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JULY 2026 I VOL. 37, NO. 6
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, Illinois 60126
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July 2026
THE RETAIL TECH ISSUE
Manuel Rodriguez III
26 I FROM THE TOP Manuel Rodriguez III discusses his family company’s 120-year history and shares how joining forces with GEWA has expanded his business. 36 I AGENTIC AI IN MI
How retailers are using agentic AI to streamline operations in their dealerships — and a few tips to get you on your way.
30 I THE RELATIONSHIP BUILDERS The Chuck Levin’s Washington Music Center team delves into what it takes to beat the competition in today’s online age, including going in-depth on a few of the customer service strategies that helped it win “Best Customer Service” at the 2026 NAMM Retail Awards. From left: Chuck Levin’s Washington Music Center’s Alan, Abbe, Adam and Samantha Levin.
40 I 4 SAAS TOOLS
TO INSTALL TODAY Four software-as-a-service tools retailers are deploying in their dealerships right now.
42 I GUITARS, AMPS & ACCESSORIES 46 I AUDIO & RECORDING 48 I DRUMS & PERCUSSION 50 I PIANOS, KEYBOARDS & SYNTHESIZERS 51 I DJ & LIGHTING
22 I IN THE TRENCHES X Cypher Shah shares his lessons learned from testing different SaaS platforms. 23 I VIEW FROM THE REPAIR BENCH X Steve France discusses the benefits of high- lighting your repair techs on socials. 24 I AI IN MI X Peter Dods advocates for using AI to build internal tools for your store.
14 I INDUSTRY PROFILES X Yamaha Guitars on celebrating 60 years.
16 I NEWS X NAMM Holds 20th Annual Fly-In
X Fender Sends Cease-and-Desist Letters X GC Names Reverb Founder to its Board X inMusic Brands Acquires Native Instruments X George’s Music Hosts Martin Guitar Night
RETAILER ASK THE 54 I ASK THE RETAILER X What’s the smartest tech investment you’ve made in the last few years?
X AlphaTheta Acquires DJ Monitor X Taylor Guitars Hires New CFO
25 I MY TURN X Rande Vick on how to turn your store into a memory making experience before Q4.
X Former Hal Leonard CEO Gifts $11M to Non-Profit X Eastman Starts Distributing Jewel Musical Ligatures
Cover photo by Emory Hensley.
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I n today’s business climate, the tension between the smart thing to do and the right thing to do is real. Just ask Adam and Alan Levin, owners of Chuck Levin’s Washington Music Center. In this month’s cover story, which starts on page 30, the Levins share their strategies for customer service, strategies that helped them win the “Best Customer Service” award during the 2026 NAMM Retail Awards this past January. What stood out most during our conversation is that their approach to PERSPECTIVE I BY KATIE KAILUS DOING THE ‘RIGHT THING, NOT THE SMART THING’
customer service isn’t built around scripts, chatbots or efficiency metrics. Instead, it’s built around conversation. The Levins said they believe great retail starts with listen- ing, asking questions and understanding a customer’s goals. And sometimes it means telling them something they may not want to hear if it’s ultimately in their best interest. “Communication is everything,” Adam said. “It’s hard. And I’m not claiming we’ve figured it out. Every day I’m thinking about how we can communicate better. But the answer is always more conversation. How do we solve this for the customer? How do we make it right? I consider a lot of what we do to be detective work. We have to truly understand the customer.”
The smart thing may be to protect margins and stick to company policy. The right thing, however, is whatever decision leaves the cus- tomer feeling valued and confident in their purchase. Those moments don’t always make the most business sense in the short term, but they can leave a lasting impression, including one that turns a single sale into a long-term relationship. As a result, word-of-mouth is still Chuck Levin’s strongest driver of business. “We don’t operate like a traditional CRM-driven business,” Adam said. “We’re not blasting out automated campaigns. We do marketing, I’m not saying we don’t, but so much of what works for us is organic. We do the thing, we do it right and that person tells other people. It’s still good old- fashioned word of mouth. Serving that customer as well as we possibly can is the best thing we can do, and it will continue to snowball just like it has for the last 68 years.” That philosophy may seem out-of-date in an age dominated by auto- mated marketing campaigns, social media influencers and AI-generated recommendations. But for the Levins, growth has always started with the customer standing in front of them. As you navigate your own business challenges, remember that the smartest decision isn’t always the one that looks best on a spreadsheet. Sometimes it’s the one that leaves a customer smiling, telling their friends about you and coming back through your door. MI
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Sharing Our Sho-Bud Dealer Program W e’d like to thank [editorial assistant] Kimberly Ka- pela, and the team at Music Inc. magazine for sharing our story in the May 2026 issue regarding the return of Mosrite under the Sho-Bud family. We’re humbled by the excitement in the industry around these two iconic brands coming back to market, and are committed to maintaining the unique tonal qualities and crafts- manship associated with each of these legendary guitar names. We’re also looking forward to adding dealers to our Team Sho- Bud Dealer Program, as we still believe it’s important that people touch, feel and hear an instrument before buying. It’s through these trusted dealers where customers can have their instruments serviced, learn to maintain them and even learn to properly play them. Sho- Bud would like to support music stores, especially the indie dealers, by enhancing product offerings, service and instructional opportuni- ties, as well as clinics, workshops and in-store showcases.
future generations have access to music and the arts. Another highlight of the week was helping organize the NAMM Jam, bringing musicians from all over the country together to col- laborate, perform and connect through live music. Most had never played together before, yet by the end of the evening it felt like they had known each other for years. In many ways, that spirit of con- nection reflected the entire Fly-In.
Mike & Miriam Risko Owners Mike Risko Music Ossining, New York
Music Education Needs All of Us “W hat do we do, and why does it matter?” These are the most common questions my [cus- tomers] ask. In essence, we influ- ence decision-makers: legislators, senators and government agencies that help shape educational stan- dards across the country. Through the collective voice of NAMM, we’re able to encourage them, hold them accountable to the promises they made last year, and remind them that music education directly benefits our society. Federal education legislation now says, “Music is part of a well- rounded education.” We had a part in that clarification. The funding allocated to ESSA Title IV, Part A has grown steadily, just as we have requested. As cool as that is, engaging with members of Congress and their staff- ers and learning what role music education played in their lives has been a great encouragement to me.
ticipating in the 20th NAMM Fly- In to Washington, D.C., where 100-plus industry members came together to advocate for music education and student access to music programs. While our world continues to evolve, one thing remains constant: the value music brings to the world, but most especially, young people. Beyond learning an instrument, music fosters so much more, in- cluding creativity, confidence, perseverance, collaboration and connection. These qualities matter more than ever. I’m grateful to work in an industry that helps create those opportunities and supports the next generation of musicians. I’m so thankful to all of those who dedicated their time and efforts this year — and for the past 20 years. If any of your subscribers are reading this letter and interested in seeing what it
is like, I encourage them to join us to “take to the Hill” next year.
Jake Connolly CEO & Owner Connolly Music East Northport, New York Advocating for the Next Generation R epresenting New York at May’s NAMM Fly-In for the third year was a meaningful reminder of why we do what we do. Through our music school, music store, performances and work in our community, we see every day how music changes lives. Having the opportunity to share those stories on Capitol Hill and advocate for music education was both an honor and a responsibility. It was inspir- ing to stand alongside educators, musicians, industry leaders and advocates from across the country who are all working to ensure that
Dawn & Will Jackson Owners Sho-Bud Nashville, Tennessee
Advocacy in Action T hank you to Music Inc. for the opportunity to participate in the June 2026 From The Top article. It was fun to share a few personal insights alongside some thoughts on our industry and the relation- ships that continue to make it such a rewarding one to be part of. One of the things I value most about the MI community is that it has always been built on more than products and business transactions — at its core is a shared belief in the power of music and the com- munity it creates. I recently returned from par-
J. Scott Mandeville President Tim’s Music Carmichael, California
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 NAMM Holds 20th Annual D.C. Fly-In > Page 17 Fender Issues Cease-and-Desist to PRS, Boutique Builders > Page 19 InMusic Acquires Native Instruments
As Yamaha celebrates 60 years in the U.S. guitar market, the milestone offers an opportunity to reflect on a journey that began in the late 1950s, when the company first entered the guitar business in Japan with a lineup of classical nylon- string instruments. Those early models established the craftsmanship that laid the groundwork for decades of growth across acoustic, electric and bass guitar categories. “Classical guitars are our heritage of where we started,” said Andy Winston, Yamaha’s product training specialist for guitars. “What we’re celebrating this year is the 60th anni- versary of Yamaha guitars in America. The year 1966 was the first year that Yamaha imported guitars into America, including two acoustic guitars, a dreadnought and a small body, six-string electric and a four-string bass. And that’s what started Yamaha’s pas- sion with what was going on in America.” PUSHING THE ENVELOPE While the company honors its heritage, it has consistently introduced technologies and concepts that challenge traditional ex- pectations of what a guitar can be. Among the most notable innovations of the past two decades are the groundbreaking Silent Guitar series and Yamaha’s TransAcoustic technology, both of which reimagined the player experience. One of the company’s strengths is its ability to tap into its broader portfolio, using insights from divisions such as pianos and B&O to inspire new developments within its guitar lineup. “We make acoustic guitars that have effects built into them, which is actually something that came from our piano divi- sion,” Winston said. “Our piano division is helping to inform other things that we do as a guitar organization. Now, we can give that player the experience of having an acoustic guitar that has reverb, chorus, delay, looper, Bluetooth, and all those chords, so that in- novation of how to make the experiential
For Yamaha Guitars, its 60-year milestone is less about celebrating the past and more about shaping the future. Through streamlined product offerings, strong retailer partnerships and a commitment to innova- tion, the company continues to evolve while keeping musicians at the center of every decision. — By Kimberly Kapela YAMAHA GUITARS TURNS 60 Yamaha Guitars’ Andy Winston.
Y
amaha Guitars has never been a com- pany content to rest on its laurels. While its rich history serves as a founda-
tion, the brand has consistently focused on innovation and meeting the needs of modern musicians.
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dealings with Yamaha product better and more informed for the customer.” To commemorate its 60th anniversary in the U.S. market, Yamaha unveiled two special-edition instruments during The NAMM Show this past January, including the 60th Anniversary FG9, handcrafted in Hamamatsu, Japan, and a limited-edition 60th Anniversary Revstar electric guitar. Despite its advancements, Yamaha’s identity remains rooted in serving musi- cians, especially beginners taking their first steps on the instrument. Winston noted that the company’s decades-long connection with entry-level players con- tinues to shape its design philosophy and long-term vision. “We always think that everybody that’s picking up a guitar for the first or second time is exactly the same person that we were at that age doing it, so we always try to keep that intention and purpose pure and with that player at heart, so there’s a lot of those interpersonal Yamaha sto- ries that weave in and out of our guitar division,” Winston said. “That’s also our guidepost of making sure those entry-level guitars are flawless in their construction and super easy to play, and then as we push forward, making sure that we’re using the best of technology, we’re using the most innovative systems and resources in wood treatments and ways of being ecologically sound and good stewards of the ecology is how Yamaha is moving forward with what we do.” NEVER LOOKING BACK As Yamaha looks toward the future, the company remains focused on refining and simplifying its product lineup, making it easier for musicians and retailers to navigate its diverse catalog. The company is work- ing to create a clearer roadmap through its guitars, ensuring model names and series designations have information about an instrument’s construction and place within its portfolio. “If you see acoustic guitars with a 1, 3, 5 or 9 in the model number, it dictates where things are going, and also helps in- form the customer and the salesperson how that guitar is actually made,” Winston said. “We’re trying to streamline certain things, making it easier on the customer journey into choosing a product, and then certainly make it easier for the retail salesperson to look at how that guitar is built and then where it fits into our lineup.” Beyond product development, Yamaha
views strong retail partnerships as a criti- cal component of its long-term success. At a time when many legacy brands are celebrating milestone anniversaries and reflecting on their histories, Winston em- phasized the importance of investing in dealer relationships and supporting the MI retail community. “We’re always looking to make the industry stronger, make those dealer re- lationships stronger,” he said. “Yamaha treats its retail partners with exceptional care and concern, and hopefully, as we
move forward into the future, that gets even better.” Winston teased that Yamaha has several “special things” planned for later this fall without any reissues. “We don’t look backward, we know our history, we know where we’ve been, and we know where we’re going, so every- thing is very forward-looking,” Winston said. “We’re always looking to make that product better than it’s been previously. The 60th anniversary is our guidepost of where Yamaha is going.” MI
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Every Student Succeeds Act (ESSA). Del- egates also urged members of Congress who sit on the Senate Finance and House Ways and Means Committees to provide targeted tariff relief for musical instruments, their components and the raw materials used to manufacture them. “Our members travel from across the country to share a unified message with law- makers: Music education is vital to student success, workforce development and the cul- tural fabric of our society,” Mlynczak said. “This consistent and persistent messaging that our NAMM members have delivered for the past 20 years is working, and we will continue to champion music education and industry trade for the benefit of every NAMM member around the world.” This year’s Fly-In also featured Congres- sional Record, a bipartisan event on May 13 celebrating the unifying power of music and the arts — with participation from members of the Congressional Musicians Caucus and Congressional Arts Caucus, all made possible by NAMM’s support. The NAMM Foundation began the week by hosting its annual Day of Service at McKin- ley Tech High School in Washington, D.C., connecting students with music industry professionals through its Careers in Music initiative. The program provides mentorship and career insights, helping inspire the next generation of music makers and industry leaders. Look out for in-depth coverage of the event from music retailer and attendee Myrna Sislen in a future issue. {namm.org}
The 2026 NAMM Fly-In delegation.
NAMM’S 20TH FLY-IN HIGHLIGHTS TARIFFS, MUSIC EDUCATION
F rom May 9–13, NAMM concluded a se- ries of high-impact advocacy efforts in Washington, D.C., advancing the association’s commitment to protecting the U.S. music products industry and expanding access to music education for more than 54 million students nationwide. Before the Fly-in on May 8, NAMM CEO John Mlynczak delivered oral testimony be- fore the Office of the United States Trade Representative (USTR) Section 301 Com- mittee, where he outlined the unintended consequences of current and potential tariff policies on the U.S. music products industry. NAMM’s testimony also highlighted a decline in imports of beginner instruments in 2025 — trends that could threaten the long-term pipeline of musicians and the broader music ecosystem. NAMM urged USTR to adopt targeted, evidence-based trade remedies and implement an exclusion process for musical E astman Music Company has announced a new international distribution ar- rangement for Jewel Musical Products’ Expressions ligatures. Eastman will offer the Expressions ligature line to dealers, educators and musicians, with models in stock at Eastman’s Pomona, California, facility and available immediately. The Expressions ligature line includes signature models developed by Dave Knox of Jewel Music for such artists as Ricardo Morales, Jonathan Wintringham of the International Saxophone Academy and Eddie Daniels. Designed for clarinet and saxophone players, the line is built around Jewel’s focused approach to reed contact, instrument response, and tonal expression.
instruments, components and raw materials. Then, from May 10–14, NAMM returned to Capitol Hill for its 20th annual Advocacy D.C. Fly-In, bringing together a strong, diverse delegation of industry representatives. The Fly-In convened over 100 NAMM members and industry partners for more than 200 meetings with members of Congress and staff to advocate for federal funding supporting music and arts education. Additionally, two celebrity delegates — Miss America Cassie Donegan and legendary drummer Queen Cora Coleman — joined the effort as advocates to help elevate the industry’s message. Delegates called for increased investment in key federal programs, including Title I, Title II, Title IV, Part A and the National Endowment for the Arts (NEA). These pro- grams are essential to ensuring that music and arts remain integral components of a well-rounded education, as defined by the
Eastman to Distribute Jewel Musical Products’ Ligatures
Ricardo Morales and ISA Expressions ligatures feature Jewel’s Flex Rail design, which promotes even reed response and improved vibration for a projecting, con- trollable tone. The Eddie Daniels Ex- pressions ligatures use a coated fabric construction, open pocket design and unique rail design intended to enhance reed vibration while supporting a warm, balanced sound with clear projection and
responsive articulation. “We’re excited to partner with Jewel Musi- cal Products and bring their innovative Expres- sions ligatures to our dealer network,” said Joe Montgomery, wind accessories product manager at Eastman Music Company. “These ligatures deliver fantastic responsiveness and tonal core for developing players and profes- sionals alike.” {eastmanmusiccompany.com; jewelmusic.com}
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ARTIST APPROVED
Fender Targets Strat-Style Builders with Cease-and-Desist Letters A s Fender intensifies its legal efforts to protect its Stratocaster body shape, a LsL added that defending itself would also require separate legal representation within the European Union, further escalating costs for the small builder.
The alt-rock artist shares the first instrument she truly con- nected with and how her Fender Telecaster has become the cen- terpiece of both her live shows and recording process. LOVIET Music Inc.: What was your first instrument? LOVIET: The first instrument I ever owned was a white Peavey Raptor special electric guitar, though I did start piano lessons first. MI: What’s your all-time favorite instrument? LOVIET: These days I’m playing a Fender Telecaster. I find they’re so great on the road and on stage because they’re indestructible and stay in tune. MI: What instruments are currently in your arsenal? LOVIET: My Telecaster is definitely my main live and recording instrument, but I’m blessed to also own a Gibson 339 and recently became the new owner of a Kingsbury baby grand piano from the 1920s, a gift from a family friend. It has become my go-to for writing and will hopefully be on some records in the near future. MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your attention? LOVIET: I love playing a Vox AC30 or 15, but I currently rock an AC4TV almost exclusively. I bring it to all of my shows which some- times draws some attention because it looks so small, especially on some of the bigger stages we’ve gotten to play, but I really love that amp and it’s been my secret weapon for everything from compact touring, flying, solo shows, full-band shows and even recording. MI — By Kimberly Kapela
growing dispute is unfolding between the guitar manufacturer and the boutique builders who helped popularize the “S-style” guitar market for decades. Fender, through international law firm Bird & Bird, has issued cease-and-desist letters to several U.S.-based guitar builders demanding they stop manufacturing and selling Strat-style instruments. The first company to publicly acknowledge receiving one of those letters is LsL Instruments, a small family-run builder known for its vintage-inspired S-style gui- tars. In response, the company launched a GoFundMe campaign that has already raised more than $45,000, claiming the cost of fight- ing Fender’s legal challenge could jeopardize the company’s future. The dispute ties to a recent ruling in the Regional Court of Dusseldorf in Germany, where Fender won in a case against a Chinese manufacturer accused of producing Strat-style guitars for sale through AliExpress into the European market. According to Fender, the court determined the Stratocaster body shape qualifies as original artistic expression under European law. The cease-and-desist letters demand that companies halt the production and market- ing of guitars Fender believes infringe upon that protected design. In a public statement posted alongside LsL’s fundraiser, the company argued that Leo Fender himself never secured copyright protection over the Stratocaster body shape during his lifetime. “We have been contacted by Fender Musi- cal Instruments with demands to respond in a certain time,” the company wrote. “We were not prepared for this. We have to pay for legal representation immediately and we were simply not in a financial position to tackle this on our own.”
“To do this we must raise immediate funds that we do not have available to us,” the statement continued. “We are a meager humble company that has never seen great success, but against all odds has remained a company for almost two decades.” On May 28, Fender sent a cease-and-desist to Paul Reed Smith Guitars (PRS) over its PRS Silver Sky, artist John Mayer’s signature guitar. According to The Wall Street Journal, “The company said it disagrees with Fender’s assessment and declined to comment further.” Like many electric guitars, the Silver Sky draws inspiration from the Stratocaster. In- troduced in 2018, the Silver Sky has become one of PRS’ biggest commercial hits. The situation has ignited wider conver- sations throughout the guitar market about ownership and the evolution of electric guitar design. Over time, the “S-style” guitar has effectively become its own category within the electric guitar market, with many play- ers no longer associating the double-cutaway contour exclusively with Fender itself. Fender’s general counsel and chief admin- istrative officer, Aarash Darroodi, has issued the company’s first on-record statement on the campaign. “This ruling is a meaningful affirmation of the Stratocaster as an original creative work and an important step in continuing to protect the integrity of Fender’s designs and intellectual property,” Darroodi said. “It reinforces our commitment to originality, supports fair competition, and helps ensure that when players encounter these iconic Fender guitar shapes, they can trust the craftsmanship, quality and heritage behind them.” MI — By Kimberly Kapela
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GUITAR CENTER NAMES REVERB FOUNDER DAVID KALT TO BOARD G uitar Center has named David Kalt as an independent member of its
Sweetwater Receives Mental Health Workplace Award S weetwater has been awarded a 2026 Gold Bell Seal for Workplace Mental Health, one of the nation’s top recogni- tions for U.S. employers. Issued by Mental Health America, a leading nonprofit dedicated to advancing mental health and well-being, Sweetwater joins a select group of organizations recognized for their commitment to fostering psychologically safer, supportive environments where employees can thrive professionally and personally. The Gold Bell Seal Award recognizes Sweetwater’s efforts across several key areas, including: a strategic and holistic approach to employee well-being; mental health-friendly benefits and resources; a strong emphasis on work-life balance; and a commitment to a fair and accessible workforce. “This Gold Bell Seal Award reflects the care, intention and responsibility we bring to support our people every day,” said Jeff Ostermann, Sweetwater’s chief people and culture officer. “By sharing this good news during Mental Health Awareness Month, we are proud to reaffirm that supporting mental health isn’t just a program for us. It is a core part of who Sweetwater is as an organization.” Since 2019, Mental Health America has awarded the Bell Seal to hundreds of employers supporting the mental health of 5.1 million employees combined, based on decades of research into best practices in workplace mental health. {sweetwater.com}
board of directors. Kalt is the founder of Reverb, the platform that transformed how musicians buy and sell new, used, and vintage gear online. He also previ- ously acquired and helped grow Chicago
David Kalt
Music Exchange into one of the country’s most recognized destinations for vintage and collectible instruments. His appoint- ment comes as Guitar Center enters its next phase of growth. “We went from eight consecutive quarters of decline to nine consecutive quarters of growth,” said Gabe Dalporto, CEO of Guitar Center. “We’ve got the company on a good trajectory and now we’re playing offense. David built Reverb from scratch and fundamentally changed how musicians buy and sell gear. That kind of experience matters as we think about what comes next for this company.” Kalt’s experience spans music retail, digital marketplaces and technology-enabled businesses. After acquiring Chicago Music Exchange, he identified gaps in how musicians buy and sell gear online, which led to the creation of Reverb.com. The platform changed the used and vintage gear market and was acquired by Etsy for $275 million. {guitarcenter.com} THE MUSIC PEOPLE PROMOTES WAYNICK TO DIRECTOR OF STRATEGIC ACCOUNTS T he Music People (TMP) has pro- moted Austin Waynick from na- tional accounts manager to director of strategic accounts.
In his new role, Waynick will expand his leadership responsibilities while con- tinuing to drive key sales initiatives. He will oversee and manage a team of na-
Austin Waynick
tional account managers, focusing on strengthening strategic partnerships, identifying growth opportunities, and accelerating the company’s AVL business across key channels. “Austin has consistently demonstrated a strong ability to build relationships, drive results and add significant value to our customers,” said Jeremy Payne, vice president of sales. “His promotion reflects both his past contributions and our confidence in his ability to guide our strategic account efforts into the future.” Since joining TMP, Waynick has played a critical role in developing national account relationships and expanding market reach. His deep understanding of the AVL landscape, combined with his extensive network of strong industry relationships, has made him a valuable asset to both the sales team and TMP’s partners. {tmppro.com}
George’s Music Hosts Martin Guitar Night G eorge’s Music, which has stores in Pennsylvania and Florida, recently hosted Chris Martin, the sixth-generation owner of Martin Guitar, for the “An Evening with Chris Martin” event. The sold-out, standing-room-only evening featured Chris tell- ing the history of Martin Guitar through instruments from the Martin Museum and his personal guitar collection. Guitarist and Martin clinician Craig Thatcher delighted the audience with performances on the famed instruments. Chris Martin hosts these events worldwide, tracing the nearly 200-year history of the brand. {martinguitar.com} Martin clinician Craig Thatcher, George’s Music CEO George Hines, store manager Sean Naylor and Martin chairman Chris Martin IV.
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announced a collaboration bringing NKS integration to Akai Pro’s MPK controllers, M-Audio’s Oxygen controllers, and Native Instruments’ sounds to the MPC standalone platform for the first time — a partnership that demonstrated the complementary strengths and shared values of both organizations. “Native Instruments represents every- thing we look for in a partner: exceptional products, a deeply engaged community and a clear point of view on what musi- cians want,” said Jack O’Donnell, CEO of inMusic. “Our work together has already shown how strong this combination can be. Bringing these platforms together allows us to move faster, deepen integration and build better tools for creators.” “Every brand in the inMusic family was built by people who love music, and every decision we make is guided by what musicians want,” O’Donnell added. “It’s what Native Instruments has always stood for, too. That shared belief is the founda- tion of everything we will build together.” {inmusicbrands.com; native-instruments.com}
INMUSIC BRANDS ACQUIRES NATIVE INSTRUMENTS O n May 7, inMusic and Native Instru- ments announced that inMusic had signed a definitive agreement to acquire Native Instruments.
more than 25 million registered users, Na- tive Instruments has built one of the most engaged communities for creators, worldwide. Founded in 1992, inMusic Brands’ music technology portfolio features Akai Profes- sional, Moog Music, Denon DJ, Numark, Rane, M-Audio and more. The acquisition builds on an established relationship between the two companies. In 2025, inMusic and Native Instruments
Native Instruments is the developer of platforms, including Kontakt, a leading sampler platform; Traktor, a professional DJ platform; and mastering and audio pro- duction tools iZotope, Plugin Alliance and Brainworx. With a direct relationship with
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TAYLOR GUITARS NAMES GEOFF SMITH AS CFO T aylor Guitars has appointed Geoff Smith as chief financial officer. Smith
previously served as the company’s con- troller and brings more than two decades of financial leadership experience across manufacturing, technology and consult- ing organizations. As chief financial officer, Smith over-
Geoff Smith
Keith Mardak and Mary Vandenberg
sees the global financial strategy and operations of Taylor Gui- tars, supporting the company’s long-term vision while helping preserve the values, craftsmanship and culture that define the brand. He works closely with CEO, president and chief guitar designer Andy Powers and Taylor’s executive leadership team to guide financial planning, operational strategy and sustainable growth across the organization. Smith has held senior finance and accounting leadership roles across multiple industries and succeeds Barbara Wight, who served as chief financial officer for more than 16 years and played an instrumental role in the company’s growth. During her tenure, Wight helped guide Taylor Guitars through global challenges during the pandemic and the company’s transition to a binational Employee Stock Ownership Program that made the company fully employee-owned. {taylorguitars.com} GUITAR CENTER NAMES JENNIFER HATTON AS MUSIC & ARTS PRESIDENT G uitar Center has named Jennifer Hatton as the new president of
All-In Milwaukee Receives $11M Gift from Former Hal Leonard CEO A ll-In Milwaukee has announced that philanthropists Keith Mar- dak and Mary Vandenberg have made an $11 million gift to the organization, the largest contribution in All-In Milwaukee’s history. The investment will help 500 additional Milwaukee students attend and complete college over the next 10 years. Since launching in 2018, All-In Milwaukee has provided compre- hensive college access and success support to hundreds of low-income students across the city, helping scholars enroll in college debt-free and persist through graduation. “This gift is transformational for us,” said Allison Wagner, executive director of All-In Milwaukee. “For the next 10 years, 50 of our annual scholar spots are now funded. It creates a strong foundation for us to continue growing and serving more students across Milwaukee.” Keith Mardak, former CEO and chairman of Milwaukee-based music publisher Hal Leonard, and Mary Vandenberg, former vice president of business affairs for the company, said the organization’s long-term student support model inspired their investment. “What makes All-In Milwaukee so special is the comprehensive, wraparound support,” Mardak and Vandenberg said in a joint state- ment. “That model keeps us invested and gives us confidence that our support is truly changing the trajectory of students’ lives.” The gift reflects the couple’s commitment to youth development and the arts. They have previously supported various other organizations, including the Boys & Girls Clubs of Greater Milwaukee, Milwaukee Youth Symphony Orchestra and First Stage. All-In Milwaukee’s inaugural class included 40 students. This coming academic year, the organization will support 215 new scholars, with a goal of reaching annual cohorts of 250 students by 2029. To date, approximately 250 students have graduated through the program. Nearly all participants come from low-income households, with 98% identifying as students of color and 86% being first-generation college students. Students apply during their senior year of high school and are matched with one of eight partner colleges and universities in Wisconsin. Most scholars attend the University of Wisconsin-Madison, UW-Milwaukee or Marquette University. Partner institutions provide the maximum available financial aid, while All-In Milwaukee contributes an additional $12,000 per stu- dent to help cover expenses, such as laptops, summer coursework and other educational costs. Each scholar is also paired with a mentor who provides academic, personal and career guidance throughout college. {halleonard.com}
Music & Arts, the company’s school music division. Hatton brings nearly three decades of education sector lead- ership, most recently as chief growth officer at Aramark Collegiate Hospital- ity, where she helped secure more than
Jennifer Hatton
$240 million in new business partnerships and achieved a 98% account renewal and retention rate over the last 18 months. Her appointment positions Music & Arts to accelerate growth across its school music, rental and lessons businesses. “Music and Arts is the largest provider of K–12 band and orchestra rentals and equipment in the United States, and we currently have great momentum in the business,” said Gabe Dalporto, CEO of Guitar Center. “Jennifer has spent her career serving the education sector while building scalable operations, and that’s exactly what Music & Arts needs to keep growing.” “This brand has been inside schools and music programs for over 70 years,” Hatton said. “That kind of trust is hard to build and easy to lose. I’m here to make sure we keep earning it.” {musicarts.com}
20 I MUSIC INC. I JULY 2026
strengthening the data infrastructure; expand- ing services for rights organizations, rights holders and DJs; and accelerating expansion into the global market. “DJ Monitor’s track identification tech- nology delivers an exceptional level of ac- curacy, and we are very excited to bring it into AlphaTheta,” said Yoshinori Kataoka, president and CEO. “This strengthens the areas KUVO is already exploring, and when combined with our products, technologies, and expertise, it enables us to create entirely new music experiences. We look forward to what’s ahead for AlphaTheta and KUVO.” “Since founding DJ Monitor in 2005, our mission has been singular: to ensure that every track played in a DJ set is accurately identified, and that the electronic music creators behind those tracks are fairly and transparently compensated. We set out to fix a broken ecosystem — and we did,” said Yuri Dokter, founder and CEO of DJ Monitor. “Now, joining forces with AlphaTheta feels like the natural next chapter. We couldn’t have found a better home to carry this work forward.” {alphatheta.com}
ALPHATHETA CORPORATION ACQUIRES DJ MONITOR A lphaTheta Corporation has acquired the technology and related assets of DJ Monitor data-driven insights continues to grow, more advanced tracking technology and a stable data foundation are becoming essential for future expansion.
B.V., a Netherlands-based company, strength- ening KUVO and expanding its capabilities. As part of this initiative, AlphaTheta will establish a new company, AlphaTheta KUVO Technology B.V. Through this acquisition, AlphaTheta will obtain DJ Monitor’s technol- ogy, intellectual property, related contracts and business assets in full. KUVO is a platform that captures and stores music performance data from clubs and DJ event venues, transforming music play history into visible and actionable insights. It has played a key role in connecting DJs, clubs, rights holders and music fans. As the demand for transparency in music usage and
By integrating DJ Monitor’s track identifi- cation technology and data processing infra- structure, AlphaTheta will further strengthen KUVO’s technological independence. At the same time, this will enhance the service’s reliability and scalability, opening the door to new possibilities. The newly established AlphaTheta KUVO Technology B.V. will serve as a core hub for the development and opera- tion of KUVO-related technologies. Key initiatives include advancing tracking and music recognition technologies; improv- ing the accuracy of performance data and
JULY 2026 I MUSIC INC. I 21
> Page 23 View from the Repair Bench > Page 24 AI in MI > Page 25 My Turn
IN THE TRENCHES I BY CYPH SHAH MY GUIDE TO SAAS CONSIDERATIONS N avigating through the sea of SaaS products in search of your Moby Dick can be a challenge.
into a support subscription for one minor change. This may work in some scenarios where the tool is open source, but you may hit a brick wall in others. It’s important to understand the difference be- tween a closed subscription-based model and engineering-friendly ones. Don’t rely on this avenue without accepting the fact you may invest hours into a dead end. DOUBT THE DEMO Many SaaS tools will offer a live demo for you to poke around on, but sometimes what you see isn’t always what you get. Additional features may be unlocked in the demo that aren’t included in your plan or explicitly defined. After surveying a multitude of provider options over the course of days you may grow tired of the process, opting to make a best guess while crossing your fingers so you can move on with your life. That’s where they get you. And because these tools are not a one-size-fits-all, relying on referrals from industry compatriots may not prove to be an effective maneuver. GLOBAL RELEVANCE Make no mistake, a lot of this correlates to other software inte- grations, like APIs and plug-ins. Make sure they all communicate properly. They all need to be on specific versions to pass data prop- erly. Your main CRM may require security updates that knock one or two of them into disarray, trigger- ing a domino effect of debugging.
One example: We were relying on the UPS API for our web- site AstroAVL.com until UPS decided to sunset that feature. Our website’s pings for data were hitting a closed server, resulting in impediments in the customer’s checkout process. With the help of our quick-thinking develop- ment team, Excel Bots, we crafted and deployed a custom script to estimate freight costs based on the published rate data updates. DON’T GO IT ALONE You may be tempted to take full control of the rudder but un- less you’re well versed in sailing through SaaS and Java, it’s best to bounce navigation routes off of those around you — specifically a developer who understands your company’s needs and workflow as well as you do. THE HULL COMMANDS THE BUOYANCY If your core online operations exist on a popular platform, like Shopify, you may be in for a smoother voy- age. However, I’ve stumbled upon plenty of popular extensions that have terrible ratings and a litter of off-putting reviews on support. In a perfect world these tools would fit together and interact like a well- tailored suit. But in the event they don’t, prepare redundancy proto- cols for when systems go down. This way, you won’t find yourself upstream without a paddle. MI
I’ve researched and deployed a handful, including cloud-based POS systems, CRMs and other order management tools. And I learned the hard way that what you think you’re getting might not really give you the end result you thought it would. Chart a smoother course by learning from my SaaS experiences. “LOW ENTRY PRICE” ISN’T “LOW COST” While comparing product solu- tions, I often went through the options weighing what features I could live without for a price that appeals to the budget. What some mid-to-lower tier pricing options don’t tell you is that you’re going to encounter gaps in performance or functionality that weren’t read- ily apparent during the first 90 days. And by then, your initial installation support has expired. Bridging those gaps is going to require an additional subscription for tech support which often comes with a hefty price tag, doubling or tripling what you anticipated. Keep this in mind and potentially ask your onboarding customer success manager for a breakdown on your support tier. PRODUCT SUPPORT’S NOT ON YOUR SCHEDULE Being able to articulate your needs to the provider may come with
“Understand the difference between a closed subscription- based model and engineering- friendly ones.” challenges best dealt with over the phone or live chat instead of emails where details can be lost in translation. However, those product support teams may be on the other side of the pond, and getting in touch with a live agent can require you working during their hours, not yours. So, be prepared to fire up the coffee pot at 3 a.m. if you want real-time answers to your SaaS problems. CUSTOMIZATIONS MAY NOT CORRELATE There are occasions where you may choose to defer to your own developer to make custom tweaks to the script instead of jumping
Cyph Shah is the manager of Astro Audio Video and Lighting in Glendale, California.
22 I MUSIC INC. I JULY 2026
VIEW FROM THE REPAIR BENCH I BY STEVE FRANCE Highlight Your Techs on Socials
T he marketing pyramid of influence frame- work categorizes your audience into hierar- chical tiers based on their level of engagement with your market and their ability to sway purchasing decisions. It sug- gests the local band director has influence, and the college professor has even more. At the top of the pyramid is the nationally recognized profes- sional musician. The pyramid even suggests that the ninth-grade flute player down the street may have more influence on the next generation of buyers than your experienced sales staff. It’s very difficult to overcome this social influence structure simply because you’re seen as a store owner with something to sell. One way to elevate your store on the pyramid of influence is to highlight your repair technicians on social media. For whatever reason, your technicians come across as more trustworthy than your sales staff — old, cantanker- ous and opinionated, but more trustworthy and influential. Use this fact to your advantage instead of fighting against social norms. THE BENEFITS Technicians can help build trust with your customers. Buyer’s remorse is real, and often comes before the sale. Many parents are reticent to buy or rent an expensive instrument fearing their student will break it. Demonstrate how your repair staff will protect them from the worst accident and can make everything right again. A highlight reel of the worst damage made right again builds trust that your shop
has their back. Show how your technician’s craftsmanship, tooling and years of experience are there to support them on their worst day. Separate yourself from the competition by showcasing your tech- nicians’ setup of every instrument for success. Have them educate buyers on why an instrument may not be ready to play straight from the factory, and what they do to ensure the best playing experience. Be sure not to badmouth the products you sell, but instead show how you make a great product even better because you care about your customer’s playing experience. Technicians can often demonstrate features and benefits more
effectively than your sales staff. When they show the regulations needed as a result of a missing feature, or the damage done to an instrument lacking a brace, they show avoidance of a problem — a powerful buying motivator. Techs can help buyers understand how these two instru- ments are equal, but why the case on one makes for a better purchase. Their praise of great craftsmanship in an instrument carries weight. Use your technician’s posi- tion on the pyramid of influence to help your customers make good buying decisions. Aside from creating great value in the products you sell, or helping buyers avoid potential problems, efforts to highlight your technicians on social media will keep them on staff longer by affirming their contributions to your business. You compensate your techs through their paychecks, but this becomes an expectation instead of a
show of gratitude. Buying them snacks is a great pick-me-up every now and then, but highlighting them to your audience by putting them front and center on your social media channels gives a much-needed lift in pride and dedication to your team. Using them on social media says, “Good job! I want everyone to know how skilled you are” and keeps them working with you longer. Your marketing team’s time commitment can be small. Film just one day of everything hap- pening and you can make several months’ worth of posts out of it. Come into this filming with a plan of what you want to highlight. Involve your techs in this planning, and they’ll give you ideas unique to their perspective. Understanding the pyramid of marketing in-
“Have techs educate buyers on why an instrument may not be ready to play straight from the factory, and what they do to ensure the best playing experience.”
fluence, and especially that your techs can be higher on this pyramid than your sales staff, will change how you use your repair staff in social media marketing. 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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