDS & SYNTHESIZERS 50 I DJ & LIGHTING 51 I BAND & ORCHESTRA RETAILER ASK THE 54 I ASK THE RETAILER X Pro-audio retailers share what customers are asking for that they weren’t five years ago.
12 I INDUSTRY PROFILES X How Freqport is redefining hybrid music production by merging real analog hardware with the flexibility of digital workflows. X Manhasset Stands celebrates 90 years thanks to its internal mantra: make a product so good, people keep coming back.
16 I INDUSTRY NEWS X John Hornby Skewes & Co. to Shut Down
X NAMM Rebrands Dealer Awards as ‘Retail Awards’ X SLM to Distribute Recording King, The Loar Globally X Rupp’s Drums Announces Closure X Casio America Adds James Sajeva to Team X ESP Guitars to Distribute Morley Pedals in LATAM
Lars Rundquist ChrisDiCorpo Hilary Brown
Cyph Shah
Cover photo by Teddy Telles.
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I n recent weeks, it feels like news of MI business closures has been landing in our inbox on a regular basis. Denver-based Rupp’s Drums, which graced our cover last fall for its 40th anniversary, announced its closure on July 18. Cassell’s Music, the San Fer- nando, California-based 78-year-old retailer made famous by “Wayne’s World,” closed permanently in July. On the supply side, John Hornsby Skewes, a U.K.-based distributor and the manufacturer behind brands like Vintage and Fret-King guitars, recently an- PERSPECTIVE I BY KATIE KAILUS INDUSTRY SHRINKING ISN’T ALL BAD
nounced it was shutting down after 60 years in business. And a few days before going to press on this issue, we learned St. Louis Music would be picking up global distribution for guitar brands Recording King and The Loar after rumors swirled online that The Music Link, its previous distributor, would be shutting down. All of these closures feel a little bit more uncomfortable during a time when tariffs and industry shrinkage have kept retailers — and suppliers — on their toes. One U.K.-based guitar website, Guitar Mammoth, is doing something about the rise in guitar store closures by launching the Save Our Guitar Shops campaign to encourage musicians to shop at their local guitar stores.
“There’s a worrying trend of people buying online,” website founder Drew Haselhurst told us in an interview, which runs on page 21. “I get it — it’s con- venient. But when it comes to guitars, you really have to play the instrument to know if it’s right for you. Plus, building a relationship with your local shop creates trust you just don’t get from a website. I expect there’s also a lot of pres- sure from online retail that’s driving the margins and making it increasingly less profitable. And then [there’s] the cost of living crisis that’s happening around the world with inflation, so rents are going up.” In addition to our interview with Haselhurst, you can find his letter to the editor, encouraging brick-and-mortar guitar retailers to join the campaign, on page 10. But is market shrinkage really all bad? Not necessarily. While fewer stores means less shopping options, a leaner market often pushes brands and retailers to sharpen their product lines, ser- vice offerings, and customer experience, which ultimately benefits consumers overall. And as some brands and stores trail off, fewer industry players can lead to deeper brand-retailer partnerships, better support and more intentional growth strategies. (See Hilary Brown’s column on MI market disruption for a few ideas on page 29.) The closures of Cassell’s Music and Rupp’s Drums will undoubtedly leave a gap in their local music communities. But industry shifts like these often signal a natural recalibration rather than permanent decline. While change can be challenging, it also creates space for smarter, more focused growth. And as our industry evolves, Music Inc. remains your trusted source for fresh ideas, inspiration and strategies to help your business thrive. MI
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Guitar Innovation ‘Shouldn’t End at the Pedalboard’ T hank you for featuring me and my company Ciari Gui- tars in your August 2025 issue’s From the Top feature. In case you missed the article, I’ll share a little history on the company here: As a lifelong guitarist and a former patent attorney who traveled constantly for work, I’ve spent more time in TSA lines and airplane cabins than I care to count. Like many musi- cians, I often faced a frustrating dilemma: bring a bulky guitar and risk damage or denial at the gate — or leave it behind entirely. The so-called “travel guitars” I tried along the way never truly delivered. They were often awkwardly shaped, poorly built or completely uninspiring to play. For years, I asked the same question I know many gui- tarists have asked themselves: Why isn’t there a pro-play guitar that travels as easily as I do? That question became the spark for Ciari Guitars, and ultimately led to the creation of the Ascender, our first-of- its-kind, folding electric guitar engineered to fit under an airline seat without compromising tone, feel or stage-ready performance. Our breakthrough came from an unlikely source: medi- cal device engineering. While I invented the core concept, I’m smart enough to know I’m not smart enough. And thus, I enlisted a team of brilliant medical device engineers whose innovations I’d previously pat- ented. Together we developed a proprietary “neck hinge” and “actuator” system that lets the guitar fold safely at the 12th and 14th frets while maintaining light string tension for no-fuss string management. From there, I teamed up with Nashville lu-
manufacturers are experiencing. Keep up the great work! Shane Kinney Owner Drum Center of Portsmouth North Hampton, New Hampshire Support for Guitar Retailers W hat is a guitar shop? The an- swer is: it’s not just a place to buy gear. It’s where 13-year-old kids fall in love with guitar (just like I did). It’s where you can hold and play the instrument that’ll bring you a lifetime of joy. It’s where you learn to trust someone’s advice. It’s where your beat-up guitar gets fixed up. It’s the heart of every local music scene, and it’s where music dreams begin. That’s why, if you care about music, you should care about gui- tar shops closing. And they are, at a worrying rate, all over the world. Famous names like Sam Ash and Cassell’s Music in the U.S., and GAK and PMT in the U.K. [have shut down]. The same story is playing out everywhere. Why? Because online sales keep growing. People are choosing convenience over experience. Algorithms over humans. Pennies over people. That’s what inspired me to start the Save Our Guitar Shops campaign. It’s two things: A pledge guitarists can take to shop local wherever they can, and a growing list of brilliant guitar shops who are still flying the flag. So, if you’re a guitarist, please take the pledge at: gui- tarmammoth.com. And if you run a guitar shop, get in touch. We’d love to profile your shop and get local press coverage of your involvement. Drew Haselhurst Founder Guitar Mammoth Brighton, U.K.
thier Joe Glaser to ensure the Ascender was first and foremost a quality instrument. Today, each Ascender is assembled, set up and Plek’d at our shop in Nashville, Tennessee. Innovation is always easier said than done, especially in the guitar market. A long-standing challenge has been the under- standable skepticism that a fold- ing guitar can be pro-play and not just another gimmick. Our world-class artist roster helps counter this. At a time when artists are more global and more mobile than ever, our mission is simple: make music-making possible anywhere. That means rethink- ing not just what a guitar can do, but what it can be. We believe innovation in guitar design shouldn’t end at
the pedalboard. The form itself is overdue for transformation, and we’re here for it. Let’s keep pushing the boundaries of what’s possible, because music was never meant to stay in one place. Jonathan Spangler Founder & CEO Ciari Guitars San Diego Thank You for Featuring Us I wanted to thank you for includ- ing me in the “Drum Market Beat” article in the August 2025 issue. I’m currently celebrating my 26th year in this industry, and I’ve read these articles for as long as I’ve been getting Mu- sic Inc. magazine. To be a part of one of these articles always ignites some excitement from my early days. It’s also great to read what other retailers and
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 16 U.K.’s JHS to Shut Down > Page 20 SLM to Distribute Recording King, The Loar Brands > Page 23 NAMM to Celebrate 125 Years at 2026 Show
tion has evolved into a new category of gear — multi-instance analog plugins. The founders experienced the friction between analog tone and modern digital workflows. So, they’ve set out to fix that. “At the heart of it, we’re audio purists and software futurists building a new cat- egory: multi-instance analog plugins that blend pristine sound with total digital in- tegration,” said Aran Gallagher, Freqport’s director of R&D. “I’ve seen the recurring pain points producers face, especially when trying to blend analog warmth with digi- tal convenience. That experience shaped every decision at Freqport. From circuit design to UI/UX, we approached this not just as engineers, but as music makers. We didn’t want another ‘plugin.’ We wanted the real thing.” TRUE FUSION That radical rethink is what makes Freqport different. Most analog-in-the-box solutions start with software trying to emulate hard- ware or hardware trying to awkwardly bolt on digital control. Freqport threw out the rulebook and built both in tandem. “With FreqTube FT1 and FreqInOut FO1, the analog circuits are real — tubes, op-amps, discrete paths — but they’re na- tively controlled via plugins inside your DAW,” Gallagher said. “There’s no MIDI mapping, no external routing and no la- tency guesswork. Just one USB-C cable and everything shows up like a native plugin. It’s not just integration — it’s true fusion. The analog lives inside your digital workflow, with all the tone and none of the trade-offs.” It’s a dream come true for creators, no more re-patching cables and no more sac- rificing character for convenience. “Freqport shines wherever tone and time matter,” said Mikael Dahlgaard, director of marketing and sales. “Electronic and hip-hop producers love the Freqtube FT1 coloration for synths and drums. In terms of environ-
Freqport is redefining hybrid music production by merging real analog hardware with the flexibility of digital workflows — and eliminating the friction between the two in the process. — By Kimberly Kapela REWIRING THE FUTURE OF ANALOG SOUND Freqport’s Mikael Dahlgaard and Aran Gallagher.
T oday, the line between analog and digi- tal is blurrier than ever. But for the founders of Freqport, that gray area wasn’t
enough. What began as a shared passion to bring the magic of analog sound into the streamlined world of digital music produc-
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ments, both FT1 and FO1 are a dream in hybrid setups. You get hands-on analog shap- ing and full DAW integration. That means total recall, automation and multi-instance flexibility, ideal for fast-paced sessions, remote collaboration and mix revisions.” And for MI retailers, that shift toward hybrid setups presents a unique opportunity. “This is practical, pro-level gear that simplifies complex workflows,” Dahlgaard said. “That makes it a strong conversation starter and an easy recommendation for modern studios.” Freqport is rethinking what analog hard- ware can be in today’s era. Rather than force a compromise between analog sound and digital convenience, the company has created a seamless fusion of both. “Freqport isn’t just a new product, an- other interface or effects box, it’s a new product category, redefining how analog hardware fits into modern production workflows,” Dahlgaard said. Right now, the flagship FreqTube FT1 is Freqport’s hero, according to Dahlgaard. “It’s a four-tube, multi-instance analog processor with full DAW integration; and it [has] become a go-to for its warmth, tonal flexibility, and plugin-like ease of use,” Dahl- gaard said. “We’ve also just launched the FreqInOut FO1, which is transforming how people work with outboard gear.” COMMUNITY-DRIVEN APPROACH As Freqport continues to gain momentum among modern producers and hybrid studios, the team is already looking to the horizon with plans to grow their ecosystem and push the boundaries of what analog gear can do in a digital world. Thanks to an engaged network of users on Discord, a steady stream of firmware feedback, and an active group of beta tes- ters, much of what Freqport evolves into is directly shaped by the people who use it every day. “Looking ahead, we’re focused on ex- panding the Freqport ecosystem — more channels, more creative control, tighter in- tegration with different DAWs and control surfaces, and more ways to bring analog hardware deeper into digital workflows,” Dahlgaard said. From the home studio to the mastering suite, Freqport is reimagining scalability, working toward solutions that bring the same fluid interface and pristine tone to setups of every size. But it doesn’t stop at internal develop- ment. Freqport is actively exploring collabo-
rations with third-party hardware brands, powered by their proprietary Analog Har- mony technology. “The goal remains the same: bring the soul of analog into the speed of the digital age,” Dahlgaard said. Between the active Discord channel and beta testers, Freqport’s development roadmap is deeply collaborative — and very bright. “The connection [with our community] matters to us,” Dahlgaard said. “We’re al- ways listening. Whether it’s feature requests, setup tips or wild new use cases we hadn’t
even thought of.” This open collaboration has helped Freqport evolve in real time, with real us- ers helping shape not just new features, but entirely new ways of thinking about hybrid workflows. “If you’re reading this and thinking, ‘This is what my or my customer’s studio has been missing,’ then jump in,” Dahlgaard said. “We’re just getting started, and the best ideas often come from outside the lab. We’re not just building gear, we’re building a community.” MI
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STANDING THE TEST OF TIME Manhasset Specialty Company is celebrating 90 years in 2025, thanks to its roots in a simple philosophy: make a product so good, customers keep coming back. — By Kimberly Kapela
T his year marks a major milestone for music stand manufacturer Manhasset Specialty Company: its 90th anniversary. While the company celebrates, it’s also re- flecting on nearly a century of supporting musicians across the globe, while continuing to chart a forward-looking path founded on product durability and community. Started in 1935 by musician Otto Lager- vall, Manhasset was born from a drive to create a more durable, functional and reliable music stand that caters to both beginners and professionals. Today, Manhasset’s stands are trusted by symphonies, school bands, music educators and artists around the world. “We have a lot of pride in this,” said Jason Carter, Manhasset’s president. “We’re an employee-owned company and most of our folks have been with the company for 20-plus years, so we really have a lot of pride in the product and in the company as a whole. We want to make sure that we can contribute to the arts in our own little way. We’re one of the few [companies where] a beginning musician and a pro-level artist at Carnegie Hall would still be using [our] exact same product.” BUILT TO LAST At the heart of the company’s success is the Symphony Stand, which has become a fix- ture in rehearsal rooms and concert halls. Its functionality speaks not only to Lagervall’s original vision but also to the company’s on- going commitment to craftsmanship. “Its dependability is what makes it timeless,” Carter said. “We were the first to introduce the friction clutch adjustment. Everything before that had a knob, and ours has no knobs.” That innovation, introduced decades ago, eliminated one of the most frustrating aspects
Company has made strategic investments in automation and process improvements to ensure consistency and maintain a com- petitive edge in a global market dominated by lower-cost manufacturing. “We’ve invested in automation to help our quality get even better, as well as to compete with cheaper labor overseas,” Carter said. A BRAND THAT ENDURES After nine decades of consistent excellence, Manhasset’s commitment to craftsmanship and durability has earned it a rare kind of trust in the music world that spans generations. Following in the footsteps of this long- standing legacy, Carter offers simple but powerful advice to any company hoping to build a brand that endures and that’s to put quality first. “Make sure you make a good product, and people will keep coming to you,” Carter advised. That mindset has guided Manhasset through changing markets and shifts in manufacturing practices. Rather than chase trends, the company has remained grounded in its founding principle to build something worth trusting. “We’re going to keep going and doing what we’re doing,” he said. “Incremental improvements are what we do best, and try to meet the needs of musicians going forward.” Still, every stand that leaves the Manhas- set factory carries with it the legacy of Otto Lagervall’s original vision, that being a product that meets the musician where they are, whether they’re just picking up an instrument for the first time or performing under the bright lights of Carnegie Hall. It’s that rare combination of heritage and sustainability that has allowed Manhasset to remain a legacy brand of the MI industry for 90 years — and counting. MI
Manhasset Specialty Company’s Jason Carter
of older stands by constant loosening and retightening. Instead, Manhasset engineered a design that musicians could set and forget — freeing them to focus entirely on their performance. Beyond innovation, Manhasset’s com- mitment to quality is timeless. “We work to maintain that quality ev- ery day,” Carter said. “We offer a lifetime warranty against manufacturer defects, which I don’t think a single other stand company is doing.” Part of what makes that level of quality possible is Manhasset’s deep-rooted dedi- cation to American manufacturing and employee ownership. Every stand is made in the U.S., and as a 100% employee-owned company, Manhasset runs on collabora- tion that’s been ingrained since its origins. “It’s something we really believe in,” Carter explained. “We do sell a significant amount of product overseas, but we are a company based in America, and we want to provide all of our U.S. musicians with a good-quality product at a reasonable price.” In recent years, Manhasset Specialty
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JOHN HORNBY SKEWES & CO. TO SHUT DOWN A fter 60-plus years, U.K. distributor John Hornby Skewes & Co. Ltd., (JHS) has announced it will be closing. solvent. Over the coming months, and we anticipate the process could take as much as 12 months, years, offer heartfelt thanks to all of the brands who have entrusted their products to our care over
The JHS business comprises of a property company and a trading company, both major- ity owned by family trusts set up by the late John H. Skewes, the settlor of those trusts who stated that after his death, the companies should be sold. Over the last few months, the company said it took steps to secure a buyer to take JHS forward under new proprietor- ship, but had been unsuccessful. Therefore, the trustees, shareholders and board of JHS have concluded that to achieve the settlor’s mandate, a process of conducting an orderly winding down of the company will commence. The company shared the following state- ment regarding the closure: “This is not a liquidation or administration process forced upon us because of insolvency. JHS is entirely N AMM’s Museum of Making Music (MoMM) is celebrating PRS Guitars’ 40th anniversary with an exclusive exhibition “Roots & Wings: 40 Years of PRS Guitars.” This exhibition furthers MoMM’s mission to illuminate the full journey of a musical instrument — from its inspiration, creation and craftsmanship, to its distribution, perfor- mance and cultural impact. Through pivotal artifacts, immersive display and interactive learning, this exhibition invites visitors to explore one of the most influential companies in the music products industry. “Preserving and sharing the history of iconic music industry brands, such as PRS Guitars, is critical — not just to honor the past but to inspire the future of music profes- sionals, and we are pleased that NAMM’s Museum of Making Music can be a platform to showcase their historic journey,” said John Mlynczak, NAMM president and CEO. “We are thrilled to present this new PRS exhibition as it isn’t just a display of musical products, but a journey through time, inviting museum
the company will continue to trade, downsizing along the way, gradually disposing of its stock and assets, includ- ing its valuable trademarks and other intellectual prop- erty, which include Vintage, Fret-King, Encore, Guitar Tech, Santos Martinez, Kinsman, Antoni,
the years, and recognize the contributions made by our designers and contributors, who have helped us achieve so much for so long. Most of all, we would all like to say a huge and most sincere ‘thank you’ to you, and all of our custom- ers around the world, without whom, we would not have had a business at all. So many relationships and friendships have been forged, so much has been achieved, and here at JHS we will miss all of that.” JHS will eventually close after settling all obligations, ending more than 60 years of business and leaving its longtime Garforth, Yorkshire premises. {jhs.co.uk}
Drum Tech, JHS Hornby and The Blues/ The Busker. All brands will be offered for sale to the highest bidder.” The statement continued: “The trustees, shareholders and directors of JHS would like to pay tribute to the immense hard work of generations of staff who have worked so diligently in the company over the last 60
NAMM’s Museum of Making Music Opens ‘Roots & Wings: 40 Years of PRS Guitars’ Exhibit
Attendees at the grand opening of the MoMM’s “Roots & Wings: 40 Years of PRS Guitars” exhibition. visitors to connect and engage with the past and reflect on the present.” “It’s an honor to see the story of PRS Guitars shared through the lens of NAMM’s Museum of Making Music,” said Paul Reed Smith, PRS Guitars’ founder. “The winter NAMM show is where we launched the company four decades ago and continues to play a significant role in our business. This exhibition captures the passion that drives every guitar we make as well as our
history, from its humble beginnings in a small workshop to building instruments played on the world’s biggest stages. We hope it inspires the next generation of innovators and instru- ment makers.” The limited-time exhibit features PRS in- struments on display; interactive media sta- tions that tell the PRS story; exclusive videos and interviews with Paul Reed Smith and the PRS team; and a look at the full life cycle of a PRS guitar. {museumofmakingmusic.org}
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ARTIST APPROVED
MI: What is your all time favorite instrument? And how has it shaped your sound or performance style over the years? DW: I know you’re asking for one favorite, but I have two. I absolutely love the Fender Acoustasonic. I love that it’s so light and easy to travel with. I love that it has the ability to sound acoustic, electric or a combination of the two. As I’m not a huge gear head and have a limited collection of pedals, it’s important for me to have a warm yet versatile instru- ment. My other favorite is my red Epiphone Casino (Ruby). I love the narrow neck and warm soft sound it creates. I feel like it helps to inspire me to create soft, sensitive songs. MI: What instruments are currently in your arsenal? DW: My go-to for performing live are my Fend- er Acoustasonic and my Epiphone Casino, whichever mood or outfit I’m feeling it suits. Also, in my arsenal I have quite a few guitars that I collected from my dad before he
passed. He gave me the Steve Vai Jem, which is pretty cool and has a built-in handle bar. I have an Ibanez steel-string acoustic guitar that I had restored. It was crushed during travel. And I also have a nylon-string guitar, because I studied classical guitar in college. Finally, I have a cream Fender Telecaster and a black glittery Strat. I really love all my guitars, and they all offer something special. I still have my purple Daisy guitar that I got in high school. MI: Are there any new or emerging pieces of gear that have inspired you in the music-making process? DW: It’s not new or emerging by any means, but I love the [Shure] SM7B mic. My creative process is very personal and casual. The less pressure, the less sterile the environment, the better. I like sitting on a couch, holding the SM7. Typically, the demo is the final. I like to capture the initial emotion that the process of writing evokes. — By Kimberly Kapela
The LA-based singer-songwriter shares what her go-to guitar is at the moment. DANA WILLIAMS Music Inc.: What was your first instrument? DANA WILLIAMS: My first instrument was a steel-string Ibanez. It was one of my dad’s guitars, so when he gifted it to me, it was gigantic, and I remember the strings cut right through the tips of my fingers. I even adjusted the neck so far that the head snapped off. I was experimenting with being a guitar tech.
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CASIO AMERICA ADDS JAMES SAJEVA TO TEAM C asio America has appointed James Sajeva as its strategic accounts manager for its
electronic musical instrument division. He reports to Brian Piccolo, general manager of sales for the electronic musical instrument division at Casio America.
ESP Guitars Now Distributing Morley Pedals in Latin America E SP Guitars has struck a distribution deal with Morley Pedals for Latin America, effective now. “We are very proud to add Morley to the growing family of brands distributed by ESP,” said Miguel Soto, ESP’s vice president of global sales. “It goes without saying that there’s a great connection between customers of both ESP and Morley. We have superb long-established relationships with our network of dealers in Latin America and are positive that this will be a successful affiliation between ESP and Morley from day one.” “We’re proud to join forces with ESP Guitars to bring Morley products to more musicians throughout Latin America,” said Scott Fietsam, president of Morley Product Group. Based in Carpentersville, Illinois, Morley offers a broad range of effects processing and signal routing products. ESP Guitars is also the exclusive distributor of Takamine Guitars in the U.S. and Mexico and ENGL Amplification in the U.S. and Canada. {espguitars.com}
In his new role, Sajeva oversees Casio America’s key accounts, including Guitar Center Enterprises, Amazon, American Musical Supply/Retail Solutions, Austin Bazaar and Costco. “James brings extensive industry knowledge and a results-ori- ented approach to his new role as strategic accounts manager,” Piccolo said. “His dedication to hands-on leadership, fostering open dialogue and exploring innovative strategies will strengthen our relationships with key partners and support the ongoing growth of our electronic musical instruments division.” Sajeva has 29 years of experience in the MI industry, most recently working as key account manager for Guitar Center En- terprises at Korg USA. Before that, he was senior brand manager for Korg USA’s technology brands, including Korg, Nu:Tekt and Waldorf. {casio.com} James Sajeva
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NAMM Rebrands Dealer Awards as ‘Retail Awards’ N ow in its 15th year, NAMM’s annual Top 100 Dealer Awards has a new name: The NAMM Retail Awards. NAMM said the rebrand “reflects the
evolving landscape of music retail and the innovation shown by retailers across the globe.” Awards spotlight the industry’s best music product retailers and The NAMM Retail their strategies for success. An independent panel
Participants of the 2025 Audio Affect Series.
SERATO’S 2025 AUDIO AFFECT SERIES EMPOWERS EMERGING PRODUCERS IN SOUTH LOS ANGELES
I n late July, audio software company Serato wrapped the latest installment of its Audio Affect Series, a hands-on, community-driven music production workshop designed to em- power emerging Black and Brown producers in South Los Angeles. The three-day event, held at Volume Studios in Inglewood, California, was a celebration of creativity, collaboration and skill-building, presented in partnership with TEC Leimert and Undefeated.
Attendees listened as artist mentors broke down tools like Serato Samples and the newly updated Hex FX into digestible, actionable workflows, showcasing how they apply these powerful resources to their own, award-winning projects. The 2025 workshop brought together a cohort of more than 50 creatives ranging in age, experience and musi- cal background. The event featured demos, keynote Q&As and breakout sessions focused on real-time beat making. {serato.com}
of judges selects the Top 100 Retailer finalists from companies that submit for consideration. From this group, nine will receive a “Best of” category award and one will take home the ultimate honor: Retailer of the Year. This year, NAMM has also introduced two new award categories: Best Omnichannel Operation and Best Music Lesson Program. {namm.org}
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KEPMA USA NAMES MARTY KLOSKA NATIONAL SALES MANAGER K epma USA is has appointed Marty Kloska as national sales manager, ef-
SLM Secures Distribution for Recording King, The Loar S t. Louis Music (SLM), has acquired the exclusive global distribu- tion rights for the Recording King and The Loar brands, covering guitars, banjos and mandolins. This acquisition marks a significant expansion of SLM’s presence in the fretted instrument category. “Recording King and The Loar are two of the most respected brands in traditional and vintage inspired instruments,” said Chris Meikle, EVP & COO of St. Louis Music. “This is a great fit for SLM and our dealers and distributors around the world and we look forward to taking these brands from strength to strength.” Recording King is known for its guitars and banjos that capture classic American designs, while The Loar is known for its archtop guitars and mandolins inspired by the golden age of acoustics. With this agreement, SLM will take over all global distribution activities, including sales, marketing and product development, ensuring seamless availability for dealers and distributors world- wide. {stlouismusic.com}
fective immediately. Based in Wilmington, North Carolina, Kloska will oversee all U.S. sales operations, develop and lead the national sales team, and strengthen dealer relationships across the country. Kloska brings nearly four decades
Marty Kloska
of expertise in sales leadership, retail operations and team development to his new role at Kepma USA. With a career spanning both regional and national sales across some of the most respected names in music retail, Kloska is known for his strategic approach to business growth, customer engage- ment and market expansion. Kloska began his career in the grocery industry before transitioning to music retail in the mid-1980s, where he joined the early ranks of Guitar Center during a period of significant national growth. Rising from accessory department sales to regional vice president of sales for the Midwest, he helped shape the company’s retail culture through a focus on cus- tomer relationships, employee development and operational excellence. Kloska played a pivotal role in opening new loca- tions across Chicago, Detroit, Minneapolis and St. Louis and helped develop scalable programs to strengthen collaboration between store teams and vendor representatives. In 2002, Kloska joined Sam Ash Music, where he con- tinued to drive regional sales performance and store expan- sion efforts nationwide. He contributed to major market launches in Texas, California, Ohio, Georgia, North Caro- lina and New York, while also mentoring store leaders and sales associates to deliver exceptional customer experiences. {kepmausa.com} OMG MUSIC ADDS MISHA GUIFFRE AS SALES, MARKETING DIRECTOR O MG Music has announced Misha Guiffre has been named the com- pany’s new sales and marketing director, effective immediately.
Guiffre has been in the industry for 21 years, known most recently for his work building up the Recording King and The Loar brands at The Music Link.
Misha Guiffre
“We’re excited to bring his 21 years of industry experience to our team and, most importantly, to our valued dealers,” OMG said in a statement. {omgmusic.com}
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‘SAVE OUR GUITAR SHOPS’ CAMPAIGN URGES MUSICIANS TO SUPPORT INDIES
W ith iconic U.K. music stores like GAK in Brighton and PMT in Portsmouth shutting its doors, a new grassroots campaign is rallying guitarists to save the future of independent music retail. Launched at the end of June by Brighton-based guitar web- site Guitar Mammoth, the Save Our Guitar Shops campaign is encouraging players to take a simple but impactful pledge: support local, independent music shops and “think twice before clicking add to cart.” The campaign was founded by Guitar Mammoth’s founder Drew Haselhurst, who said the initiative was sparked by the emotional blow of losing GAK — a beloved destination for Brighton’s music community. “My hometown in Brighton had a huge destination shop called GAK, and in a world where we’re moving more towards chain retail outlets, it felt like a real important destination,” Haselhurst said. “I never thought that a shop
undercut by online giants. “There’s a worrying trend of people buy- ing online,” Haselhurst said. “I get it — it’s convenient. But when it comes to guitars, you really have to play the instrument to know if it’s right for you. Plus, building a relationship with your local shop creates trust you just don’t get from a website.” So far, five Sussex-area shops have pledged support to the campaign, including Bonners Music, Badlands Guitars, Mudpie Music, Hobgoblin Music and North Laine Music in Brighton. “As musicians, we need to vote with our wallets and support the places that have supported us,” Haselhurst said. Haselhurst also acknowledged that online shopping isn’t inherently bad. “I always think there’s a way of buying online that’s more responsible,” he said. MI — Kimberly Kapela
Save Our Guitar Shops’ Drew Haselhurst outside of GAK Brighton.
that size could go under because it had a big online presence. Because I’d relied on it for so long, seeing it disappear was a real shock. When I saw that happen, I thought if a shop that big and successful could go under, then that’s a worrying sign for all guitar shops.” Save Our Guitar Shops aims to raise awareness about the challenges independent stores face, including razor-thin margins
SEPTEMBER 2025 I MUSIC INC. I 21
DPA MICS ADDS CHRIS KONTOPANOS AS MID-ATLANTIC REGIONAL SALES MANAGER C hris Kontopanos has joined DPA Microphones as the
West Virginia. In his new role, Kontopanos will oversee sales of DPA Microphones, Austrian Audio and Wisycom solutions. An industry veteran with
account manager. “Chris’ vast knowledge of the pro audio market and proven record for pursuing sales opportunities and building solid partner- ships will be a great addition to our sales network,” said Chris Spahr, vice president of sales and marketing, Wisycom USA and DPA Microphones, which owns the Aus- trian Audio brand. {dpamicrophones.com} go‑to‑market strategy, guiding a focused renewal rooted in clarity, purpose and its U.S.‑made legacy. According to a company statement, her journey from apprentice of Kim Breedlove to executive exem- plifies the passion, craftsmanship, and quiet leadership at the heart of Breedlove. {breedlovemusic.com}
company’s new regional sales manager for the Mid-Atlan- tic territory, which includes Washington D.C., Delaware, Kentucky, Maryland, North Carolina, Eastern Pennsylvania, South Carolina, Tennessee, Virginia and
nearly three decades of expe- rience, Kontopanos comes to DPA from Digital Video Group (DVG), where he was senior broadcast
Chris Kontopanos
BREEDLOVE GUITARS NAMES ANGELA CHRISTENSEN AS VICE PRESIDENT OF OPERATIONS B reedlove Guitars has an- nounced that Angela
shop managing raw tonewoods, through roles in product de- sign, inventory and assembly, Christensen has been the engine behind Breedlove’s growth. In her new role, Christensen will now oversee the company’s entire production, product and
Christensen, after 23 years of dedication across design, pro- duction, and leadership, has been named vice president of operations. From her early days in the company’s wood
Angela Christensen
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of education sessions, global networking events and NAMM’s annual Day of Service. Wednesday, Jan. 21, opens with Global Media Day and will also feature expanded educational opportunities. That evening, NAMM will host the newly rebranded NAMM Retail Awards. Thursday, Jan. 22, begins with the NAMM U Breakfast Session: “Industry Insights,” hosted by Mlynczak. At 10 a.m. sharp, the doors of the exhibit hall open, and more than 1,8000 exhibitions from brands and compa- nies based all over the world come to life. That evening, the NAMM TEC Awards will recognize achievements in audio excellence. Friday night shines a spotlight on the She Rocks Awards, as well as draws thousands of NAMM attendees to the center point of The NAMM Show campus, the Yamaha Main Stage for a star-studded performance. Saturday, Jan. 24, opens with the “Grand Rally for Music Education.” Once the exhibit halls close at 5 p.m., a special 125-year anni- versary bash will take place in the main plaza, leading into the Parnelli Awards. {namm.org}
The 2026 NAMM Show to Celebrate NAMM’s 125th Anniversary, 50 Years in Anaheim N AMM has announced The 2026 NAMM Show will celebrate NAMM’s 125th an- NAMM CEO John Mlynczak (third from left) receives a plaque from the City of Anaheim.
entire industry meets at the crossroads of business, innovation and technology,” said John Mlynczak, NAMM president and CEO. “This year, we celebrate not only the future of our industry but also the legacy of 125 years of uniting music makers and 50 years of partnership with the city of Anaheim. The 2026 show will be our most expansive, celebratory and future-forward yet.” Beginning Tuesday, Jan. 20, The 2026 NAMM Show will offer an extended slate
niversary, along with 50 years in the city of Anaheim, California. Taking place January 20–24, 2026, at the Anaheim Convention Center, the show will feature five days of education, live concerts and special events, alongside three days of exhibits and brand activations from January 22–24. “The NAMM Show is more than a trade show; it is the global gathering where our
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> Page 26 My Turn > Page 28 NAMM YP > Page 29 Women of NAMM
IN THE TRENCHES I BY CYPH SHAH THE OVERTURE OF MI AI W e’re currently living in the overture of the MI AI revolu- tion. It’s quite
clear by now that the world’s latest tech breakthrough is becoming predominantly en- grained across every market sector. But as the workflow of musicians adapts to this new landscape, I do wonder: what will be the causality on demand for MI products? It’s a ques- tion that has been bugging me for months because I know it’s going to play a role in navigat- ing the DJ market at our Los Angeles-based DJ shop, Astro AVL. I’m learning about new releases of AI-infused software being made available to music makers everyday. Being an avid producer myself, I’ve been plugged into keeping tabs on these AI-driven developments in the hopes of getting a clear picture of what direction we’re heading in. STANDING ON THE EDGE OF CHANGE If you’re unaware, free servic- es like Suno are able to write you fully produced songs in any genre with surprisingly realistic vocal cadences — all in just a few seconds with a single prompt. Other services like Audimee let you upload your own vocals and convert them to any number of vocal- ist personas. RipX and Hitmix
Food for thought on AI’s influence on music — and MI.
represent the roll out of AI DAW to give you total control of spectral stem separation. Even one of the most popu- lar audio engineering plugins, Izotope Ozone, has a built-in AI mastering feature. And as each updated model is released, the quality is inching closer to indiscernible from the work of
true audio craftsmen, replacing talented skills that take years to hone and that are symbiotic to the purchasing of essential tools of the trade. Make no mistake, the results are going to directly impact re- tailers and manufacturers alike. But in what fashion? And how can we prepare? It’s not insane
to think that, in time, humans could be largely removed from the music generative equation entirely. DJing began as a craft solely achievable by two turn- tables and a mixer. Apple’s lat- est announcement of iOS 26 will tempo match and blend your Apple music playlist in a fully automated environ-
24 I MUSIC INC. I SEPTEMBER 2025
of new, original thought. It’s not a far stretch to think that the same malpractice could present a Dead Mu- sic Theory. Which in turn would further drive a course-correction as the pendulum of demand shifts back to best expressions of human compositions. Undoubtedly, there will be a shift in purchasing trends as the AI tools being introduced begin to negate the need for fine-tuned specialities. But we aren’t there just yet, and we still have a responsibility
to create for the sake of channeling cre- ativity. I plan to stay on the cusp of these advances to better understand the role our store Astro AVL will play in the unfolding of this MI evolution, and I advise you to do the same. MI Cyph Shah is the manager of Astro Audio Video and Light- ing in Glendale, California. He is also the lead instructor of the DJ School (Astro Mix Lab) and designs/commissions AVL systems for nightlife, art exhibits, corporate showrooms, sports facilities and live performance venues as Astro’s installation foreman. He has performed across the country for more than 20 years as a club DJ and releases electronic music productions amongst international record labels.
ment. While this won’t play a factor in commercial nightlife at its current state, there’s no doubt this will influence the decision making of those consumers hir- ing entertainment for small gatherings, as well as set the groundwork for more developments to come in the pro world. FROM SCARCITY TO SATURATION A lifetime has passed since the days of a 13-track album hitting stores on CD. Then, in 2001, the iPod broke the mold by offer- ing the ability to store up to 1,000 songs on a single device. Today, with stream- ing services, the cap on previous storage limitations is a nonfactor. When creating music becomes completely untethered to any existing barriers to entry, the unending supply of songs will inevitably become a disruptor for both music platforms and listeners. Currently more than 100,000 songs are added to Spotify each day. We could reasonably expect that number to increase 10-fold, which possesses its own problems in terms of content outpacing infrastructure. Beyond that, we must assess if listeners will become overwhelmed by the array of options available. Consumption is the underbelly of creation, and without a dual harmony in place, it’s likely the modality will require a rearrangement, the nature of which is still unknown. DISRUPTION IN THE SUPPLY CHAIN OF SOUND Instinctively, human beings place an in- trinsic value in commodities. We also crave connection in an experience. Those mo- ments offer qualitative, memorable impacts in our personal lives. In a future society of clustered AI audio, natural instruments and live performances may see an increase in consumer attention. And while it sad- dens me to think it, software-based music creation may be outpaced by what can AI output at a fraction of the effort. In the near future we may witness a major shift take place. ECHO CHAMBERS IN AUDIO CREATION There is one more wrench to throw into the AI gears, though. Maybe you’ve heard of the Dead Internet Theory. If not, let me explain. AI generated content is pull- ing information from blogs, forums and articles all over the internet. Content cre- ators are using AI, so as the next slew of blogs are written with AI, eventually we’re witnessing the snake eating its own tail — regurgitating the same echo chamber of information in an endless cycle, void
SEPTEMBER 2025 I MUSIC INC. I 25
MY TURN I BY LARS RUNDQUIST Tips for Saving on Credit Card Fees
R unning a music store or instrument rental business comes with unique challenges, including fluctuating demand, rental agreements and the need to integrate specialized inventory and payment systems. Add to that the rising cost of credit card acceptance, and it becomes critical for musical dealers to take a more strategic approach to manag- ing their payment systems. From POS issues to chargebacks, here are some solid tips on how you can reduce processing costs while staying compliant and retaining customers. SCRUTINIZE YOUR POS SYSTEM
PROPERLY STORE CUSTOMERS’ CARD DATA Then there’s the matter of client data: failing to comply puts your customer and your reputation at risk. Many merchants don’t real- ize that storing cardholder data, even for recurring rental plans, can trigger compliance issues if not properly secured. Start by completing the appropriate Self- Assessment Questionnaire (SAQ) and confirming your payment hardware and software support encryption and tokenization. If you store cards for memberships or subscriptions, work with a provider that specializes in re- curring billing. Being proactive about compliance can eliminate penalties and protect against data breaches, which can cost as much as $25,000 to c=orrect for small businesses. In most cases, work- ing with an outside professional to help is well worth it. ELIMINATE CHARGEBACKS Another frustrating, and costly, aspect of running a music busi- ness is dealing with charge- backs. This is particularly true for stores that offer monthly rentals, lessons or repair plans. These recurring charges are sometimes disputed by parents who forget about the charge or assume the rental period ended, or systems repeatedly running expired credit cards on file. Other times, chargebacks result from poor communica- tion around return policies or service terms. To reduce disputes, ensure your billing information is eas- ily recognizable and consistent with your store name. Always send email reminders or re- ceipts before monthly charges
The best place to start is by scrutinizing your POS (point-of-sale) system. Many music merchants use specialized or legacy software to manage rentals, inventory and customer accounts. However, if your POS system isn’t properly integrated with your credit card processor, you may be paying higher rates due to incomplete transaction data or manual entry. When your system doesn’t pass along the right data, you risk downgrades that result in higher interchange fees. Even worse, having to tap a card twice or using a standalone terminal outside of your POS can create inefficiencies, accounting headaches and increased fraud exposure. To avoid this, make sure you’re using a processor that is compatible with your POS software and supports niche trans- actions, such as rentals. An integrated solution ensures seamless transactions, fewer errors, and lower costs per tap. Take a fresh, objective look at your entire system. Identify where your process breaks down and fix it. Something as simple as re- placing an outdated terminal can save you money — not only will your employees avoid hand-keying transactions, but those transac- tions will also qualify for lower interchange rates. Process optimization like this is one of the easiest ways to reduce costs without disrupting your business.
“If your POS isn’t properly integrated with your credit card processor, you may be paying higher rates due to incomplete transaction data or manual entry.”
ENSURE YOU HAVE PCI COMPLIANCE Adding value for your business is paramount but so should be protecting your customers’ data. PCI DSS (Payment Card Indus- try Data Security Standard) was created by credit card brands to mitigate rising data theft. But PCI compliance isn’t just a technical requirement — it’s a cost-saving and risk-reduction strategy. If your business isn’t compliant, your processor may charge monthly noncompliance fees, which often go unnoticed. These fees can vary wildly and increase with hardly any notice.
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