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JUNE 2025 I VOL. 36, NO. 5
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
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Jack Maher, President, 1970–2003 SUBSCRIPTION RATES: Free to qualified retailers and suppliers of musical instruments. For all others: $60 one year (11 issues). $100 two years (22 issues) to U.S.A. addresses. $85 one year (11 issues), $150 two years (22 issues) to Canada and other foreign countries. Air mail delivery at cost. SINGLE COPY (and back issues, limited supply): $14.95, plus shipping, surface mail. Air mail, delivery at cost. We cannot be responsible for unsolicited manuscripts and photos. Nothing may be reprinted in whole or in part without written permission from Maher Publications Inc. Copyright 2025 by Maher Publications Inc., all foreign rights reserved. Trademark register pending. OTHER MAHER PUBLICATIONS: DownBeat, UpBeat Daily CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include your current MUSIC INC. label showing your old address. MUSIC INC. (ISSN 1050-1681) Published monthly, except March. Printed in U.S.A. by Maher Publications Inc. 188 W. Industrial Drive, Suite 310, Elmhurst, IL 60126. Periodical Postage Paid at Elmhurst, IL and at additional mailing offices. POSTMASTER: Send address changes to:
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June 2025
THE SCHOOL MUSIC ISSUE
Sarah Yule
28 I FROM THE TOP Orange’s Sarah Yule on her new role,
management styles and attending a Rage Against the Machine show at age 12.
Dietze Music’s Tim Pratt.
36 I GOOD TIMES IN THE BIG EASY
32 I A CENTURY OF SUPPORTING MUSIC MAKERS Nebraska’s Dietze Music turns 100 this year thanks to its dedication to the musical journeys of the customers it serves.
A breakdown of the 2025 NASMD convention in New Orleans, including three of the best sessions we attended.
40 I GUITARS, AMPS & ACCESSORIES 44 I AUDIO & RECORDING 46 I BAND & ORCHESTRA 48 I DRUMS & PERCUSSION 50 I PIANOS, KEYBOARDS & SYNTHESIZERS 51 I DJ & LIGHTING RETAILER ASK THE 54 I ASK THE RETAILER X Retailers share tips on busting the summertime sales blues.
24 I IN THE TRENCHES X Cyph Shah shares why retailers should be invested in customers’ and students’ journeys. 26 I NAMM YP X David Hanes instructs dealers to be involved with their local schools. 27 I WOMEN OF NAMM X Miranda Altman on committing to music education for all.
12 I INDUSTRY PROFILES X How Taylor Trumpets continues to evolve by refusing to settle for the status quo. X Darkglass Electronics on changing the gear landscape for bassists.
16 I INDUSTRY NEWS X MI Industry Reacts to Tariffs
X Reverb to Become Privately Held X ART Honors 30 Years of the Tube MP X Grover/Trophy Acquires 2 Brands X Kidder Music’s Jim Kidder Passes Away X Yamaha Redesigns its California HQ
David Hanes
Cyph Shah
Miranda Altman
Cover photo by Hailey Phares.
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W hen the Trump administration rolled out tariffs on imports — particularly from China — many MI business owners felt the same uncertainty they’d experienced during the early days of the COVID-19 pandemic. Each week brought a surge of emails from suppliers, setting off a chain of “What do we do now?” and “Let’s just wait and see” conversations for retailers. As we finalize this June issue in early May, the first boats carrying Chinese goods with newly imposed tariffs have begun to arrive at the Port of Los Angeles. “We are now beginning to see the flow of cargo to the Port of Los Angeles slow. It’s my prediction that in two weeks time, arrivals will drop by 35%,” PERSPECTIVE I BY KATIE KAILUS A CASE OF COVID DEJA VU
Eugene Seroka, Port of Los Angeles execu- tive director, said at a Los Angeles Board of Harbor Commissioners meeting on April 24. This type of news harkens back to the not-so-distant past when pandemic-induced supply chain disruptions rocked the MI and pro-audio industries, leading to empty store shelves and stressed business owners. So, in this month’s issue, we’ve taken the pulse of the tariffs’ effect on the MI industry with a special feature to lead off the Industry News section on page 16. Here, we speak with several manufacturers, all of whom asked to remain anonymous, as well as a few of the industry’s biggest brick-and-mortar retailers who have shared the effects they’re feeling in their own businesses.
Several school music retailers — including this month’s cover subject, Dietze Music, along with Robert M. Sides Family Music Centers and Menchey Music — reported receiving a barrage of supplier emails containing updated price lists and price increase warnings, heightening their concern for school music programs, as most beginner-level B&O instruments are produced overseas. However, a few retailers shared their “silver linings” with us. Anthony Mantova of Mantova’s Two Street Music in Eureka, California, said that tariffs are offering him a chance to process his overstock. “Tariffs are not directly affecting my business because we need to increase our ‘flip rate,’” Mantova told us. “Every year, Daniel Jobe at [industry CPA firm] Friedman Kannenberg tells me to increase our flips per year, and thanks to tariffs I can’t buy as much new stuff. I’m forced to get more aggressive with used goods. So, in an ironic way, this will help me process the mountain of used gear and the heavy overstock of accessories that I fattened up on during the COVID era.” Justin Sims, general manager of Sims Music in Columbia, South Carolina, said he’s seen several suppliers send over new pricing sheets while others have “hit the brakes while they figure some things out.” “We’re assuming we’ll see price changes from everyone and are just keeping an eye out,” Sims said. “Business has been really good lately, so we’re thinking the higher prices may benefit us with more dollars coming in. We’ll see.” Whether you’re sitting on a mountain of inventory like Mantova or worried about the ramifications for your local school music program, the tariff situation is constantly evolving, and Music Inc. will continue to bring you up-to-date insight in future issues of the magazine. MI
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A 100th Celebration to Remember T hank you for sharing my From the Top interview in your May issue of Music Inc. magazine. Since it was published before we recently held Shure’s 100th anniversary celebration in the Chicagoland area for our nearly 1,000 employees in the U.S., I wanted to take a mo- ment to thank a special group of our employees — who are also talented performers and produc- tion crew — for organizing the ultimate anniversary concert. We had 80 different employ- ees in various bands perform- ing a series of different types of music through the decades — a four-hour journey through musical history that blew the doors off of the live music venue hosting us. Not only were the performers Shure employees, but our production crew of Shure professionals delivered a flaw- less production. I can’t think of any other companies who could pull off a celebration like this using only in-house talent, and I’m so proud of how everyone came together to celebrate 100 years of history at Shure. This experience has made all of us appreciate even more how much music means to us and how important it is in helping shape memories that will never be forgotten. Chris Schyvinck CEO Shure Niles, Illinois How a Drum Throw- Off Turned into a 25-Year Friendship & a Drum Shop Dream B ack in 1997, I was working the drum counter at Sam Ash Music in Paramus, New Jersey, when I got a phone call from someone I didn’t know — Rob Siciliano. He was looking
up, talking gear and building up our friendship. Fast forward to 2024, when Sam Ash announced they were closing all their retail locations. I called Rob and said, “What do you think — should we finally build the drum shop we always wanted to shop in?” Without hesitation, he said “yes.” And so, Garden State Drums & Percussion was born. We officially opened our doors in May with one goal: to treat every customer like they matter, because they do. Whether you’re buying a throw-off or a 25-piece custom kit, we’re here to listen, share our knowledge and help you find what you need. Sometimes, it’s the small things that lead to the big things. George Rigney Owner Garden State Drums & Percussion Scotch Plains, NJ Experiment During Your Summertime Sales Blues W hile summer can be slow for music retailers, it’s also an excellent time to experiment with new ideas and prepare for busier times of the year. We’re very excited to pilot a couple workshops where attendees will have an opportunity to learn and play. We’re also preparing for promotions where customers can snag some incredible deals. The workshops and promo- tions are an excellent way to at- tract customers to the store to increase traffic and boost sales during a slow period. Adam Daut Owner Mad Music Chandler, Arizona
for a throw-off for his Lud- wig Supraphonic snare drum. I asked him what year his drum was, and he seemed puzzled — “Why does that matter?” he asked. I explained that if it was from the 1960s, he’d need a P84, but if it was a later model, a P85 would be the right fit. He confirmed it was a later drum. We didn’t have the part in stock, but I told him I’d order it from Ludwig with no deposit necessary and would call him when it came in. A few days later, the part arrived, and Rob came in that Saturday. When he showed up, he told me he had called four other stores before reaching me. No one else knew what he was talking about — or they dismissed him once they re- alized they didn’t have the part. He said, “I’ll take the throw- off, but what I really want is that
five-piece DW Collectors Series kit on the shelf — the black satin oil with black hardware.” We spent the next couple of hours playing DW drums, talk- ing about music, drummers and the business. Rob went home that day with that DW kit, cym- bals, hardware and a matching snare on order. That was the beginning. Over the years, Rob became more than just a loyal custom- er — he became a friend. He continued to buy gear regularly, including a custom 25-piece Spaun drum kit inspired by Terry Bozzio’s iconic setup. That kit had everything — an exotic burl finish, 28- and 20- inch bass drums, and 12 5x12 inches toms tuned chromatically. Every time we talked — whether on the phone or in per- son — we’d spend time catching
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 MI Industry Reacts to Tariffs > Page 19 Reverb Becomes Privately Held Again > Page 23 Kidder Music’s Jim Kidder Passes Away
being known as a brand that looks into the future. The company’s origins trace back to the background of its president, Andy Taylor, an instrument maker whose journey began at Paxman Horns of London. Specializing primarily as a bell maker, Taylor honed his skills which eventually led him to launch- ing under the name Bellman Brass. He gradually transitioned into producing his own trumpets, which led to the founding of Taylor Trumpets. “Taylor Trumpets are unique because they stand out both aesthetically and on the ear,” said Mark Good, marketing co- ordinator for Taylor Trumpets. “Nothing quite sounds like Taylor. The finish on them is second to none. The instruments are handmade in the U.K. and the brand is very proud of that.” “If I had to single out a common de- nominator it was, and still is, tone,” Andy added. “Most of these guys were — and still are — tone-driven. It wasn’t just about playing higher, faster and louder for them, it was about making a great sound. I think that’s helped identify what the Taylor ethos has always been — you get the gig on how you sound, not how flashy you are.” Despite being acquired by John Packer Musical Instruments in 2024, Taylor re- mains true to its legacy of craftsmanship. “Nothing has changed in terms of the manufacturing of the instruments,” Good said. “As far as the manufacturing and building of our instruments are concerned, they continue to be built in the U.K. by Andy and his close knit team. I think that the directness between Andy and the client for whom he is building the instrument is a unique and special dynamic that people really enjoy.” FOSTERING FUTURE GENERATIONS Unlike mass-produced horns, Taylor Trum- pets are handcrafted to meet the demands of
Taylor Trumpets has refused to settle for the status quo. By staying true to its artisanal roots while constantly evolving and embracing new ideas, Taylor Trumpets has built a legacy that honors the past and looks confidently to the future. — By Kimberly Kapela USHERING IN A NEW ERA OF TRUMPETS Andy Taylor
T
aylor Trumpets occupies a unique space in the brass realm, a place where the echoes of traditional craftsmanship har-
monize with the bold notes of innovation. It’s a brand that represents the perfect fusion of tradition and the contemporary,
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the musician. At the heart of Taylor Trum- pets is a small, close-knit operation and its Taylor Custom Shop led by its founder. A musician himself, Andy’s journey into instrument making dates back to his early days at Paxman Horns, where he honed his skills in crafting brass instruments. Andy’s approach to building his team was just as unconventional as his in- struments. Rather than solely recruiting seasoned trumpet makers, he brought in craftsmen from outside the traditional brass world. “Andy wanted these instruments to be unique, and he was happy that he recruited some team members who were not neces- sarily trumpet makers or players, because he wanted them to get into his line of think- ing about what a trumpet should look and sound like,” Good said. Each horn holds its own value, not just because of its craftsmanship, but because no two are exactly alike. While Taylor offers specific models, such as the sought-after Phat Boy or Piranha, every trumpet is a unique creation, distinguished by subtle variations that come from the handcraft- ing process. “Although there are specific models, you are unlikely to find two Taylor Pi- ranhas that are exactly the same,” Good said. “It’s handmade in the U.K., so it has that distinctive character and it has that build quality, which is world renowned. Andy doesn’t put his name on it unless he is entirely satisfied with the product that is going out. He gets sight of every horn because he’s had his hands on it during the manufacturing process.” “Our core customer is still the enthusiast looking for tone — with style thrown in for good measure,” Andy said. “A Taylor will help you achieve that tone you’ve always been looking for.” PRODUCT LINEUP EXPANSION AHEAD At the core of Taylor’s lineup stands the Piranha, the brand’s leading model and what Good describes as its “flagship and standard-bearer.” What makes the Piranha so special is not just its build quality, but its adaptability. “You can customize the model,” Good explained. “It’s probably the instrument that enjoys the most prominence with players far and wide. Many start with a Piranha and then explore other models, like the Taylor Chicago, if they need something a little lighter, or the Phat Boy, which offers a different tonal character.”
As Taylor Trumpets continues to push boundaries in craftsmanship and innova- tion, the brand is making its presence felt at major events across the industry. This year, Taylor was represented at the North American Brass Band Championships in early April, followed by a strong show- ing at The International Trumpet Guild conference in Salt Lake City in May. Beyond getting out and meeting play- ers at industry events, Taylor Trumpets is also expanding its lineup with new models. This year, the Phat Boy Signature
Flugelhorn is set to make its debut — a model that leans slightly more conven- tional in design yet still delivers the bold, resonant Phat Boy sound that has become a hallmark of the brand. Additionally, Taylor is preparing to launch its new Vulcan trumpet, further diversifying its catalog. “It’s an exciting time because things have continued to move forward,” Good said. “There are new models coming on stream, and Andy is still at the heart of it all.” MI
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DESIGNED JUST FOR BASSISTS Darkglass Electronics is dedicated to giving bassists the attention and innovation they’ve wanted. With signature tones that are already considered legacy, the company continues to push boundaries — most recently with the launch of its Anagram, the first truly bass-centric multi-effects pedal. — By Kimberly Kapela
F or years, bass gear took a back seat to the overwhelming array of options avail- able to guitarists, leaving bassists with fewer choices built for their specific needs. That is until Darkglass Electronics stepped in with purpose-driven products that put basses in the spotlight. Founded with a mission to provide more variety, accessibility and power to bass players, Darkglass aims to build high-end gear made for bassists, by bassists. “I feel that Darkglass filled that gap,” said Marcos Barilatti, managing director. “The mission was: let’s [offer] premium gear and also have very good tools, pedals and prod- ucts that are made for bass players, but also made by bass players from the ground up.” MARKET DISRUPTION Darkglass’ first major breakthrough came with the launch of the B7K distortion pedal. Built with a bass-first mindset, the B7K resonated immediately with artists in Chile and soon gained traction in the U.S. and Europe. It offered something few others did at the time — rich, distinctive distortion that preserved the integrity of the bass tone, allowing it to shine rather than disappear behind the guitar. “It had that character,” Barilatti explained. “It was made for bass players and bass play- ers were getting some attention.” Known as Darkglass’ “disruptive prod- uct,” the B7K’s success opened the floodgates. More pedals followed — each with its own voice, character and flavor of distortion. But Darkglass wasn’t content to stop there. With the same design philosophy and bassist-first approach, they expanded into amplification, creating compact, modern amps that delivered serious power and clarity. “And we were there again, trying to fill a gap,” Barilatti said. “Trying to make tools that
young, it’s already a legacy tone. Players seeking modern tones and layers of different sounds found something in Darkglass they could immediately recognize.” Darkglass is now challenging the status quo by entering the multi-effects space — something rarely done with bassists in mind. “For us, doing a multi-effect was a completely different challenge,” Barilatti explained. “Because doing a multi-effect requires a lot of engineering, we had to find a different solution and understand that in order to make a multi-effect, what we needed was robust software that could handle the operation of mixing digital effects.” To meet this challenge, Darkglass formed a unique partnership with a tech company that was developing a flexible operating system. This collaboration fast-tracked the development of Anagram, bringing it to life in under a year. Anagram stands out not just as a bass-centric multi-effect unit, but as a platform built for growth and collaboration. “It’s the first all-centric, bass-centric multi-effect in the market,” Barilatti said. “It has one of the best latencies in the in- dustry, so it feels very organic when you play. It’s designed to give players access to a complete palette of sounds.” What sets Anagram apart is its the first multi-effect unit to support plugins, run NAM models and allow real-time tone capturing. “Anagram is the first device that can bridge to external content seamlessly and captures can be done via NAM and anyone can benefit from it,” Barilatti said. “Anagram is plugin compatible. We will deploy artists’ own captures and presets with an immersive aesthetic and sonic experience.” MI
Marcos Barilatti
were made for bass players by bass players.” But what truly sets Darkglass apart isn’t just the gear, the company has sparked a movement, giving bassists a broader toolkit to shape their tone, elevate their presence and stand confidently in the mix. Barilatti points out that while the early 2000s saw that initial gear gap narrowing, the last five years have called for a renewed com- mitment to innovation. And Darkglass has answered. “Pushing innovation for us has always been from a standpoint of filling a gap,” Barilatti said. “But more importantly, let’s make a statement. And the statement is: make gear that offers a lot of options and makes the bass player cut into the mix, be present, be audible, be important.” SETTING THE TONE Despite being a relatively young company, Darkglass has already established what many in music would consider a “legacy tone.” “You can really distinguish a Darkglass tone,” Barilatti said. “And even though it’s
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THE MI INDUSTRY REACTS TO TARIFFS After the Trump administration imposed tariffs on products made in China in April, nearly every company in the MI industry has felt an impact. Here, we speak with a few MI companies to get a better picture of this constantly developing situation. — By Katie Kailus & Kimberly Kapela
O n April 2, President Trump issued an Executive Order introducing sweeping new tariffs, including a 10% baseline on all imports and a 54% total tariff on Chinese goods, sparking global trade tensions. The move has triggered sharp market declines, international retaliation — especially from China — and widespread criticism. Since then, NAMM has responded that this Executive Order will have “serious and devastating consequences for the music prod- ucts industry, which is already facing chal- lenges from the previous tariffs imposed on products imported from China, Canada and Mexico, as well as the additional tariffs on imported materials.” During the annual NAMM Fly-in to Wash- ington, D.C. in early May, John Mlynczak, NAMM’s president and CEO, and a team of leading MI manufacturers, including reps from PRS, Fender, Martin and Gibson, all met in a closed-door meeting with legislators on the tariffs. Additional coverage of that meeting will run in our July issue, however, prior to the meeting, NAMM’s Mlynczak released a state- ment reading in part that NAMM believes the imposition of tariffs on the music prod- ucts industry will cause U.S. businesses that manufacture guitars, pianos, violins, mando- lins, woodwind and percussion instruments, electronic components and accessories to lose their global competitive advantage in producing high-quality pro- and entry-level instruments. “The unique supply chains of the music products industry are also unfairly impacted by these tariffs,” Mlynczak said. “For ex- ample, while the share of all U.S. imports from China is 13.4%, the music products industry’s China imports are 43%. Vietnam is 4.2% overall, while the music products industry is 26%. “We continue to urge the administration to exempt musical instruments and accessories, along with materials used to manufacture musical products, from these measures. The negative effects threaten the economic and cultural impact of U.S.-made musical instru-
Photo courtesy of NAMM/Shutterstock.
ments and accessories. Just ahead of the Fly-in tariff meeting, we spoke with one B&O manufacturer who said the impact of the tariffs has “been direct and immediate.” “We’re focused on staying operational and building resilience,” the supplier who asked to remain anonymous said. “That means continuing to fulfill orders — even if it’s in smaller quantities — and keeping product moving where there’s still demand. Some of our dealers have paused or scaled back, but we’re still moving inventory where demand remains active. “As a brand, we’re also preparing to ex- pand direct-to-consumer sales if needed,” the supplier continued. “It’s not our preferred model — we believe in supporting our dealer network — but with rising costs and thinner margins, especially on China-made merchan- dise, we need options to maintain cash flow.” One piano manufacturer we spoke to shared a more daunting picture. “With the dramatic tariff situation, all the exports to the U.S. have been postponed,” their rep said. THE ‘TRICKLE-DOWN EFFECT’ Retailers across the country have reported getting notices from their manufacturing partners regarding price increases due to the
China-related tariffs, including Tim Pratt, owner of Dietze Music in Lincoln, Nebraska. “We’re seeing price increases all the time,” Pratt said. “We’re getting notices from sup- pliers daily. I’ve had some tell us: ‘I’ve got stuff on the water, which means it’s going to come in at the higher price. It’s already almost here.’ So, what are they supposed to do? They have to pass the price along. As a result, sales slow down for all of us, and meanwhile the end [result] is the consumer can’t buy what they need to in order to con- tinue their music journey. That’s important because that’s going trickle right down into the schools where the educators can’t buy what they need. And then it just gets to the point where now they have to make choices.” Pratt said his main concern surrounding the tariffs and the MI industry is the effect on the education market. “My thinking is: Was the United States trade balance out of whack? Probably, but that’s above my pay grade. That said, some- times I don’t think the people making the decisions understand the trickle-down effect,” Pratt continued. “If you’re going to start do- ing this, where all of a sudden you’re now taking instruments out of kids’ hands due to these higher prices, we’re really hurting our future.” Echoing Pratt’s sentiments, Peter Sides,
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president of Robert M. Sides Family Music Centers in Williamsport, Pennsylvania, said he’s seen firsthand how rising costs are creat- ing serious concerns, not only for retailers, but also for families, schools and music students. “The worst effect has been the hit to con- sumer confidence caused by the uncertainty in household budgets,” Sides explained. “The hesitation from consumers, unsure of where their finances stand, is my biggest concern. Just like wholesale or retail businesses, families and schools need to make decisions based on the best information available. When that information is unreliable or constantly changing, people ‘freeze,’ cut back or simply do nothing.” For Sides, communication with both staff and customers is essential, even when the full picture isn’t clear. Transparency, he be- lieves, helps to alleviate the uncertainty that customers may be feeling. He also pointed out that certain items, like serialized goods, instruments and stands made of steel, have been particularly hard-hit by the tariffs. “We’ve had some orders canceled here
and there, but we’ve been ordering heavily over the last few months,” Sides explained. “We’re in a good position for the next six months, at least. That said, I cringe thinking about container prices once shipping resumes, especially when there aren’t enough ships or containers to keep up with demand out of China.” Menchey Music, also headquartered in Pennsylvania, is feeling the B&O strain. Joel Menchey, company president, said he’s con- cerned about how these inflationary pres- sures will impact not just his business, but the MI industry as a whole. While his stores have yet to experience major disruptions to the supply chain, Menchey said the warning signs are impossible to ignore. “We’re starting to see some levels of tariff- driven price increases that are beginning to be untenable in the current consumer envi- ronment,” Menchey said. The biggest red flag for Menchey lies in the B&O sector, and while supply chain disruptions haven’t hit his stores just yet, he’s bracing for what could become another cascading crisis.
“If this goes on for another month or so, whether resolved or not, the MI industry will start to see COVID-level delays in the supply chain,” Menchey said. Menchey warns that whether products are hit directly by tariffs or forced into costly domestic production as a workaround, the impact will be felt across the board. “Even at reasonable levels — and most of the tariffs are far from reasonable — the tariffs or domestic production of foreign- made products will be inflationary for all consumer products, including musical in- struments,” he said. “This could impact not only the affordability of our products for end-users, but could impact business models which could result in job losses for our customers,” Menchey said. For now, Menchey said he’s staying proac- tive — keeping stock levels strong, planning ahead and preparing his staff and custom- ers for whatever may come. Still, he said he knows the road ahead may be tough. MI
This is a developing story that Music Inc. will continue to report on in future issues.
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ARTIST APPROVED The professional flutist and three time Global Music Award recipi- ent shares how her new 9-karat headjoint adds depth and sparkle to her playing. LORI BELL Music Inc.: What was your first instrument? Lori Bell: My first flute was a used Emerson DeFord student model. MI: Do you have an all-time favorite flute that stands out from the rest? LB: The flute I have now is a concert flute, handmade Pearl flute Maesta model. It’s a great instrument, light and fast with a lot of color. I have an endorsement with Pearl but was playing on their flutes long before that. I pair it with a head joint made by Drelinger headjoints. It’s a 9-karat gold head and pairs beautifully with the silver body. It has a big resonant sound good for both jazz and classical, but I use this headjoint for jazz in both recordings and performance. It has a bite and an edge to it that really works for that style. Adding a gold headjoint to my flute really helped develop a darker, richer sound.
Grover/Trophy Acquires Wuhan Cymbals, Attack Drumheads G rover/Trophy Music Group, a musical instrument and accessory company, has acquired two percussion brands: Wuhan Cymbals and Gongs, and Attack Drumheads, from Cardinal Percussion. This strategic acquisition further strengthens Grover/Trophy’s portfolio, including its established Clevelander Drum Company and enhances its commitment to delivering innovative products for drummers and percussionists worldwide. Wuhan Cymbals and Gongs was founded in 1983 and is known for its hand-crafted cymbals and gongs, offering a sound that appeals to drummers of all styles and genres. Attack Drumheads was founded in 1994 and has gained a following for its quality drumheads designed for durability, consistent tone and serious response. These acquisitions further solidify Grover/Trophy’s position in the percussion market, offering a complete range of percussion products that cater to the needs of professional musicians, educators and hobbyists alike. “We are thrilled to welcome Wuhan Cymbals and Gongs and Attack Drumheads to the Grover/Trophy Music Group family,” said Cory Berger, president of Grover/Trophy Music Group. “Both brands have earned a reputation for exceptional quality and innovation, and we are excited to help these iconic names continue to grow, while expanding our offerings to serve an even broader segment of the drumming community.” “We are certain that the Grover/Trophy team will cultivate the Wuhan and Attack brands to new heights,” said James Bickley, treasurer of Cardinal Percussion. “This calculated move permits us time to concentrate efforts on growing our Cannon, Holz, Cardinal and Lug Lock brands, as well as promoting the many domestic brands we continue to provide U.S. distribution for,” said Mark Tirabassi, president of Cardinal Percussion. {grotro.com} From left: Cardinal Percussion’s Mark Tirabassi, Grover/Trophy’s Richard Berger and Cory Berger, and Cardinal Percussion’s James Bickley.
LB: In addition to my concert flute, I also have an alto flute made by Emerson. It has a rich and darker tone and is a fourth lower than the concert flute. The alto is in G. I usually add the alto on a couple of pieces in each set and also on recordings. I also own a Yamaha Clavinova Model CLP- 745. Piano is my second instru- ment, and I love this piano especially with the headphone feature. MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your atten- tion or inspired you in the music-making process? LB: I recently picked up a second nine- karat headjoint also made by Drelinger, and this one is perfect for orchestral or chamber music. It has a depth and sparkle different from the one I use for jazz. — By Kimberly Kapela
MI: What instruments are currently in your arsenal?
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REVERB TO BECOME PRIVATELY HELD M usic gear marketplace Reverb has announced that two new investors
that while both investors also invest in Fender, Fender will not get preferential treatment on Reverb. Reverb’s partnership with Fender will remain unchanged, including Fender’s Certi- fied Pre-Owned program, which is just one of more than 20 Certified Pre-Owned shops brands have opened on Reverb. “We are thrilled and honored to be a part of Reverb’s continued success,” said Mark Fu- kunaga, executive chair of Servco. “For nearly 90 years, Servco has been deeply involved in musical instruments and music education programs. And we remain committed to being good stewards of leading musical instrument companies, like Reverb, and supporting play- ers everywhere in pursuing their passion to create music.” When the deal closes in the coming months, Reverb will return to being an independent business. According to Mandelbrot, buyers and sellers won’t notice any disruption as a result. {reverb.com}
— Creator Partners and Servco — have entered an agreement to purchase Reverb from Etsy. Once the deal closes, Reverb will be a privately-held, independently operated company backed by two investors that share Reverb’s experience in the music industry and focus on supporting musicians. “Creator Partners and Servco share our pas- sion for the musical instruments industry and a community-first approach, plus a deep desire to strengthen creative industries,” said David Mandelbrot, CEO at Reverb. “The musicians, shops and brands who use Reverb have always been at the center of all that we do, and these two partners will help us support our music- making community in new and better ways.” Creator Partners is an investment company currently investing in music companies includ- ing BMI, SoundCloud, Color Studios and Mogul. “Reverb is the No. 1 global marketplace for
musicians, and a one-of-a-kind platform that has transformed access to quality used gear for creators of all levels” said Kerry Trainor, Creator Partners founder and former CEO of SoundCloud and Vimeo. “We are thrilled to join the Reverb mission to make the world more musical and grow the entire industry through seamless secondhand commerce.” Servco has been involved in the musical instrument industry since 1937, including a long history with Fender — first as a dealer of Fender music gear in the 1950s, then as part of the group that bought the company from CBS in 1985 and now as the majority owner of the company, as well as an active investor in other musical instruments businesses. Reverb noted
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most important of which is helping cre- ate more music makers,” White said, who welcomed new vice chair Castronovo, who previously served as the NAMM’s treasurer. Castronovo is president and CEO of Korg USA, headquartered in Melville, New York. Grisaffi was also welcomed into a new executive committee role as she transi- tions from secretary to treasurer. Grisaffi is the president of Ted Brown Music Co. in Tacoma, Washington. The company has six locations, with its flagship store and corporate headquarters located in Tacoma. The newest member of the executive committee is secretary Jake Connolly. Con- nolly is the CEO and owner of Connolly Music Company in East Northport, New York. “I am truly honored and excited by the opportunity to serve our industry in this capacity,” Connolly said. Finally, outgoing chair, Yamaha’s Tom Sumner, was honored during the board meeting and applauded for his service on the executive committee over the past eight years. {namm.org}
NAMM Announces Newly Elected ExCom Officers T he NAMM board of directors has elected the 2025 officers to represent the ex- From left: Newly appointed chair Chris White, newly appointed vice chair Joe Castronovo, newly appointed treasurer Whitney Brown Grisaffi, newly appointed secretary Jake Connolly and NAMM CEO John Mlynczak.
forward into new areas of opportunity for our diverse global membership,” said John Mlynczak, NAMM president and CEO, who also serves on the executive committee. This vote and transition sees White, who previously held NAMM’s vice chair position, move into his new role as chair of NAMM’s board of directors. White is president and CEO of White House of Music in Wisconsin. “I am truly honored to continue my ser- vice to the music industry in my new role as NAMM chair, further helping NAMM and its members reach their goals, the
ecutive committee, effective immediately. The ExCom will serve through April 2026, representing NAMM’s global membership and the music industry at large in fulfilling NAMM’s vision and mission. The 2025 executive committee includes: chair Chris White, vice chair Joseph Cas- tronovo, treasurer Whitney Brown Grisaffi and secretary Jake Connolly. “NAMM is appreciative to have talented industry leaders reside on the executive committee, who will lead our organization
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YAMAHA UNVEILS NEW CORPORATE CAMPUS IN CALIFORNIA
Y amaha Corp. of America has unveiled its newly transformed corporate campus in Buena Park, California. The reimagined headquarters reflects the company’s com- mitment to innovation, employee experience and sustainability. Designed in collaboration with Gensler, the Yamaha campus features a new head- quarters building, Atelier, a warehouse and
upgraded site amenities. Highlights include an outdoor “jam” space, walking paths and a circular visitor drop-off area. The campus provides a dynamic envi- ronment for the 400 Yamaha employees, featuring indoor and outdoor meeting areas, an instrument evaluation studio within the expanded Atelier facilities, a multi-use pre- sentation space with seating for more than
200 people, and cafe seating that transitions between indoor and outdoor settings. Sustainability is at the forefront of the campus design with features that include a light-filled lobby and workspace with inte- grated skylights; 19 electric vehicle charging stations; solar-ready infrastructure; over 150 new trees and biophilic elements; and more. {usa.yamaha.com}
Gavin Mortimer (right) welcomes Paul Germain to PRS Europe.
PRS GUITARS EUROPE NAMES GERMAIN ITS MANAGING DIRECTOR P RS Guitars and PRS Guitars Europe have announced Paul Germain’s ap- pointment as managing director. In his new role, Germain will be leading PRS Europe’s operations. “Paul has a wealth of experience in sales, marketing, retail, distribution, manufacturing and company management at the highest level within our industry,” said Jamie Mann, president of PRS Guitars. “I’m delighted he has agreed to join and lead the great team we have in Europe, based in Cambridge, U.K.” Formed in 2012 to accelerate growth in the European market, PRS Guitars Eu- rope is a wholly-owned subsidiary of PRS Guitars. This new hire aims to support the next phase of that growth by maturing the internal business practices, localizing brand awareness initiatives and strengthening dealer relations. “I’m excited to join PRS Guitars Europe and eager to contribute to the rich legacy of this iconic brand,” Germain said. “I look forward to collaborating with our dedicated customers and the talented teams in the U.K., Europe and Maryland.” With this appointment, PRS Guitars Europe CEO, Gavin Mortimer, moves to chairman. {prsguitars.com}
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Jerry Goldenson Honored with Music Will’s Visionary Award
J erry Goldenson, president of KHS America, was honored in April with the Vision- ary Award at the Music Will annual benefit, held at Gotham Hall in New York. The event celebrated leaders in music and education, raising nearly $1 million to support Music Will’s mission to transform young lives through music education programs in public schools. Goldenson was recognized for his com- mitment to music education and advocacy for accessible, high-quality instruments in schools nationwide. Under his leadership, KHS America has expanded efforts to ensure that young musicians — regardless of background — have the tools they need to discover and express themselves through music. Other honorees included Grammy-win- ning artist, producer, writer and composer Wyclef Jean, who received the Music Innova- tor Award; singer/songwriter Sara Bareilles, honored with the Luminary Award; singer/ songwriter and member of the Rock and
TMP-Pro to Distribute PureLink in U.S. T MP-Pro, a division of The Music People, has announced it now offers PureLink products, including matrix switchers, video-over-IP solutions and UHD/4K scalers. “PureLink takes great pleasure in announcing our U.S.-distribution partnership with TMP-Pro,” said Howard Schilling, director of sales at PureLink. “TMP-Pro’s world-class customer service and technical sales support ideally complement PureLink’s continued expansion of its control-automation and AV-switching products and services.” “As a value-added distributor, we’re excited to offer PureLink’s technologies to empower seamless connections in today’s ever-connected world,” said Tom Tedesco, president and CEO of The Music People. “This collaboration strengthens our commitment to delivering advanced solutions that meet the evolving needs of our customers.” {tmppro.com}
Photo credit: Taylor Hill/Getty Images. From left: Jack O’Brien, Rachel Goldenson, Mu- sic Will founder Dave Wish, Goldenson’s wife
Roll and Songwriters Hall of Fame Jackson Browne, presented with the Legacy Award; and Emmy and Tony award-winning singer and actress Kristin Chenoweth, who accepted the Inspire Award. Music Will is the largest nonprofit music education program for schools in the U.S. Since 2002, the organization has provided teacher training, curriculum and instruments to over 6,000 schools across all 50 states. {musicwill.org; khs-america.com}
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A pplied Research and Technology (ART) is commemorating the 30th anniversary of the Tube MP. Since ART’s founding in 1984, it has been committed to designing great-sounding products that are reliable and accessible to the average musician. In 1995, that mis- sion produced the Tube MP: a compact, Tube MP is how it’s stayed relevant through three decades of massive progress in re- cording technology,” said Jeff Cowling, vice president of sales and marketing at Yorkville Sound, one of ART’s original distributors, which ultimately acquired the brand in 1999. {artproaudio.com/tube-mp} ART CELEBRATES 30 YEARS OF THE TUBE MP affordable tube microphone preamp. Despite its small stature and modest price tag, the Tube MP was recognized at the 1996 TEC Awards. Today, the Tube MP remains in production and has fostered a full lineup with additional features like compressors, reamping and presets. “What’s truly remarkable about the
FOUNDER OF KIDDER MUSIC JIM KIDDER PASSES AWAY F ounder of Kid- der Music and a
NASMD past-pres- ident James “Jim” Eugene Kidder passed away on April 15. He was 84 years old. Kidder was influ-
Jim Kidder
enced by his high school band teacher, who encouraged him to continue playing the trumpet. He attended Illinois Wesleyan University, where he received a degree in music education and went on to earn his master’s in school administration from Bradley University. While teaching band in Lacon, Illinois, he met his future wife, Floride “Ede” Barnes. They mar- ried in 1965. Kidder began his career in music retail that same year when he joined Byerly Music as a roadman. Jim and Ede founded Kidder Music Ser- vice in 1974, which is now led by their daughter Beth Houlihan. Last year, the business celebrated its 50th anniversary. In November, Music Inc. ran a story on Kidder Music. In it, Jim shared his feelings on his company hitting the half-century mark. “We’ve received several plaques, accolades and proclamations for the state and the city and other music organizations in the area in recogni- tion of our 50th anniversary,” Jim said in the article. “So, if I said I wasn’t proud of it, I would be lying. Because we’re very proud. I am very proud.” Jim was a lifelong advocate for music education. He served on the boards of NAMM and NASMD, and was president of NASMD from 2004–2005. Locally, he was active on the boards of the Peoria Symphony and the Peoria Symphony Foundation in Peoria, Illinois, the Heart- land Festival Orchestra, and the Wheels of Time Museum. {kiddermusic.com}
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> Page 26 NAMM YP > Page 27 Women of NAMM
IN THE TRENCHES I BY CYPH SHAH HOW STUDENTS, CUSTOMERS ARE ALIKE A s a DJ instructor at Astro AVL in Los Angeles, I’m af- forded the privilege of helping students something to offer them that they can’t get anywhere else.
GET THEM ENGAGED If they’re actively listening, I’m halfway there. But they don’t want to hear more about me, they want to feel engaged. So, I aim to fire up the part of their brain that starts the creative gears turning. As the manager of a DJ shop, I have a good feel for what type of demonstration will generate a genuine reaction. I can impress a novice by showing them the pizzazz of stem separation — isolating the vocals or drums of a track with a click of a but- ton, and layering that stem onto another track in real-time. This works with students, as well as walk-in customers. People who were “just look- ing around” are suddenly giving me their full attention and feel their mind melt just a little bit, which is enough to lubricate the discussion a bit further. CREATE INSPIRATION It’s important to foster an envi- ronment that can turn an ember of inspiration into a flame with foresight and ambition. Connect- ing the dots for them requires staying in the present enough to keep the connection authentic while being able to forecast and communicate how today’s small accomplishments can translate to big achievements next year or
navigate their way through the confusing informational quag- mire that presents itself when learning a new skill. Despite all the YouTube videos available, people still seek the personal- ized approach from field experts for a reason. The art comes in laying a framework for students to feel comfortable taking small bites of that proverbial elephant. It starts with prioritizing sets of skills or certain features that, in turn, lays the foundation for the next tier of learning. That same interaction draws parallels to how we, as retailers, approach our novice customers who are seeking a path to bet- ter understand their goals. For them, their desire to purchase a product is just a byproduct of reaching those achievements and milestones. Here, I’m going to outline five factors that play into this notion. I’ll also explain why these factors are intertwined with buying decisions, and how this roadmap can help you drive sales forward for those meander- ing on the fence of a purchase. ESTABLISH CREDIBILITY Yesterday, I hosted a DJ work- shop for 20 rambunctious high
Cyph Shah, front right, with his DJ workshop participants.
“Prioritizing sets of skills or certain features lay the foundation to the next tier of learning. That same interaction draws parallels to how we approach our novice customers.”
school kids. (See above photo.) If you have experience with teenagers you know this is no small task. Their priorities are not initially in sync with mine. Their perspectives and inter- ests are usually askew from my day-to-day mindset of juggling business logistics and pulling in revenue. I have to remove myself from my world and put myself into theirs. But before I jump
into the trenches with them, I find the best way to kick things off is to establish myself as an authority with tangible, relatable examples. Maybe you’ve seen my videos on TikTok, maybe you recognize some of the artist names or production companies on my roster of clients. What- ever it is, I give them a reason to stay invested in what I’m going to say next because I might have
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five years down the road. Everyone’s dots are different, and the lines you draw for them may not always be linear, but listen- ing to their raw feedback post-demo will give you enough to build a framework of vision they can internalize and feel con- fident executing. EXHIBIT EMPATHY Everyone harbors hesitation when jump- ing into a new experience. Whether that’s buying a new AlphaTheta DJ controller or a Gibson guitar amp, we naturally want to feel secure in our decisions to invest time or money into our endeavors. Both students and customers will have different impediments to overcome. Some don’t see themselves as musically inclined, while others may have reservations about performing in front of others. Instead of diminishing their con- cerns with elitism, it’s best to empathize and offer avenues that can circumvent these mental roadblocks. Consider the impact of charitably offer- ing some wisdom when it counts, such as these words by Marcus Aurelius: “What stands in the way becomes the way. The impediment to action advances action.” That’s a mantra that we can all relate to. Those words have guided me through stormy seas to still waters many times, and maybe you too can draw from your own experiences to do the same for oth- ers. The emphatic reaction you get may surprise you. TRANSFER THE TORCH It’s much easier for someone to feel moti- vated at the gym with a trainer over their shoulder cheering them on. But to make that journey tangible in the real world, that same feeling needs to resonate beyond the walls of your establishment. It needs to spill over into their life well after they’ve left the security of your supervision. This requires having them acknowledge the sig- nificance and power in passing the torch over to them. They’re the runner in their own race, and you’re only a small fraction of that equation. This approach is to set the customer or student up for success by instilling some continuity in their habits that keep the fire fed. Those are the students that keep showing up to lessons actively engaged. Those are the customers who return to your retail shop months later to upgrade their gear because they’ve progressed in their musical journey. And because you were there to aid their attachment
to their commitment early on, you also represent stability that invites feelings of comfort and an assurance that their compass is set in the right direction. Thus, it makes you intuitively worth interacting with again. Working at Astro AVL for a decade has given me the unique opportunity to develop relationships with students and customers I never knew I would have. I’m invested in their journey, and they forever refer to me as their mentor, whether it’s
months or years since our last interaction. That doesn’t happen by accident. It’s been curated by creating a lasting connection, helping them map their endeavors in real- time and giving them the confidence to overcome their own self-doubts. I would invite all of you to try to do the same. The results may surprise you. MI Cyph Shah is the manager of Astro Audio Video Lighting in Glendale, California. He’s also the lead instructor of the DJ School, Astro Mix Lab and designs AVL systems as Astro AVL’s installation foreman. He’s toured the country as a DJ for more than 20 years.
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