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SEPTEMBER 2026 I VOL. 37, 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
OFFICES Phone: (630) 941-2030 Email: editor@musicincmag.com CUSTOMER SERVICE (630) 941-2030 ext. 122
Jack Maher, President, 1970–2003 SUBSCRIPTION RATES: Free to qualified retailers and suppliers of musical instruments.
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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, IL 60126
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September 2026
Todd Binder
28 I FROM THE TOP Newly appointed CEO Todd Binder talks plans for the guitar brand, his management style and the biggest misconception about ESP.
Laura Davidson, Shure
Shiloh Music Center’s James, Karen, George and Paul Hedges.
38 I BEYOND THE MUSIC
32 I A MASTER CLASS IN LESSONS Fresh off their 2026 NAMM Retail Award win for “Best Music Lesson Program,” the Hedges family behind Shiloh Music Center shares how they’ve built, grown and fostered their winning lesson program — and offers a few secrets to their success.
How podcasting, streaming and home content creation are driving new demand for audio gear.
25 I THE MARKETING GURU X Tracey Hoeft shares how MI retailers can become ChatGPT’s top recommendation. 26 I AI IN MI X Peter Dods on the downsides to using AI that can’t be ignored. 27 I VIEW FROM THE REPAIR BENCH X Steve France offers compensation plan principles.
42 I GUITARS, AMPS & ACCESSORIES 46 I AUDIO & RECORDINGS 48 I DRUMS & PERCUSSION 49 I BAND & ORCHESTRA 50 I PIANOS, KEYBOARDS & SYNTHESIZERS 51 I DJ & LIGHTING
18 I INDUSTRY NEWS X Ernie Ball to Acquire Source Audio X AMP’d Guitar Den Opens in Orlando X Danny’s Guitar Shop Closes X Foti Joins Proel Italy as Co-CEO X KHS America Appoints New Brand Manager X Gibson Names New Interim CEO X Fender Appoints New COO X Sweetwater Wins Top Workplace Title 16 I INDUSTRY PROFILE X An update on the latest Pro Tools offering and how AI is playing a role in the platform.
RETAILER ASK THE 54 I ASK THE RETAILER X Dealers share tips for incentivizing sales staff.
Tracy Hoeft
Peter Dods
Steve France
Cover photo by: Scott Robertson
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I n an MI market where online sales often dominate, it can feel like mom- and-pop retailers are consistently looking for ways to compete. But maybe the industry’s biggest competitive advantage has been hiding in the name all along. “Mom” and “pop” are family — and the retailers who embrace that family feeling are often the ones building communities no online marketplace or big-box dealer can match. One prime example of this is Shiloh Music Center in Mt. Juliet, Tennes- see. Members of the Hedges family, who have been running the dealership since its founding more than 50 years ago, grace our cover this month and share how they’ve built a NAMM award-winning music lessons program. PERSPECTIVE I BY KATIE KAILUS FAMILY IS YOUR ADVANTAGE
Hint: It has to do with treating students, teachers and employees like they’re part of the Hedges family. Shiloh’s lesson program wasn’t named the inaugural winner of NAMM’s “Best Music Lesson Program” at January’s Retail Awards because it has nine continuously full lesson studios, 300 weekly students and 13 teachers. It received the award because it puts relationships first.
“When a teacher or employee joins the business, we tell them off the bat that they’re part of the family, and ‘If you need anything, let us know,’” said George Hedges, who co- founded the business alongside his father and now operates it with his wife, Karen, and sons, Paul and James. “When you work at Shiloh Music Center, it’s not just a job. You’re part of our Shiloh family, and we treat everyone that way.” That philosophy extends well beyond the staff. Paul said the relation- ships the store has built with its teachers, students and customers have created a welcoming atmosphere that rivals the spirited vibe of a neigh- borhood barbershop. “We like to think we’re the barbershop of guitars,” Paul said. That community-first mindset even extends to the store’s relationships with other local music retailers. “We don’t really count them as competitors anymore,” George said of fellow Nashville-area MI dealers. “We’re all fellow music stores, and we’re all in it together.” A large majority of music stores are family businesses, with second- and third-generation owners carrying on the legacy started by their parents and grandparents. So, why not extend that same family-first philosophy beyond your last name and into every interaction with your customers? We all know online retailers can match prices, ship overnight and make buying convenient. But what they can’t do is watch a music school student progress into a global touring musician or celebrate a student’s first recital or have customers return years later with children of their own. When customers walk through your doors, make them feel like they’re welcome members of your store’s extended family. In an industry built on relationships, fostering that family feeling isn’t just good customer service. It may be your store’s strongest competitive advantage. MI
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Built for MI’s ‘Real-World Needs’ T hank you for continuing to shine a light on the businesses and ideas that keep this indus- try moving. Independent music retailers are some of the most resilient people. At MusicWare, we work ev- ery day to ensure the tools that power their businesses are just as resilient. Our platform is built around the real-world needs of music stores, shaped by years of experience and feedback from music retailers like you. If there is something your business needs, tell us. We’re always listening, improving and looking for new ways to better serve music retail- ers. After all, we are all here to support this industry and our shared love of music. Katie Clarke Digital Marketing Specialist MusicWare Atlanta MI Dealers Are ‘Thirsty’ for Japanese- Built Guitars W e’d like to extend a big “thank you” for featuring Tokai’s return to the U.S. One of the big- gest takeaways since the article ran has been hearing from deal- ers just how thirsty customers are for a beautifully crafted, Japanese- built alternative. After months of industry drama, it’s clear players are eager to get back to buying great guitars instead of support- ing brands generating negativity within the industry. Dealers have told us they’re excited to offer an instrument they can confidently put on the wall and stand behind. That response has already led us to place additional factory orders, with our second shipment arriv- ing soon. We’re looking forward to getting even more Tokai guitars into U.S. dealers’ hands. Matt Desilet Director of Product Marketing Tokai Guitars Hamamatsu, Japan
Celebrating 60 Years of Guitars W e’d like to thank Music Inc. for its feature celebrat- ing 60 years of Yamaha guitars. It’s a privilege to see the legacy, innovation and enduring influ- ence of Yamaha guitars recog- nized in such a thoughtful and well-crafted retrospective. We’re grateful to the editorial team for highlighting this remarkable mile- stone and for sharing the stories that have shaped six decades of Yamaha guitars. We also extend our sincere ap- preciation to the players, dealers, artists and partners who have been part of that journey. Your passion and continued support inspire us as we look ahead to the next chapter. The Entire Yamaha Guitar Team Yamaha Corp. of America Calabasas, California Conquering the Busy B&O Fall Rush A huge shout-out to every- one who was recently in the trenches of the back-to- school music season! This includes the front-line retail staff and the manufacturers scrambling to fill last-minute orders to support their dealers. Also, words aren’t enough to express the gratitude felt for all of our music education advocates. As a constantly threatened school subject, it’s amazing to see all the support given to protecting the arts — both within the industry and outside. Thank you, Music Inc., for highlighting this time of year as school music is really where so many of us got our start. It’s great to see the support! Laura Penrose Owner Nick Rail Music Santa Barbara, California
Helping MI Retailers Thrive I wanted to thank Music Inc.’s Kimberly Kapela and the team for featuring Sync2Sell in its July 2026 issue as part of the “4 SAAS Tools to Deploy Now” article. It’s an honor to be included alongside other companies that are work- ing to help independent music retailers succeed. As both the owner of Sync- 2Sell and the general manager of a music store, I’ve had the unique opportunity to build software while living the same day-to-day challenges as the deal- ers we serve. Every feature we develop comes from real-world experience on the sales floor, in the warehouse and behind the counter. Our goal has always been to help stores grow their online business without losing sight of what makes independent retail special.
If any store owners or em- ployees would like to learn more about Sync2Sell, I’d be happy to personally give a demo, answer questions or simply talk shop. Feel free to reach out anytime at info@sync2sell.com. I’d also like to add my support for Opus1 being included in the article. As the general manager of Sims Music, we use Opus1 to manage our lesson program, and it has been one of the best soft- ware investments we’ve made. It has simplified our adminis- trative workload, improved the experience for our teachers and students, and helped us grow lesson revenue in the process. It’s refreshing to see Music Inc. highlighting tools that genuinely make a difference for indepen- dent dealers. Justin Sims Owner Sync2Sell Newberry, South Carolina
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 18 Ernie Ball Acquires Source Audio > Page 19 AMP’d Guitar Den Opens Orlando, Florida, Store > Page 23 Guitar Center Inducts Billy Idol into its Rockwalk
According to Derk Hagedorn, director of product marketing for Avid, the latest release reflects the company’s continua- tion toward AI integration by empowering creators rather than taking their creative power away. Avid’s approach centers on using AI to eliminate tedious tasks and improve organization. “The music creators coming in, they have a passion for learning how to record and create and mix music,” Hagedorn said. “Where we concentrate is streamlining the workflows where AI can really make the work easier, especially for professionals when they’re just dealing with massive projects. For example, if you think about sample libraries, you can have thousands of sounds available to you. How do you most quickly find the right sound to plug-in?” STREAMLINING WORKFLOWS Avid’s AI capabilities are not standalone features — they are embedded directly into the production workflow, allowing users to interact with the tools without disrupting the creative process. In Pro Tools 2026.4, Avid enhances its integrated, AI-powered Speech-to-Text capabilities, making dialogue and lyric-driven workflows faster, more flexible and more efficient. The feature analyzes dialogue or lyrics within a session and generates searchable transcriptions that can be used throughout the editing and mix- ing process. Essential elements such as lead vocals and dialogue are easier to locate, reducing time spent scrolling through sessions and allowing users to move more quickly between tasks. “We first released Speech-to-Text about a year ago,” Hagedorn said. “It’s the ability to use AI analysis [to create] an interactive workflow as you are working with dialogue.” The update builds on that foundation by making the transcription workflow more seamless. “For example, one of the things that we
With Pro Tools 2026.4, Avid is using new tools to streamline workflows, accelerate production and help musicians spend less time managing sessions and more time creating. — By Kimberly Kapela INSIDE AVID’S AI-POWERED VISION Avid’s Derk Hagedorn
A s AI becomes more embedded in music production workflows, Avid is leading the charge to help musicians streamline their work processes without compromising artistic control. With the release of Pro Tools 2026.4, the company
is expanding its vision for AI-assisted production through new immersive audio capabilities, workflow enhancements, and intelligent tools designed to help music and audio professionals simplify complex projects.
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had previously was that every time that you would have to do a render with the session, you would have to re-transcribe everything, reanalyze everything again, and that meta- data is now carried through,” Hagedorn said. “It’s really taking the Speech-to-Text tools, giving musicians more choices as far as how they’re using those and saving them time.” Beyond Speech-to-Text, Pro Tools 2026.4 introduces Track Pin, a new organizational tool designed to help users stay focused when navigating large-scale sessions. “In the case of an audio post session, or even large professional music sessions, you’re dealing with hundreds of tracks, sometimes thousands of tracks, and so much of the workflow really comes down to how quickly you can find things,” Hage- dorn said. “If you’re constantly having to scroll or reorder your tracks, that’s what the Track Pin gets rid of. With Track Pin, you can take one or more reference tracks, pin it at the top, and then as you’re navi- gating through the rest of the session, it’s always right there.” KEEPING CREATORS IN CONTROL Despite the rapid pace of AI innovation, many musicians remain cautious about adopting new AI features, particularly when they perceive a loss of creative control. For Avid, the challenge is not simply introducing new AI tools, but ensuring new features fit naturally into the work- flows musicians, engineers and producers already rely on every day. “There are generative products out there right now where if somebody says, ‘I have a song idea, I don’t know anything about making music, I just want to put in an idea and have it spit it out,’ obviously, that’s a disruptive change to the industry,” Hagedorn said. “Our approach is how to make existing workflows better, faster and [ensure] that users deliver on deadline.” Before AI became an industry buzzword, Avid built a robust plug-in developer eco- system around Pro Tools, creating oppor- tunities for third-party partners to extend the platform’s capabilities. “There are different ways for us to present AI within Pro Tools,” Hagedorn said. “Sometimes it’s as an AAX plug-in, sometimes a stem separation that can be done as a plug-in. But there are other ways, like Splice or SoundFlow. We’re constantly exposing new ways for our development partners to integrate their tools directly and as seamlessly as possible.”
Removing the barriers that slow cre- ators down, Avid’s ecosystem enables users to adopt new technologies at their own pace while maintaining the familiar production environment they depend on. That ecosystem extends well beyond the Pro Tools software itself. Avid’s broader portfolio spans recording, mixing, post- production, live sound and educational environments, creating a connected plat- form that serves everyone from first-time creators to major studios. “We’ve been talking about Pro Tools, but there’s the ecosystem all the way in the
largest studios of big mixing consoles, the DSP hardware, behind those really high- end workflows, the highest quality, most networkable audio interfaces that support every networking [need],” Hagedorn said. “All of those are guaranteed in our ecosys- tem to work together, so you’re not just selling Pro Tools, you’re selling this whole ecosystem of products, depending on how it fits in with the end user.” As AI continues reshaping nearly every corner of the MI industry, Avid is position- ing itself as an advocate for augmentation rather than automation. MI
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sounds they may not have reached other- wise,” Ball said. “For Ernie Ball, the timing feels right because musicians are creating in more expansive ways than ever before, and effects are a huge part of that creative language. Source Audio gives us a credible and innovative platform in premium effects that fits naturally into that mission.” Looking beyond the acquisition itself, Ball said Source Audio also establishes an important foundation for Ernie Ball’s long- term strategy in music technology. “Yes, [we plan to make a deeper foray into the effects market] but in a thoughtful way,” Ball said. “We’re not acquiring Source Audio to simply put an Ernie Ball stamp on another pedal company. Source Audio will continue to be Source Audio, and the first priority is continuity for the existing products, customers, dealers, distributors and artists. Longer term, we absolutely see premium effects and music technology as an important part of Ernie Ball’s future.” “Source Audio has always been driven by innovation and the desire to give musicians new ways to create,” said Roger Smith, CEO and co-founder of Source Audio. “Ernie Ball understands musicians, artists and the cul- ture of guitar in a way very few companies do, and that alignment is what makes this such an exciting next chapter.”
Ernie Ball’s Brian Ball (left) and Source Audio’s Roger Smith (right).
ERNIE BALL AGREES TO ACQUIRE SOURCE AUDIO E rnie Ball has entered into a definitive
global distribution network, artist relation- ships, marketing strength and manufacturing discipline to Source Audio. The shared goal is to bring Source Audio’s innovation to far more musicians around the world while protecting what makes the brand special. “We’re not acquiring Source Audio to change what makes it special,” Ball said. “We’re acquiring Source Audio because we believe in what it already is, and because we believe Ernie Ball can put that innovation in the hands of more players than ever before.” Ball said the companies’ strengths comple- ment one another at a moment when musi- cians are relying on effects more than ever as part of their creative process. “Source Audio represents the rare combi- nation of deep engineering, real musicality and products that inspire players to find
agreement to acquire Source Audio, the Massachusetts-based effects pedals manu- facturer. The move marks a defining moment for both companies. It carries Ernie Ball’s six- decade legacy of shaping how musicians sound — a journey that began with guitar strings and now extends into the effects that color a player’s tone — while giving Source Audio the global reach and resources of a family-owned industry leader, without compromising its musician-first spirit. For more than 60 years, Ernie Ball has defined the feel of modern guitar through products like its Slinky strings and Ernie Ball Music Man. The acquisition gives Ernie Ball an immediate presence in the premium effects category while opening Ernie Ball’s
Source Audio will continue to operate under its own brand. Existing products are expected to remain available, and the immediate focus will be on continuity for customers, dealers, distributors, artists and partners. {ernieball.com} {sourceaudio.net} Synthax Appointed Exclusive Harvey Distributor for U.S., Canada, LATAM D SPECIALISTS has announced a dis- tribution agreement with Synthax for Harvey products in the U.S., Canada and Latin America.
Harvey is a family of high-performance, freely programmable audio DSP processors designed for professional audio installations requiring superior sound quality, extensive control capabilities and flexible system integra- tion. Through this new partnership, Synthax will expand the availability of Harvey products throughout North and South America, pro- viding customers with local sales, technical support and distribution expertise. Synthax is currently the distributor for several pro-audio solutions, including RME, Auvitran, Digigram, Appsys Audio, Ferrofish,
Marian and ALVA cable ware. “Synthax is the ideal partner to bring Har- vey to a broader audience across the Americas” said Jochen Cronemeyer, managing director of DSPECIALISTS. “Their strong reputation,
technical expertise and commitment to cus- tomer support make them a perfect fit for our growing product family. We were excited to officially launch this partnership at InfoComm 2026 in Las Vegas.” {synthax.com}
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ARTIST APPROVED
For Franco the Count of doom metal band Castle Rat, the gui- tarist relies on Dunable guitars with a custom U.S.-made As- teroid serving as his exclusive live instrument. FRANCO THE COUNT MI: What is your all-time favorite instrument, and makes it stand out from the rest? FTC: A Fender Stratocaster was my only guitar for a lot of years, so I got so used to the neck, the feel and the sound of that guitar. I put Seymour Duncan pickups on it early on, and some locking tuners. And that has always been my favorite guitar. MI: What instruments are currently in your arse- nal? Are there any that are your go-to choices for recording or performing live? FTC: These days I’m using Dunable gui- tars, which are perfect for our style of music. The one I’m using exclusively on stage is one of their USA custom Asteroid models. It plays great, sounds amazing and it’s super reliable, which is huge when you go on extensive tours. MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your attention or inspired you in the creative process? FTC: The practicality of the Neural DSP stuff on the road is tough to beat. Both Riley [Pinkerton] and I are using Nano Cortex live. We’re also powering cabs through Seymour Duncan PowerStages, which is a killer combo. At home, I’ve been experimenting with a Revv D20 straight into my computer, and I’m amazed at how great it sounds and how good it takes pedals. There’s so much new amazing gear coming out constantly that it’s hard for me to keep up! — By Kimberly Kapela
AMP’d Guitar Den Opens Independent Retail Store in Orlando A MP’d Guitar Den officially opened its doors in Orlando, Florida, on July 1 in the city’s Mills 50 District. The AMP’d staff, from left: Robert Wilson, Kelly Wilson and William Trimble.
these books accessible,” Kelly said. One of the biggest parts of AMP’d is its repair shop, which offers everything from setups and restringing to fret work, electronics, pickup installations and more involved repairs. “We take a lot of pride in doing repair work the right way and treating every instrument like it belongs to us,” Kelly shared. “I hope people leave feeling like they found their music store.” The store’s opening was marked by an- other milestone when AMP’d Guitar Den was recognized as the Mills 50 District’s Business of the Month for July — an honor announced on the same day the shop of- ficially welcomed its first customers. “Opening an independent music store today is definitely a leap of faith, and the encouragement we’ve received from customers, our neighbors, vendors and the music industry has been incredible,” Kelly said. “We’re just getting started, and we’re excited to keep building a place where musi- cians of every skill level feel welcome. We hope AMP’d Guitar Den becomes one of those shops people remember because of how they were treated and felt when they walked through the door.” AMP’d Guitar Den is currently open Wednesdays through Sundays. — By Kimberly Kapela
AMP’d was born out of the idea that buying a guitar should be more than just grabbing something off a wall. Co-owners Robert and Kelly Wilson and store man- ager William Trimble set out to create a shop where customers feel comfortable asking questions, testing gear and know- ing they’re getting honest advice instead of a sales pitch. “We opened in Orlando’s Mills 50 dis- trict with a focus on quality instruments, expert repairs and creating a welcoming space for everyone from someone buying their very first guitar to seasoned musicians who have been playing for decades,” Kelly said. “At the end of the day, our mission is pretty simple: help people make music and make them excited to come back.” AMP’d offers a thoughtfully selected inventory of guitars, amplifiers, pedals and accessories alongside repair services, vinyl records and an eclectic collection of books — including a dedicated shelf of banned books. “Florida leads the nation in the num- ber of books removed from public school libraries, and as people who believe that music and literature both have the power to inspire, challenge, and broaden perspec- tives, we felt it was important to make
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FENDER NAMES CHRISTINA STEJSKAL AS NEW CCO F ender has appointed Christina Stejskal as
chief communications officer. Reporting to CEO Edward “Bud” Cole and serving on the company’s executive leadership team, Stejskal will lead Fender’s global communications or- ganization, overseeing brand, consumer and
Christina Stejskal
product communications, internal communications, executive and board communications, creator and influencer strategy and corporate reputation. Stejskal previously spent nearly a decade at Fender, where she built and scaled the company’s global communications function. She led communications for many of Fender’s product launches and strategic initiatives, including the American Professional Series, the American Acoustasonic Telecaster and the launch of Fender’s first flagship store in Tokyo. She also established Fender’s first integrated creator and influencer communications strategy and helped broaden the brand’s reach through execu- tive thought leadership and lifestyle storytelling that connected with new generations of players and more diverse audiences. “I’m honored to return to Fender and join the executive lead- ership team,” Stejskal said. “Few brands have shaped music and culture the way Fender has. I’m excited to help tell the stories behind our people, our products and the players who inspire us every day, while helping write this iconic company’s next chapter.” {fender.com} KHS AMERICA APPOINTS NEW BRASS INSTRUMENT BRAND MANAGER K HS America has appointed Tom Mensch
Danny’s Guitar Shop Closes A fter nearly 20 years in business, Danny’s Guitar Shop has closed its doors as owner Dan Gold retires, marking the end of a longstanding independent music retailer that served generations of musicians through instrument sales, repairs and music education. Gold opened Danny’s Guitar Shop on Forrest Avenue in 2009 after two music stores in the Philadelphia area closed the previ- ous year. Having spent a decade working for Fender as a district sales manager, he saw an opportunity to create an independent neighborhood music store built on customer relationships and community engagement. “I left Fender after 10 great years as a DSM with the desire to open my own little neighborhood guitar shop with a special vibe,” Gold said. “The focus was lessons, new and used sales, repairs and being an active part of this little community of Narberth, just outside Philly.” The store specialized in the sale and service of new, used and vintage guitars, basses, amplifiers and ukuleles. Beyond retail, the shop employed experienced instructors who taught thousands of students over the course of the business. At its peak, the shop hosted approximately 80 music lessons each week, serving stu- dents ranging from young beginners to experienced adult players. Cultivating an inviting atmosphere was central to the store’s mission. Reflecting on the store’s impact, Gold said the store had a family clientele of all ages and backgrounds. Customers experienced a “warm, friendly and welcoming environment.” “We had some pros and hard-core rockers, including some big time musicians like Timothy B. Schmit, Dweezil Zappa, John Stir- ratt, Bill Kirchen and Steve Forbert,” Gold said. Gold said his retirement, combined with rising operating costs, ultimately led to the decision to close the business. Despite the circumstances surrounding the closure, Gold said the response from customers reinforced the impact the store had on the community. “I was really overwhelmed by the outpouring of love when I announced my retirement,” Gold shared. “Most people don’t get to hear that stuff when they’re still alive. It wasn’t your typical rock shop vibe. I’m a lifelong customer and lover of music stores. I wanted to have a fun place where people could feel the love of music and maybe hear a good story or joke.” — By Kimberly Kapela Dan Gold announced the closing of Danny’s Guitar Shop near Philadelphia.
as its new brass instrument brand man- ager. A seasoned trombonist, conductor and music educator with more than 30 years of experience, Mensch brings a combination of performance expertise, product knowledge and educational leadership to KHS America.
Tom Mensch
Mensch joins KHS America from Whitehouse Independent School District in Texas, where he served as director of bands and fine arts/communications learning leader from 2017–’25. He also currently serves as artistic director of the East Texas Youth Orchestra and adjunct trombone professor at Stephen F. Austin State University. “Tom brings an outstanding blend of performance experi- ence, educational leadership and strong relationships within the music community,” said Kevin Philbin, KHS America’s sales and marketing manager. “His passion for music education and decades of industry experience make him a tremendous addition to our team. We look forward to growing our brands with his expertise and insight.” {khs-america.com}
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directly with KHS America and its team members across multiple departments, creating opportuni- ties for meaningful conversations and deeper partnerships. “Our dealer partners are at the heart of everything we do, and this event was an opportunity to invest in those relationships in a meaningful way,” said Dana Bell, national education sales manager of KHS America. “Seeing so many industry professionals come to- gether to share ideas, collaborate and learn from one another rein- forced what makes this industry so special. The conversations, in- sights and partnerships developed over these two days will continue to benefit our customers, educators and musicians long after the event has concluded. We’re excited to make the Summer Dealer Event an annual tradition and continue building on this momentum.” {khsamerica.com}
Dealer partners across the country gather in Tennessee this summer.
KHS AMERICA HOSTS INAUGURAL SUMMERTIME EDUCATION EVENT K HS America welcomed music retail partners
The event kicked off with a reception on June 30, followed by a full day of educational sessions on July 1 led by KHS America staff and dealer partners. Presentations covered a variety of topics, including sales strategies, marketing initiatives, product updates and industry trends, while interac- tive discussions gave attendees the opportunity to exchange ideas, share best practices and collaborate on ways to better serve musicians and educators. Throughout the event, dealers also connected
from across the U.S. to its headquarters in Mt. Juliet, Tennessee, June 30–July 1 for the company’s inaugural Summer Education Dealer Event. Designed to strengthen relationships, encourage collaboration and provide valuable educational opportunities, the two-day gathering brought together dealers and KHS America team members for open discussion, shared learning and business development.
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GIBSON NAMES ROHOSY INTERIM CEO G ibson has announced that Cesar Gueikian has made the decision to step back from
his role as president and CEO and transition into a new role as strategic advisor to the board, effective July 31. In addition to serv- ing as a member of the board, Gueikian will remain actively involved at Gibson, focusing
Anne Rohosy
GEWA Music Takes Over as Main Vater Drumheads Distributor in Europe G EWA music has taken over exclusive distribution of the Vater Drumsticks brand in Germany, Austria, France, Spain, Portugal, Italy, Scandinavia and Benelux. Top international drummers such as Vinnie Colaiuta, Cindy Blackman and Ilan Rubin rely on Vater Drumsticks. With a broad portfolio of models for a wide variety of playing styles, Vater continually sets new standards in performance and feel. The Drums Division of GEWA music is rounding off its ex- isting portfolio with a high-quality drumstick brand to create a complete range. All other relevant areas, such as drum kits, drum- heads, cymbals, hardware, percussion and bags, have been covered for years by the well-known brands Gretsch Drums, Remo, Paiste, Gibraltar, LP, Toca and GEWA Bags & Cases. {gewamusic.com} Sweetwater Reaches No. 4 Spot of ‘Top 100 Most Inspiring Workplaces’ for 2026 S weetwater has once again been named one of North America’s most inspiring workplaces, ranking fourth overall in the 2026 Top 100 North America Inspiring Workplaces Awards. The online music instrument and pro-audio giant is also the highest-ranked retailer on this year’s list and the best-ranked company in Indiana, climbing from ninth place overall in 2025. Inspiring Workplaces presented the award to Sweetwater on June 17. Sweetwater was given special recognition for its culture and purpose, em- ployee experience, inclusion and wellbeing for all businesses between 500–4,999 employees in North America. “This ranking reflects something we think about every day: A great customer experience starts with a great employee experience,” said Mike Clem, Sweetwater CEO. “Recognition across culture, inclusion, wellbeing and employee experience in the same year is a testament to what our people are committed to building here, together, across every part of the organization.” Inspiring Workplaces was established in 2015 and evalu- ates thousands of organizations across eight global regions. Company evaluations are scored across six key elements: pur- pose and culture, leadership, wellbeing, employee voice, em- ployee experience, and inclusion and belonging. {sweetwater.com}
on his work with the company’s artist community as global artist ambassador and serving as a strategic thought partner to the leadership team. Anne Rohosy, COO, will serve as interim president and CEO while the board works with a leading executive search firm to identify a permanent successor. “Gibson means so much to musicians and music lovers around the world, and I’m honored to step into this role at such an im- portant moment for the company,” Rohosy said. “I have spent my time here focused on how we connect with our customers and grow the Gibson name — and that focus does not change. I look forward to working closely with Cesar, the board and our leadership team to ensure continuity and build on the strong foundation already in place.” Rohosy joined Gibson in 2021 and advanced to chief commercial officer in 2025, where she now oversees the company’s global commercial strategy across wholesale, direct‑to‑consumer and retail channels. Her leadership has strengthened growth trajectories and expanded the brand’s global footprint. Previously, she served as chief human re- sources and impact officer and as managing director of Gibson Amplifiers. {gibson.com} FOTI JOINS PROEL ITALY AS CO-CEO A lessio Foti has joined Proel as co-CEO, a title shared with Giacomo Sorbi. Foti will be responsible for global sales. The move is the latest in the re- building of the company’s prod- uct platform — from product architecture, electronics and AI integration to a fully digitized working environment. Proel executives report that the moves will result in better support with faster responses. “Joining Proel at this historic moment is an extraordinary challenge,” Foti said. “There is a completely new energy. My goal is to lead global sales, both directly and together with our team, to bring our network the reach and responsiveness the global market demands today. “Customers will not only find new products, but also a fully digitized global partner. Made in Italy is a fundamental part of our identity — and we’re proud to bring that to the world alongside partners like you.” {proelworld.com} Giacomo Sorbi (left) and Alessio Foti (right).
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Steve Stevens (left) and Billy Idol (right) get inducted into GC’s Hollywood Rockwalk.
GC Inducts Billy Idol, Steve Stevens into its Hollywood Rockwalk O n June 23, Guitar Center inducted rock icons Billy Idol and Steve Stevens into the Hollywood Rockwalk during a ceremony at Guitar Center’s flagship Hollywood, California, location on Sunset Boulevard. Hosted by radio personality Richard Blade and attended by Idol, Stevens and Guitar Center CEO Gabe Dalporto, the event celebrated one of rock music’s most enduring creative partnerships. Idol and Stevens commemorated the occasion with a handprint ceremony outside the store, joining more than 150 artists and innovators who have been honored by the Rockwalk since its founding in 1985. The ceremony also marked the continued return of the Hollywood Rockwalk, part of Guitar Center’s broader commitment to celebrating music culture, honoring influential artists and creating meaningful experiences that inspire musicians and fans alike. “The Rockwalk exists to honor the artists who leave a lasting mark on music culture,” Dalporto said. “Billy Idol and Steve Stevens have inspired generations of musicians and created entirely new sounds, and Guitar Center has had the privilege of being part of that journey.” “I’ve had a fantastic time with Steve, he’s made a lot of my crazy ideas come true,” Idol said. “You can never really ask for anything more than that. It really is special and incredible, and I’ve enjoyed every minute of it. It’s great to be honored together by Guitar Center on the Rockwalk.” “It’s humbling to now be amongst this incredible group of musicians on Guitar Center’s Rockwalk,” Stevens said. “More than anything, this is a testament to over 45 years of great laughs, great songs that now belong to the world, and a great friendship.” {guitarcenter.com}
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> Page 26 AI In MI > Page 27 View From the Repair Bench
THE MARKETING GURU I BY TRACY HOEFT HOW TO GET CHATGPT TO RECOMMEND YOU F or years, the path was the same. A guitarist caught the itch for a new amp and started exploring what would the story the AI tells. 3. Think beyond your website. Get- ting your message to show up in multiple places is one of the best ways to raise your AI vis- ibility. Work this message into your reviews and online forums.
Want to know where you stand? Stop reading for a sec- ond, open ChatGPT and ask it to recommend the best option in your category the way a custom- er would. Go ahead, I’ll wait. If your name didn’t come up, don’t panic. You just found your opportunity. My team and I have studied millions of these AI answers across the MI industry, and four moves stand out as the best places to start. Do these first and you’ll be ahead of nearly everyone else in our business. 1. Have one message. Pick what you want to be known for, then keep it consistent everywhere: your homepage, your Google Business Profile, your reviews and your YouTube page. The AI trusts what it sees repeated, so the same story told the same way becomes the story it re- peats back. 2. Prioritize YouTube. In our in- dustry, nothing drives these AI answers more than YouTube. Tell your story there. The plat- form transcribes every word in every video — which is your chance to showcase your mes- sage and position yourself as the authority.
be the best fit. They’d narrow their favorite options and then turn to the brands they’re con- sidering and contact their favorite dealer to decide what to buy. That’s where their exploration became a purchase and that’s where we all earned our own place in the journey. However, the buyer’s journey is changing fast. Now a player describes what they want to an AI platform like ChatGPT and gets back specific answers on what to buy and where. The decision gets made right there, before they ever turn to the brand’s website or a trusted dealer. If you’re not in that an- swer, you’re suddenly invisible to that buyer. So, how do you become that recommendation? It starts with one clear reason you’re the right choice. Not 10. One. Claim you’re the best at every- thing and the AI hears noth- ing it can repeat. Pick the one thing you’re truly better at and say it plainly. Then say it the same way everywhere the ma- chine looks: your website, Google
4. Monitor your visibility. Regularly test how you’re showing up in the prompts your ideal custom- ers are most likely to be using. The way people decide what to buy and where is changing, whether we like it or not. So, the real question is simple: Are you changing with it? I want you to take AI visibility seriously, and the steps outlined above are how you start. And if you’d like a tool to help you see how you’re doing and where your biggest opportuni- ties are, I have a gift for you. I built it with my team, and I use it every day. Get free preview ac- cess to see what these platforms say about you and your category — no credit card and no strings attached, at MaxedMarketing. ai/MusicInc. Just a few days of monitoring your results will show you where your business stands today and help you figure out how to get ahead of this shift in consumer buying habits. MI
“The way people decide what to buy and where is changing, whether we like it or not. So, the
real question is simple: Are you changing with it?”
Business Profile, socials, reviews and anywhere else you’re men- tioned. The same clear story, told again and again, becomes
Tracy Hoeft is the president of Am- plify 11, a marketing firm specializing in the musical instruments industry.
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AI IN MI I BY PETER DODS The Anti-AI Argument
A cross several articles, I’ve been an unapologetic AI cheer- leader. I’ll keep showing what these tools can do. But a growing number of people are pushing back, and much of their criticism deserves a fair hearing. Here are a few “devil’s advocate” arguments against AI that I think everyone should be aware of. PRESSURE ON INFRASTRUCTURE The infrastructure powering this technology drives real resource
On morality, outputs have con- sequences: who gets the loan, what shows up in the feed, which resume gets filtered. “It’s just math” easily becomes a way to shirk responsibil- ity. If you rely on an LLM’s output without verifying it, you’re doing it wrong. THE BUBBLE It’s hard to see $20 monthly sub- scribers converting into $1,000 power users fast enough to justify trillions in infrastructure com- mitments. The only viable path to those massive returns is enter- prise software. Can any provider secure durable pricing power be- fore the tech stack commoditizes? If not, the unwind is harder to predict than the dot-com bust. FORWARD-THINKING FASTIDIOUSNESS Much of this comes back to job displacement. Beyond that, the tech itself cuts both ways. Will Suno Studio, a full AI music produc- tion suite, grow the music-making population or decimate it? I got into this industry as an Ableton beat maker. That hobby led me to buying a failing music store 20 years ago, and then falling in love with electric guitars. Would my 25-year-old self have bothered learning to chop samples if he could just type a prompt and get a finished song? Or does this lower barrier flood the market with new enthu- siasts, the way Serato did for DJs? It’s hard to say. What I know is the customer walking into our stores five years from now will have been fundamen- tally shaped by AI. MI
strain. Nationally, U.S. data centers use a fraction of a percent of America’s freshwater, far behind what golf courses consume. But the national number hides the local story: A facility that barely registers on a chart can still squeeze a drought-prone region like Arizona. The grid faces a similar crunch. Data centers used roughly 183 TWh in 2024, which is more than 4% of domestic electricity, with demand projected to rise sharply through 2030. A bright spot for both pressures is on-device AI. I can run Gemma 4 E4B on my phone, and for everyday tasks it holds its own against the GPT-3.5 we met in 2022. COGNITIVE OFFLOADING One warning sign of this is using AI in a way that weakens a skill you already have. Coding was never my strength, so leaning on AI for JavaScript isn’t at- rophying my brain. What I won’t do is hand AI my final decisions. I’ll ask for pros and cons, but the call is mine. JOB DISPLACEMENT This is a prisoner’s dilemma. Take the luddite path and you probably won’t slow the technology down.
A few criticisms of AI that deserve a fair hearing.
Or you can embrace it and grab as much productivity from it as you can. History says new technology creates new jobs, but this shift feels different. For now, many AI layoffs look overblown. INTELLECTUAL PROPERTY THEFT These models are trained on vast amounts of copyrighted material, and the lawsuits are still moving through the courts. AI CAN LIE & IT ISN’T MORAL I’d push back on both. A meteorologist who calls for sun and gets rain isn’t a liar. An LLM producing the most probable next token isn’t ly- ing when it’s wrong. It’s a prediction machine. It doesn’t know the truth, and it doesn’t have values. The fairer critique is that AI sounds confident whether it’s right or wrong.
Peter Dods is the owner of Honolulu- based Easy Music Center.
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VIEW FROM THE REPAIR BENCH I BY STEVE FRANCE Compensation Plan Principles
W hen you train someone from your commu- nity who has family and lo- cal connections to be a repair technician, you’re not just filling a position, you’re investing in long-term loyalty. In a previous article discussing the need for instrument repair apprentice- ships, I suggested that every store with at least one skilled technician has the ability to offer an apprenticeship as long as it has a vision for the business that includes setting a compensation plan, establishing training goals, executing hands-on projects, teaching the principles of repair work and creating a supportive learning culture. When offering an apprentice- ship, the focus of your skilled technician will be spread across their standard workload and train- ing the newbie. As a result, their commission-based compensation will be reduced. The solution to this inhibiting factor will not only encourage your tech to take on a trainee; it’s a guiding principle for a productive repair staff that will pay dividends for years to come as your business grows. THE SHOP’S SUCCESS IS THEIR SUCCESS Every employee needs to know their position on your team and what they should be doing to help you win. KPIs offer this clarity while giving you leading (not lag- ging) indicators for your business success. In the shop, these KPIs are time at the bench/work, bill rate per hour, timely repairs and quality of finished work. When every tech owns these numbers
on a daily basis, you’ll see increased production. Part of your lead tech’s job is to ensure the performance of the entire team, including your apprentice. This needs to be built into their KPIs. They must invest time to help everyone succeed by training advanced skills, ensuring supplies are available, helping to increase the bill rate, scheduling the workflow and doing final QC checks. This needed investment distracts them from their bench and possible commission unless their compensation is tied to the success of the entire team. Demanding this managerial work simply gets done as part of the job is an option. However, tying the com-
pensation of the lead to the success of everyone on their team, and to everyone hitting their KPIs, will produce better and lasting results. The easiest way to accomplish this is to offer a small percentage of every repair your team accomplishes to the lead tech. In this way, they are still earning a commis- sion while managing the department, and as the team’s output and quality increase, so does their compensation. To demonstrate, let’s start with the basics: If the ap- prentice or anyone spends time wondering what they should work on next, this is wasted, unprofitable time. As soon as you link the lead’s compensation to the overall output, they are motivated to keep each tech at their bench, earning. As the lead invests time developing the shop’s SOPs so every tech knows exactly what success looks like, the time spent on final QC inspections is
reduced, allowing more repairs to be ac- complished. As advanced skills are learned, everyone becomes faster and better at the craft, allowing the overall bill rate to increase. When you financially motivate the lead by linking their compensation to the success of everyone in the shop, everyone wins. The commission amount does not need to be large. Typically, 2–5% is sufficient to provide a noticeable incentive to the
“Every employee needs to know their position on your team and what they should be doing to help you win.”
right person. Any more than this and you run a potential risk of the lead relying on others for their pay rather than producing repairs themselves. This amount has a small effect on the shop’s profitability at first, but is quickly offset by increased overall pro- duction and income. When your apprentice is learning on profit-producing repairs, they not only contribute to your operation from day one, they contribute to the lead tech’s compensation. This mutually beneficial arrangement helps you solve the repair tech shortage and is a lasting principle to build a successful repair shop on. MI Steve France is a veteran instrument repair technician and educator based in St. George, Utah. He operates Premium Music Products, where he develops Tech-Oil Lubricants and provides ad- vanced training through Repair Masterclass for band and orchestra repair professionals.
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