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APRIL 2026 I VOL. 37, NO. 3
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. For all others: $60 one year (11 issues). $100 two years (22 issues) to U.S.A. addresses. $85 one year (11 issues), $150 two years (22 issues) to Canada and other foreign countries. Air mail delivery at cost. SINGLE COPY (and back issues, limited supply): $14.95, plus shipping, surface mail. Air mail, delivery at cost. We cannot be responsible for unsolicited manuscripts and photos. Nothing may be reprinted in whole or in part without written permission from Maher Publications Inc. Copyright 2026 by Maher Publications Inc., all foreign rights reserved. Trademark register pending. OTHER MAHER PUBLICATIONS: DownBeat, UpBeat Daily CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include your current MUSIC INC. label showing your old address. MUSIC INC. (ISSN 1050-1681) Published monthly, except March. Printed in U.S.A. by Maher Publications Inc. 188 W. Industrial Drive, Suite 310, Elmhurst, IL 60126. Periodical Postage Paid at Elmhurst, IL and at additional mailing offices. POSTMASTER: Send address changes to:
MUSIC INC., 188 W. Industrial Drive, Suite 310, Elmhurst, Illinois 60126
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April 2026
THE NAMM SHOW ISSUE
ALSO IN THIS ISSUE:
28 I FROM THE TOP Ben Montague of The North American Guitar talks acquiring some of the most storied guitar dealerships, including, most recently, Norman’s Rare Guitars.
14 I NEWS X TNAG Global Acquires Norman’s Rare Guitars X MI Industry Responds to Latest Tariffs News X Native Instruments Enters Preliminary Insolvency X TMP Founder Hennessey Passes Away 12 I PROFILE X Fresh off of its Best in Show win, Eddie Wang Instruments’ founder talks making boutique amps.
The Theo Wanne and JJ Babbitt teams announce their new collaboration at their shared NAMM booth space.
32 I THE 2026 NAMM SHOW REPORT In-depth coverage of the MI industry’s yearly gathering, including all the breaking news, market trends and new gear — straight from the show floor. Plus: Our Editors Choice Awards honor the coolest products we saw at the show.
23 I E-COMMERCE REVERBERATIONS X Reverb’s Cyril Nigg offers three practical tips to drive sales in this AI era. 24 I VIEW FROM THE REPAIR BENCH X Steve France provides ideas on how to get rental season ready — now. 26 I NAMM YP X Tim Spicer, owner of Spicer’s Music, NAMM’s Retailer of the Year, shares his winning retail strategies.
34 I NAMM SHOW NEWS 38 I GUITARS, AMPS & ACCESSORIES COVERAGE 42 I AUDIO, RECORDING & DJ COVERAGE 46 I BAND & ORCHESTRA COVERAGE 50 I DRUMS & PERCUSSION COVERAGE 54 I PIANOS, KEYBOARDS & SYNTHS COVERAGE
RETAILER ASK THE 66 I ASK THE RETAILER X Dealers discuss their biggest takeaways from The 2026 NAMM Show.
The 2026 Best in Show panelists.
ON THE COVER: Sheléa (left) and Stevie Wonder (center) perform together on the Yamaha Grand Plaza Stage. Photo by Ryan Kotrlik. Right: Alana Springsteen performs on the Yamaha Grand Plaza Stage.
58 I BEST IN SHOW A look back at the winners of the annual NAMM Saturday session.
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I n the two months since we all gathered in Anaheim, California, for The 2026 NAMM Show, the world around us has changed quite a bit. One month after the show began, the Supreme Court struck down President Trump’s 2025 tariffs, ruling that the International Emergency Economic Powers Act (IEEPA) does not authorize the president to impose tariffs. Despite that decision, Trump announced a new 15% tariff. As of our press date, those tariffs have yet to take effect. (For more on the tariffs news, and reaction from the MI industry, turn to page 15.) After the news broke, response from across the MI industry began to PERSPECTIVE I BY KATIE KAILUS ONLY CONSTANT IS CHANGE
trickle in, including from Jerry Goldenson, president of KHS America, which manufac- tures some of its lines in China and Taiwan. “The recent Supreme Court ruling repre- sents an important victory, but not because it immediately eliminated the IEEPA tar- iffs, but because it reaffirms a fundamen- tal principle that the rule of law matters,” Goldenson said. “In today’s uncertain cli- mate, that affirmation carries significant weight. The administration retains other statutory avenues to impose import taxes or trade restrictions, with costs that ultimately reach U.S. businesses and consumers. It’s this continued uncertainty that challenges short- and long-term planning across our industry. We must continue to navigate
volatility with resilience, discipline and strategic adaptability.” Then, a little over a week later, the U.S. and Israel launched joint air- strikes on Iran, kicking off what is now being labeled the “Iran War.” Fuel prices have already risen, and the trickle-down effect from these higher fuel prices will no doubt hit groceries — as farming depends heavily on fuel and fertilizers — as well as airline fares, which are also sensitive to fuel costs. These rises in everyday essentials will create more competition for cus- tomers’ dollars — a situation MI retailers unfortunately know all too well. It’s moments like these that remind us that the only constant is change. And perhaps no one said that better than Kathy Reilly, owner of Vermont Violins in South Burlington, Vermont, in this month’s Ask the Retailer col- umn on page 66. When asked what her biggest takeaway was from attending The 2026 NAMM Show, Reilly shared that, for her, this year’s focus was on adaptation to a changing world. “Everyone in the MI industry experienced massive disruption in 2025 and, while it at times feels scary and overwhelming, NAMM reminded me that the existence of change is the only constant in our world,” Reilly said. “Tariffs, AI, post-COVID shopping patterns and all the new technologies we’re introduced to require shops to pivot: both online and in-store.” Take a page out of Reilly’s playbook and be ready to pivot. Head-in-the- sand retailing doesn’t work in times of change and uncertainty. Keep an ear to the ground and an eye on Music Inc. in the coming months for the latest best practices on navigating these uncertain times. MI
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A Letter from White House of Music T hank you to the Music Inc. team for the wonderful fea- ture on White House of Music and my recent appointment as the NAMM chair. I [was] truly honored to be included in the January 2026 NAMM issue and grateful for the thoughtful way you highlighted our shared mission and commitment to serving the music makers in our communities. My wife Tracy and I appreci- ate the work Music Inc. does to support and elevate independent music retailers and create more awareness of all that’s happening at NAMM throughout the year. Chris & Tracy White Owners White House of Music Waukesha, Wisconsin Innovation, Education & the Future of Music Making W e’d like to thank Music Inc. for the opportunity to reflect on Casio America’s journey in the January 2026 issue’s “From the Top” feature. The conversation offered a valuable moment to step back and consider the importance of thoughtfully balancing inno- vation with the craftsmanship and reliability musicians have trusted for generations. As discussed in the inter- view, technologies, such as AI and smart connectivity, pres- ent exciting possibilities when used intentionally to enhance creativity, accessibility and the way people engage with mu- sic. Our goal is to introduce innovation that is practical, intuitive and rooted in real mu- sical needs. This philosophy is reflected in recent innovations like Dimension Shifter, which debuted at NAMM 2026 and introduces a new, intuitive way for musicians to shape sound
consumer. With the landscape of trade shows evolving, our biggest takeaway was the importance of “experiential” retail — it isn’t just about stocking the new re- leases from brands like Martin or Boucher, but about telling the story of these instruments through content and community. Nothing makes this new real- ity more effective than meeting in-person at The NAMM Show, where those connections and product stories are first present- ed. It proved that while the way we discover gear is changing, the demand for high-quality, special- ized acoustic instruments has never been stronger. By the way, we also released a podcast episode talking more in-depth about our NAMM expe- rience on The Acoustic Shoppe’s YouTube channel. Jeremy Chapman Owner I ’m writing regarding your on- line article on Conn Selmer [moving its Ohio operations to China and] leaving America behind by firing more than 100 workers. I think this is a horrible decision by Conn Selmer to double down on building in- ventory in China. I urge them to reconsider! The Acoustic Shoppe Springfield, Missouri Ugh, C’mon Conn Selmer Join the renewal of American manufacturing! If the company actually leaves America, the re- sult will be massive shortages and price hikes. Anthony Mantova Owner Mantova’s Two Street Music Eureka, California
Chris White holds up his cover issue of Music Inc. at The NAMM Show Newsstand.
through natural movement rather than traditional foot controls. [Editor’s Note: For more on the Dimension Shifter, turn to page 40.] That mindset also extends beyond our instruments. Casio’s continued investment in envi- ronments that foster collabora- tion and creativity, including our new U.S. headquarters in Jersey City, reflects our belief that innovation thrives when people are empowered to work, connect and create together. De- signed with open workspaces and areas for hands-on product demonstration, the space brings teams together in a way that encourages meaningful connec- tion across all divisions. We also appreciated the op- portunity to share Casio’s con- tinued commitment to music education and inclusivity, from
supporting first-time learners through the Privia line to invest- ing in spaces and partnerships that empower creativity at every level. Music has the power to build confidence, foster connec- tion and open doors, and we believe access to high-quality in- struments and education should never be limited by experience or background. We are grateful to Music Inc. for spotlighting these conversations and for fostering thoughtful industry leadership. Yusuke Suzuki President & CEO Casio America Jersey City, New Jersey Thank You for the Support T he 2026 NAMM Show high- lighted a significant shift in how we, as retailers, must bridge the gap between manu- facturer innovation and the end
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 14 TNAG Global Acquires Norman’s Rare Guitars > Page 15 MI Industry Reacts to Latest Tariff News > Page 18 The Music People’s Founder Passes Away
Oregon-based boutique tube amp maker found itself at the center of the conver- sation. For a company founded in 2019, the recognition created a shift in how tube amplification is thought of in 2026. “Geoff Metts from Five Star Guitars told me that he was nominating me for Best in Show and so my first reaction was just huge gratitude,” said Eddie Wang, owner and builder. “I’ve put a lot of work into trying to figure out how to do things differently and better and push the boundaries of tube amp design. It was very humbling, but also very wonderful to be recognized for that.” PUSHING TUBE AMP DESIGN While Eddie Wang Instruments is still con- sidered a young company, Wang himself is anything but new to the craft. With 25 years of amp-building experience under his belt, he said his intention has always been rooted in making tube amps feel more like an instrument. His beginnings are in the cello and acoustic world, so he translates that to designing tube amps that feel like playing an acoustic instrument. “Playing a lot of tube amps, you don’t really have that feel, that responsiveness that you get from playing acoustic instru- ments,” Wang said. “What sets mine apart is that while a lot of current and former tube amp companies have copied designs from the ’50s and ’60s, I personally don’t believe that tube amp technology peaked in the ’50s. From an engineering perspec- tive, the way I see it is that whenever you have criteria that you’re trying to meet, there’s always going to be trade-offs. If you don’t need to solve for huge volume, well now I can solve for something else, which is making guitar amps more musical and more expressive. What sets my amps apart is that my focus is on trying to bring back that acoustic feel, that expressiveness that sometimes goes missing in a lot of tube amp designs.” One of the centerpieces behind Eddie
At its first major NAMM recognition, Eddie Wang Instruments took home a Best in Show award. The win reflects the company’s focus on ground- up circuit design, acoustic-inspired cabinet engineering and a commitment to amplifiers that respond like instruments. — By Kimberly Kapela Eddie Wang THE FUTURE OF TUBE AMPS ISN’T LOUDER
F resh off its first Best in Show win at The 2026 NAMM Show, Eddie Wang Instruments has no plans to slow down.
Over NAMM weekend, amid the blur of signature launches and legacy brands flexing decades of heritage, the Portland,
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Wang Instruments’ Best in Show momen- tum at NAMM was the newly debuted Hadron Cabinet. “The inspiration was coming from piano soundboards, trying to make the cabinet react like an instrument and I don’t really see anyone else doing that,” Wang explained. “For all my designs, I’ve worked closely with musicians that re- ally want to push the boundary of what they can do with a guitar amp, so I think working closely with other musicians — I think two years is good, but four years is better — they really pushed me to push the boundaries of how to design a guitar amp.” WHEN ENGINEERING MEETS EXPRESSION Wang’s design process has turned heads well beyond NAMM’s show floor. Play- ers have gravitated toward Eddie Wang Instruments not because the amps are louder or flashier, but because they re- spond differently. And at the core of that response is circuit design. Wang’s best-selling model, the Quantum Zen, reflects the company’s ground-up engineering philosophy. Central to its voice is a rare EF86 tube that has appeared in historic amp designs but is often associated with noise issues and instability when implemented conventionally. “I think what’s really unique is that it uses a rare tube, an EF86, but other amp companies have used EF86 before, and the most popular way to do it is copying old designs,” Wang said. “When I looked at the EF86 again, there’s a lot of unique attributes that it has that haven’t been tapped into, and also a lot of problems in the past, people were copying and past- ing instead of really designing from the ground up, how to actually optimize it for music and music making, not just amplification.” For Wang, the problem wasn’t the tube. It was the approach. Too often, builders borrowed past copies instead of re-examining how to optimize the EF86 specifically for musicality. “I think that’s where I approach things differently, is that I make a big list of all the mistakes or different ways that people have done things in the past, and then start all over and say, ‘I’m going to solve the problem,’” Wang revealed. “I often have to redesign it from the ground up, and the end result is that it is being used in a way that hasn’t been used before. It goes back to the engineer-
ing point of view, instead of trying to solve for making a big sound or solving for volume. I’m solving for how to make this more musical.” Part of the amp’s growing appeal is its form factor. Wang said the new Quantum Zen is a compact 15-watt combo that’s intentionally sized for everyday players. “All my amps come with a wattage control where they can go all the way down to half a watt, so you can set the settings where you like them and turn
the wattage down,” Wang said. “The Quantum Zen is the big bestseller be- cause most people don’t really need more than 15 watts. One of the things that also surprises people is that this is an instrument too, so the Quantum Zen’s cabinet went through multiple iterations trying to figure out how to maximize its acoustic properties. The feedback I get from artists is that this thing sounds way bigger than it physically is. A lot of people say this sounds like a big 2x12 amp, which is a huge compliment to me.” MI
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he chooses, knowing the legacy is secure. California is one of the most important guitar markets in the world, and we believe there is enormous opportunity to bring a truly dialed-in, trusted consignment model to the West Coast,” Montague continued. TNAG Global will integrate Norman’s Rare Guitars’ inventory into its propri- etary instrument management system, The Exchange, which offers a fully integrated environment to buy, sell and consign legacy instrument brands, in-store and online. “I’ve always known there would come a time when I needed the right long-term partner to carry Norman’s Rare Guitars forward,” said Norman Harris, founder of Norman’s Rare Guitars. “I couldn’t imagine a better steward for the shop and its legacy than Ben Montague and TNAG Global. The goal has always been to share my love of great guitars with the community, and this partnership allows that community to grow, while protect- ing everything that makes the shop special. I feel a deep sense of comfort knowing the shop, its history and its values will still be here for future generations of my family and for guitar lovers around the world.”
TNAG’s Ben Montague and Norman’s Rare Guitars’ Norman Harris.
TNAG GLOBAL ACQUIRES NORMAN’S RARE GUITARS
T NAG Global, the family-owned company behind Nashville,Tennessee-based Carter Vintage Guitars and Cotten Music Center, has announced its acquisition of Norman’s Rare Guitars, the Los Angeles-based vintage guitar shop founded by Norman Harris. The acquisition includes more than 1,000 guitars currently housed at Nor- man’s Rare Guitars, along with Harris’ personal and private collection assembled over more than 50 years. The store will continue to operate from its iconic San Fernando Valley location, with its team and culture remaining fully intact. Founded on a mission to preserve the world’s most beloved guitar shops long after their founders retire, TNAG Global
will continue the legacy built by Harris over the last 50 years, while guiding Nor- man’s Rare Guitars into its next chapter by expanding its reach to a global audi- ence of players and collectors. The shop’s legacy was the subject of the recent “Nor- man’s Rare Guitars Documentary” that premiered on Netflix. “Norman’s Rare Guitars is the most iconic guitar shop in the world, and we are honored to help extend its story into the future,” said Ben Montague, founder and CEO of TNAG Global. “Our responsibility with this acquisition is simple: Protect what makes the shop special, ensure the business thrives beyond its founder and give Nor- man the freedom to step back whenever
Harris will remain actively involved in the business as founding ambassador, continuing to source instruments and welcome visitors to the shop. The team at Norman’s Rare Guitars will remain in place, continuing to offer the same expertise, personality and community at- mosphere the store has been known for since its founding. For an in-depth interview with TNAG’s Montague on the acquisition, turn to page 28. {tnag.com, normansrareguitars.com} Sweetwater, Yamaha Launch $25K Giveaway to Support School Music Programs S weetwater has announced a partner- ship with Yamaha to transform one of providing the very best to the next generation of musicians.”
lucky school music program with a $25,000 giveaway. Music educators will have the opportunity to sign up at Sweetwater’s booth at more than 16 Music Education Association events around the country. As school budgets continue to tighten, Sweetwater’s partnership with Yamaha pro- vides an opportunity for students to have access to the very best Yamaha musical instruments, accessories, and technology curated specifically for the winning school. “For student musicians to succeed, they
Sweetwater kicked off entries for this giveaway on Feb. 11 at the Texas Educa- tors Clinic/Convention in San Antonio, Texas. It’ll be appearing at local MEA conferences across more than a dozen other states between now and Nov. 20, providing attendees with a chance to enter to win. Additionally, Sweetwater will be collecting entries at select Music for All and Bands of America events. A winner will be announced at the end of 2026. {sweetwater.com}
need access to the best instruments avail- able,” said Jennifer Witt, senior marketing manager for Sweetwater Band & Orches- tra. “Yamaha has been a great partner with Sweetwater and shares our vision
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NAMM Welcomes Supreme Court’s Ruling Invalidating IEEPA Tariff Authority, MI Industry Responds O n Feb. 20, the U.S. Supreme Court issued a landmark 6–3 decision in Learning
and sales strategies in response to what has now been judged an illegal action. Those costs remain, not to mention the cost of the actual tariffs already paid. The administration retains other statutory avenues to impose import taxes or trade restrictions, with costs that ultimately reach U.S. businesses and consumers.” Goldenson acknowledged the difficulties the constantly changing tariff landscape has caused businesses. “It’s this continued uncertainty that challenges short- and long-term planning across our industry,” Goldenson said. “Like many sectors of the economy, we must continue to navigate volatility with resil- ience, discipline and strategic adaptability. We must navigate the chaos.” Taylor Harnois, general manager of MI POS and business platform Music Shop 360, suggested music retailers consider a few courses of action to mitigate their risk. “First, don’t bank on seeing any type of tariff refund for the foreseeable future,” Harnois advised. “Yes, you should have documentation ready to go to petition for refunds if and when the opportunity arises, but certainly don’t make any as- sumptions that include the receipt of any tariff refunds. For the time being, consider those as sunk costs and plan accordingly for your business. Secondly, do your best to preserve or increase your margins on your buys. If an international manufacturer offers any promotional discounting, try to take advantage. Preserving margin on the front end will help you stay competitive on the back end. Third, cash flow discipline isn’t optional anymore. Keep more cash on hand to cover unexpected cost increases. Tariff policy volatility means higher risk, so making big inventory bets now is a bit of double jeopardy.” Finally, Harnois reminded retailers that pricing wars don’t benefit anyone. “Instead of racing to the bottom, try providing added value to your customer base, offering a free lesson, extended war- ranties, or perhaps some new financing options,” he said. “It might also be helpful to focus your promotions and discounts on non-tariff-exposed goods and services like work orders, accessories made domesti- cally or music education.” Music Inc. will continue to update this story as it evolves. {namm.org}
Resources, Inc. v. Trump, ruling that the In- ternational Emergency Economic Powers Act (IEEPA) does not authorize the President to impose tariffs. The Court held that the power to “regulate importation” under IEEPA does not — and never did — include the power to impose tariffs, which are a distinct form of taxation explicitly reserved to Congress under Article I of the Constitution. “Today’s decision provides long-awaited relief and clarity for music products manu- facturers, retailers and distributors who have struggled with unpredictable costs from these tariffs during the past year,” said John Mlync- zak, president and CEO of NAMM. “Using IEEPA to sporadically regulate tariffs has placed an enormous and unjustified burden on our industry. We welcome the Court’s decision restoring the constitutional balance on trade authority.” The ruling invalidates both sets of IEE- PA-based tariffs challenged in the case: the reciprocal tariffs of at least 10% imposed on goods from all U.S. trading partners, and drug trafficking tariffs on Chinese, Canadian and Mexican imports. The ruling doesn’t affect Section 301, Section 232 or potential new Section 122 tariffs. NAMM will continue to monitor all tariff activity and update NAMM members. On the question of refunds, the Court’s ruling is silent on whether — and how — duties already paid will be returned. Shortly after the Court’s decision, Presi- dent Trump announced he would immediately impose a 10% global tariff, and then increase it to a 15% global tariff, under Section 122 of the Trade Act of 1974 to address trade deficits. Treasury Secretary Scott Bessent stated the administration would also expand use of Section 232 (national security) and Sec- tion 301 (unfair trade practices) authorities. These authorities come with constraints the administration didn’t face under IEEPA. For example, Section 122 tariffs are capped at 15% for 150 days unless Congress ap- proves an extension. Section 301 tariffs require a formal investigation by the U.S. Trade Representative. Section 232 actions require a Commerce Department national security determination and are product- specific — the same process that governs existing tariffs on steel, aluminum and musical instrument components like lumber
and copper. When it comes to refunds for IEEPA tariffs already paid, Trump sug- gested the administration doesn’t plan to proactively return duties collected. Almost immediately, experts began an- ticipating more uncertainty unraveling from the news. Patrick Penfield, profes- sor of supply chain practice at Syracuse University, said he believes businesses should begin reviewing what international purchases they’ve made since April 1, 2025, to figure out how much is owed to them. “The Supreme Court ruling that invalidated President Trump’s tariffs will cause chaos within the supply chain,” Penfield surmised. “Consumers can expect delays for incoming products from other countries, especially with border agents trying to determine what tar- iffs to charge and what products should not be charged. This review may cause backups at ports and border crossings for the next few weeks. Companies should also start to review what international purchases they have made from April 1, 2025, to Feb. 20, 2026, and then determine how much is owed to them by the additional tariffs enacted by President Trump.” On the MI manufacturing side, Jerry Gold- enson, president of KHS America, which has multiple brands under its umbrella that manufacture instruments in China and Tai- wan, weighed in with his thoughts. “The recent Supreme Court ruling repre- sents an important victory, but not because it immediately eliminated the IEEPA tariffs, but because it reaffirms a fundamental prin- ciple that the rule of law matters,” Gold- enson said. “In today’s uncertain climate, that affirmation carries significant weight. Although the tariffs were deemed unlaw- ful, the financial impact already absorbed by businesses is unlikely to be recovered. Companies adjusted pricing, supply chains
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Martin Guitar Worth $15K Stolen from Music Land A 1947 Martin D-28 guitar, valued at
ARTIST APPROVED
live in, so the locks are a necessity. We didn’t think we had to worry about any- thing like that. It’s a sad reality that things have to be a little bit more secure
$15,000, was stolen from the family- owned Music Land in Bel Air, Maryland, on Feb. 10. Security foot- age captured four sus-
pects, one male and three females, stealing the instrument without confronting staff. “We were shocked,” said Larry Noto, store owner. “We haven’t faced anything like this before, so we were shocked and then really sad and disgusted to see them do this.” The suspects entered at approximately 8:20 p.m. Shortly after, the male suspect grabbed the guitar and handed it to one of the female suspects, who concealed it in a long, black puffy winter jacket before leaving the store. The stolen guitar was part of Music Land’s consignment program and carries the serial number 101862. In response to the theft, Noto said the store is increasing security measures. “The biggest change we made is that we’ve ordered locks for the hooks, particularly in the acoustic room,” he said. “Unfortunately, it’s the world we
than they used to be.” The Martin Factory, local and regional Martin dealers, pawn shops, and other music stores have been notified. Noto also noted that the theft may be linked to attempted thefts at Guitar Centers in New Jersey and Maryland locations, in- cluding Towson and Laurel. Noto said that neighboring MI retailers and the Martin reps have been supportive. “We notified Martin right away,” Noto said. “The rep sent out the picture of the suspects and the guitar to all the local and all the regional dealers. There was another retailer in Gaithersburg, where we believe it was related, maybe trying to sell some of the guitars they stole from Guitar Center. Other store owners have posted on our behalf, so the community has been really supportive.” MI — Kimberly Kapela {musiclandstore.com}
The lead singer and guitarist of Bev Rage & The Drinks details what’s in their current gear setup. BEVERLY RAGE Music Inc.: What was your first instrument? Beverly Rage: As with many folks my age, my first instrument was a red Fender Squier Stratocaster that I bought in a “Strat Pack” in the early 2000s. These Strats came with a small amp and all the young punks had it. Soon after, I purchased a Danelectro DC-3 in Silver Metalflake, which was the guitar that I used for many of my early years as a musician. MI: What instruments are currently in your performing arsenal? BR: I have a fairly simple pedal setup: an Electro-Harmonix Op-Amp Big Muff, Ibanez Tube Screamer Overdrive and a FruitFx Melon Cube. I play out of a 1x12 Fender Hot Rod Deluxe that I pur- chased around the same time I bought that Squier, and it is still chugging along some 25 years later with its bumps and bruises. For mics, I use the trusty Shure SM58, covered in lipstick stains. 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? BR: I’ve been using a Nux wireless guitar system live lately, and I have loved the quality for the relatively low price. It’s important for me to not get tripped up on stage and being cordless certainly helps to prevent any high-heel related tumbles. — By Kimberly Kapela
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Vista Musical Instruments Relaunches Kenny’s Music V ista Musical Instruments has confirmed the acquisition of the intel- lectual property, brand assets and goodwill of Kenny’s Music. Established in 2008 by Kenny nection to local artists and its commitment to fostering a thriving music culture. This acquisition marks the
with the brand at its refreshed Kenny’s Mu- sic landing page with sister store Dawsons. “We’re excited to welcome Kenny’s Music into our VMI ecosystem,” said Meng Ru Kuok, CEO of Vista Musical Instruments. “While the brand’s recent pause was unfor- tunate, it followed a period of its strongest sales on record. There is a great foundation here to build upon.” {kennysmusic.co.uk; vistamusic.com}
beginning of a new chapter for the brand. To ensure the Ken- ny’s Music community remains supported and connected, Vista Musical Instruments (VMI) has
Graham, Kenny’s Music grew into a cornerstone of the Scottish music landscape, serving musicians across
Glasgow, Dundee, Aberdeen and Dunfermline. The brand is known for its deep-rooted con-
debuted a revitalized digital home for the retailer. Customers and fans can now engage
Jim Hennessey
THE MUSIC PEOPLE’S FOUNDER HENNESSEY PASSES AWAY T he Music People has announced the passing of its founder and former owner, Jim Hennessey, an entrepreneur whose influence helped shape the modern music accessories industry. He was 90. Hennessey founded The Music People in 1979 after identifying a need for better, more practical solutions for musicians. What began as a single idea grew into the On-Stage brand, a leader in stands, supports and accessories trusted by performers, educators and profession- als around the world. From the outset, Hennessey was a designer, innova- tor and problem-solver. He personally conceived and developed numerous products that went on to define indus- try standards, including the world’s first double and triple guitar stands. “Jim’s work ethic was second to none, and we often joked that he would be orga- nizing a team of project managers in Heav- en,” said the company’s leadership team. “All of us at TMP are forever grate- ful for Jim’s entrepreneurial spirit which gave him the confidence to leave a corporate job at the age of 44 to build a company and brand that is now respected worldwide,” said Tom Tedesco, president of The Music People. “His legacy has and will continue to make a difference to all musicians.” {on-stage.com}
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tives at Nissan Stadium are scheduled to debut in spring 2027. “We’re evolving Guitar Center beyond just retail to playing an active role in mu- sic culture,” said Gabe Dalporto, Guitar Center’s CEO. “Bringing our legendary gear and service into what will become a legendary venue for live music is a natural extension of that commitment.” The partnership introduces new live performance experiences throughout the stadium, anchored by the first-ever per- manent in-bowl performance stage in an NFL venue. Featuring instruments and backline supplied by Guitar Center, the stage will serve as a focal point of the fan experience, hosting live music throughout game days and special stadium events. The partnership also spotlights Guitar Center Business Solutions, the company’s professional integration platform, and its premium AV division, Audio Visual Design Group (AVDG). As the named AV integra- tor for key areas of the Titans’ new Nissan Stadium, AVDG will lead the venue’s end- to-end AV delivery. {guitarcenter.com}
GC NAMED OFFICIAL MUSIC GEAR RETAILER, AV INTEGRATOR
G uitar Center and the Tennessee Titans have announced a first-of-its-kind part- nership centered at the Titans’ new Nissan Stadium in Nashville, Tennessee. The col- laboration brings together two Music City institutions to create a new model for how music, sports and technology come together at one of the country’s newest venues. As part of the partnership, Guitar Center has been named Official Music Gear Retailer of the Tennessee Titans, and Audio Visual
Design Group (AVDG), the company’s inte- gration brand within Guitar Center Business Solutions, is an official AV integrator for the new Nissan Stadium. Together, the Titans and Guitar Center aim to create a venue experience that re- flects the spirit of Music City, where music is not only heard but experienced at scale through live performance, premium sound and fan engagement. Guitar Center’s live performance stage and community initia-
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JAM INDUSTRIES USA APPOINTS DAVID UNGAR AS NEW HEAD OF ARTIST RELATIONS J am Industries USA has appointed David Ungar as
Native Instruments Enters Preliminary Insolvency N ative Instruments has entered into preliminary insolvency proceedings, according to a report from Create Digital software, including Massive, Traktor and Kontakt, as well as hardware platforms like Maschine. Native Instruments also owns several audio brands, including iZotope, Brainworx and Plugin Alliance. According to the report, a preliminary insolvency administrator has been appointed and will oversee the next phase of the process, which includes evaluating restructuring options and the potential sale of existing assets. Insolvency proceedings are often used as a protective measure, allowing companies to explore financial restructuring, attract investors or reorganize business units while continuing operations. Since the insolvency filing became public, speculation has spread rapidly online Music. The Berlin-based company is best known for shaping modern electronic music production through regarding which company might acquire Native Instruments or its individual brands. Nick Williams, CEO of Native remain fully active across all brands. “Please rest assured that business continues as usual at Native Instruments, iZotope, Plugin Alliance and Brainworx,” Williams said. “Our hardware and software products remain on sale and available for download and activation. Our passionate and dedicated teams are here and supporting customers as normal. In product and engineering, we are continuing to develop and launch new products and features. Our NKS Partnerships team continues to process Kontakt Player licences and NKS Partner submissions.” Williams also stressed that speculation is premature. He added that Native Instruments brands are also developing and launching new products. “We are working diligently and responsibly to secure a healthy, financially sustainable future for Native Instruments,” Williams said. “As you may have seen, Native Instruments GmbH has entered a restructuring process in Germany, as have three of our German non-operating holding companies. In legal terms, we have filed applications to open pre-insolvency proceedings for those companies.” MI — By Kimberly Kapela {native-instruments.com} Instruments, released an official statement saying that operations
In his role at Jam Indus- tries, Ungar will lead artist and entertainment relations initiatives across the com- pany’s portfolio of musical instrument brands. “As we continue to ramp up with new products, new websites, and an expanded marketing team across mul- tiple brands, Bagel is a key part of taking Jam to the next
its head of artist and enter- tainment relations. Known throughout the music indus- try as “Bagel,” Ungar brings decades of experience and long-standing relationships across the MI and pro-audio communities. In this newly defined role, Ungar will focus on
David “Bagel” Ungar
the musical instrument “combo” segment of Jam’s U.S. business, with an emphasis on expanding and strengthening the artist program for KMC Music and Jam-owned brands. The American Music & Sound (AM&S) artist relations team will con- tinue to operate as before, maintaining the high level of support currently provided, with no material changes to its structure or mission. Throughout his career, Ungar has collaborated with an extensive roster of artists, including Luke Bryan, System of a Down, Alice Cooper, Korn, Lady A, Stevie Wonder, Imagine Dragons, Shinedown, Godsmack, Queen, Aerosmith, Justin Timberlake, Kesha and more.
level,” said Jeff Hawley, Jam US MI/Pro vice president of marketing. “His deep art- ist relationships and long history in this space are a critical piece of the puzzle. The successes we saw at the NAMM Show are a testament to his ability to connect the right products with the right people and make real impact.” “I’m incredibly excited to be joining Jam Industries and working with such legendary brands as Washburn, Randall, Rhythm Tech, and the many other respect- ed names under the Jam umbrella,” said Ungar. “I already know several members of the team, and I’m looking forward to collaborating closely as we continue to grow these brands.” {jamindustries.com}
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> Page 24 View from the Repair Bench > Page 26 NAMM YP
E-COMMERCE REVERBERATIONS I BY CYRIL NIGG HOW TO DRIVE SALES IN THE AI ERA M usicians are shop- ping differently and faster than ever be- fore. Online retail sales more than serves as the source of truth, automatically publishing inven- tory to your website, marketplaces and social channels. Accuracy equals trust. What AI doesn’t want to guess. The more consistent your inputs, the more likely you are to surface accurately in recommendations. CREATE GREAT LISTINGS.
doubled its share in 2025. But the more important shift isn’t simply online versus in-store, it’s the convergence of the two. According to a survey of 1,001 musicians conducted by Reverb and consumer intelligence firm Material, 44% of musicians now prefer purchasing both in-store and online equally. Even when customers ultimately buy in-store, the web heavily influences their decision. Research, reviews and price comparisons all shape what they do when they walk through the door. At the same time, generative Artificial Intelligence is transform- ing how buyers discover gear. Over 50% of consumers now use AI- powered search tools. Instead of scanning links, they ask a question and receive a synthesized answer. In that world, your store isn’t just competing on price or selection — you’re competing to be the answer. Here are three practical tactics retailers can implement now to drive sales in the AI era. AUDIT AND UPDATE YOUR ONLINE DETAILS. AI engines compile business in- formation from multiple sources. If your store info is inconsistent across platforms, AI systems may downgrade confidence ... or ex-
hurts? An item marked “in stock” that already sold, different prices across platforms, and missing or unclear condition details. You can avoid these costly mistakes by en- suring that inventory is updated in near-real time, showing consistent pricing logic across channels, and providing clear condition tiers, such as “excellent” and “fair.” AI systems penalize uncertainty. If availability or pricing conflicts exist, you may be deprioritized. Clean, synchronized inventory improves both online exposure and in-store conversion. In a world where demand is routed by rec- ommendations instead of ranked links, reinforcing your expertise and reliability becomes a strategic advantage. With the old way of searching online, you’d go find the answer. Now, the answer comes to you. If AI systems are increasingly deciding which stores and prod- ucts get surfaced, then consistency becomes your competitive edge. These are not abstract strate- gies, they’re operational habits. And retailers who build them now will be better positioned as AI continues to reshape how musicians find and buy gear. MI Cyril Nigg is senior director of analytics at Reverb. A lifelong musician, he was a Reverb user long before he joined the team in 2019.
When AI systems recommend prod- ucts, they rely heavily on structured data. Brand, model, year, condition, price, availability — these are pri- mary attributes that machines un- derstand clearly. Additional details like finish, pickup configuration, fretboard radius, materials, and art- ists associated with the instrument further enrich the listing. Structured data plus consistency and clarity increases your chances of being recommended. But it’s not just fields and specs. AI increasingly “reads” images. Strong photos re- inforce product details, build buyer confidence and even signal quality. Clean lighting, multiple angles, and close-ups of wear or distinguishing features reduce uncertainty. Video walkthroughs and thoughtful writ- ten descriptions add another layer of reinforcement. Together, structured data and high-quality media help AI systems understand what you sell, how you position yourself, and where you are the best answer to a buyer’s question. In the AI era, vague list- ings lose, while detailed, structured, confidence-building listings win. SYNC YOUR INVENTORY ACROSS CHANNELS. Multi-channel consistency is one of the strongest AI signals avail- able. Ideally, your POS system
“AI systems penalize
uncertainty. If availability or pricing conflicts exist, you may be deprioritized.”
clude you entirely.
Start with a basic audit of your business name, location, hours, and contact info, like a phone number and email. From there, review your policies for shipping and returns to make sure that they’re consistent across your online presence. Update your website, Google Business Profile, social pages, mar- ketplace listings and any legacy pages. Then review the outputs: Search your store name in Chat- GPT or other AI tools and see what appears.
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VIEW FROM THE REPAIR BENCH I BY STEVE FRANCE How to Structure Rental Incentives
T he fall rush is the most profitable time for rental-based stores, and having every instrument ready is critical to financial success. Yet, many stores finish rental season with stock still waiting to be fixed because their techs are incentivized this way. An owner once told me, “I’m your biggest customer, so I’m going to get the best rate.” I immediately understood that, if I wanted to earn more, I shouldn’t work on store instruments. Instead, I should work for customers who paid more, like directors, because I earned more. I wasn’t trying to be ungrateful, I could just do math. If one task earns more than another, I focus on it.
It’s tempting to follow an in- centive with a “have the rentals ready by Aug. 15 or the bonus goes away” mentality, but this always backfires. Instead, structure your incentive to pay the highest bonus amount by Aug.15, then decreas- ing over the next few weeks. A bonus is still motivating them to push through, but you’ve weighted the incentive to have inventory ready when you need it. HOW TO STRUCTURE INCENTIVES There are several ways to struc- ture incentives. Consider doing so by the unit rather than a per- cent of the fleet. It’s easier to conceptualize and track each unit rather than calculating a per- centage. Besides, as your rental inventory increases, a percent based incentive lessens, and you want to keep motivation up. Cre- ate a plan offering a bonus for every instrument prepped and ready. A $5 bonus for every unit completed by Aug. 15. If you have 400 rentals, that’s a $2,000 bonus, or 20% of your first month’s rental income if each rental is $25 per month. Your next tier could be 90% of the $5, or $4.50 and so on. Your plan should incentivize early completion, but keep motivat- ing them through the season. Repair techs are difficult to find, expensive to train and essential to your rental business. Take care of their financial needs to keep them around and have instruments ready to rent. Ignore their financial moti- vation and lose the earning potential of your hard-earned rental fleet. MI Steve France is a veteran instrument repair technician and educator based in St. George, Utah. He operates Premium Music Products and provides advanced train- ing through his Repair Masterclass.
When later I owned my own store, I understood the value each rental had and knew my priorities when in the shop. Every rental return was my No. 1 task that day because it was no longer earning and it needed to be. Ask yourself: Do your repair techs understand their role in this financial game? Technicians are intelligent. You can use big words (pictures and graphs do help), and they must under- stand their role in your rental business. Help them see the financial impact of empty shelves at the end of rental season, the yearly value of each instrument, the number of rental months to reach break even, the actual costs to return and refurbish an instrument. Show them how each hits your bottom line. The more your technicians understand the business, the more effective they’ll be for you.
They also need you to understand their in- centives. When a store owner fails to recognize this rarity, and instead disincentivizes their staff to work for them by paying them less to work on store stock, it’s no wonder why techs don’t stick around or, at the least, don’t have your rental fleet ready when you need it. When an owner says, “I can’t afford to pay more for rental returns,” it shows a lack of un-
“On average, a rental return costs $82 before it’s ready to be rented again.”
derstanding for their own business. The owner has failed to see the value of a rental versus the cost of repair. On average, a rental return costs $82 before it’s ready to be rented again (reach out if you want supporting data). On Aug. 25, what are you willing to pay to have the next 25 flutes ready for tonight’s rental versus buying new ones? The wise will gladly pay the $82 to have everything ready. Paying an amount equal to your technicians earning potential on customer repairs is the first step in incentivizing the readiness of a rental fleet. The second is ensuring they understand their role in your rental business. A potential third step is shifting a portion of what hits your bottom line into their wallet. As a tech, I’m honored that my skills made you money — and I’m happier when it earns us both some.
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NAMM YP I BY TIM SPICER Lessons from Spicer’s Music
S picer’s Music in Auburn, Alabama, began as a family-run business built on a simple belief: music retail should feel personal, welcoming and rooted in community. From the beginning, our focus was on creating a space where all people felt supported. As the business grew and evolved, it became clear that long- term success in independent retail isn’t driven by one big idea or standout year, but by consistent decisions, strong values and a focus on people. That foundation is what allowed Spicer’s Music, now led day to day by our COO Jonathan Hendrix, to grow into what it is today: NAMM’s 2026 Retailer of the Year.
systems allow it to grow in a healthy, sustainable way. Clear processes cre- ate consistency. Empowering team members to identify and improve systems builds ownership. Empathy. Music retail is, at its core, a people business. Sales and profitability matter, yet strong relationships are what sustain a company over time. THRIVING AS AN INDEPENDENT Consolidation and convenience continue to shape the landscape. Competing on price, speed or con- venience alone can be challeng- ing for independent retailers, but experience, connection and how customers feel are still powerful differentiators. Indie retailers are uniquely positioned to create en- vironments that feel personal and human. When someone walks into a store, asks a question or brings their child in for lessons, how they feel in that moment stays with them. BUILDING SOMETHING THAT LASTS The real measure of success is whether a business can continue to serve its community, grow its people and adapt over time. Look- ing back, I’m most proud of the team we built and the culture we protected along the way. The brand, systems and growth followed. For anyone building or lead- ing today, especially those early in their leadership journey, my encouragement is simple: Invest and trust in your people. Stay deeply customer focused. Build systems that support long-term health. And trust that consistent, value-driven decisions will com- pound over time. MI
PEOPLE FIRST, ALWAYS: WHY TEAM GROWTH DRIVES LONGEVITY A significant portion of our work over the years has focused on team member growth, not just helping people do their jobs better, but supporting them as individuals. Inside the store, that meant developing leadership, confidence and ownership. Outside the store, it meant recognizing our people have lives, needs and responsibilities beyond work. Businesses don’t grow on their own. People do. When team members feel supported, trusted and chal- lenged in healthy ways, they show up with purpose. That energy is immediately felt by customers. This approach takes patience and long-term focus. It’s slower than chasing short-term results, but it builds something durable. When you invest in your people,
you create a culture that can outlast any one leader. Strong teams create companies that last. CUSTOMER FOCUS MUST LIVE EVERYWHERE A relentless focus on the customer, especially on how you make people feel, should be reflected in everyday decisions at every level of an organiza- tion. Every policy, process and strategic decision
Inspiration from the NAMM 2026 Retailer of the Year.
should begin with a simple question: how does this affect the customer experience? In practice, this means listening closely, watching for patterns and being willing to change. SKILLS AND MINDSETS FOR LONG-TERM SUCCESS For emerging professionals in today’s retail environment, especially within the MI, a few skills and mindsets stand out as essential. Adaptability. The way people shop, learn and engage with music continues to change. What worked five years ago may not work today or tomorrow. Stay curious and open to change. Humility. Strong leaders listen, learn and aren’t afraid to admit mistakes or when something isn’t working. Openness from the top down builds better teams and stronger businesses. Systems. Hustle can help start a business or launch a new idea, but
Tim Spicer is the owner of Spicer’s Music in Auburn, Alabama, and the co-founder of Riff Music Academy in Westminster, Colorado.
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