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FEBRUARY/MARCH 2025 I VOL. 36, NO. 2
PUBLISHER Kevin R. Maher EDITOR Katie Kailus EDITORIAL ASSISTANT Kimberly Kapela CONTRIBUTING EDITOR Ed Enright SALES MANAGER Chris Maher DESIGNER Žaneta Čuntová
CHAIRMAN Kevin Maher PRESIDENT Frank Alkyer ASSISTANT TO THE PRESIDENT Sue Mahal
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Jack Maher, President, 1970–2003 SUBSCRIPTION RATES: Free to qualified retailers and suppliers of musical instruments. For all others: $60 one year (11 issues). $100 two years (22 issues) to U.S.A. addresses. $85 one year (11 issues), $150 two years (22 issues) to Canada and other foreign countries. Air mail delivery at cost. SINGLE COPY (and back issues, limited supply): $14.95, plus shipping, surface mail. Air mail, delivery at cost. We cannot be responsible for unsolicited manuscripts and photos. Nothing may be reprinted in whole or in part without written permission from Maher Publications Inc. Copyright 2025 by Maher Publications Inc., all foreign rights reserved. Trademark register pending. OTHER MAHER PUBLICATIONS: DownBeat, UpBeat Daily CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include your current MUSIC INC. label showing your old address. MUSIC INC. (ISSN 1050-1681) Published monthly, except March. Printed in U.S.A. by Maher Publications Inc. 188 W. Industrial Drive, Suite 310, Elmhurst, IL 60126. Periodical Postage Paid at Elmhurst, IL and at additional mailing offices. POSTMASTER: Send address changes to:
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February/March 2025
34 I FROM THE TOP Peavey Electronics COO Courtland Gray discusses what the 60-year mark means to him and the company.
ON THE COVER ... Clockwise from left: Samson’s FM1 Dynamic Flat Mic; Yamaha’s PSR-SX920 keyboard; Guild’s DS-240 Wine Red and DS-240E Black Memoir series models; Tama’s S.L.P. Mod Bubinga Snare; and Cameo’s ORON H2.
39 I THE 2025 GEAR GUIDE The latest and greatest gear showcased at The 2025 NAMM Show — and beyond. Plus: Retailers discuss what the hot-sellers at their dealerships are right now.
28 I IN THE TRENCHES X Cyph Shah advocates for dealers’ input in product R&D. 30 I MY TURN X Music Shop 360’s Taylor Harnois offers his MI retail predictions for 2025. 32 I WOMEN OF NAMM X Julie Tan shares her thoughts on DEI in MI as a woman of color.
40 I GUITARS, AMPS & ACCESSORIES 52 I AUDIO & RECORDING 58 I DRUMS & PERCUSSION 62 I PIANOS, KEYBOARDS & SYNTHS 66 I BAND & ORCHESTRA 70 I DJ & LIGHTING RETAILER ASK THE 74 I ASK THE RETAILER X Retailers share what aspect of their business they’re looking forward to improving in 2025.
14 I NEWS X Connolly, Blustream Strike Deal X Yorkville Teams with KHS in Canada X Hal Leonard Expands Distribution Catalog X Sweetwater Rakes in 10 Comparably Awards for 2024 X Roland Sets CO2 Emissions Goals X Algam Establishes Algam USA Distribution X AWM Acquires Herco Instrument Care Products X Magnatone Names New Director of Global Sales X Founder of Fort Bend Music Center Passes Away 12 I INDUSTRY PROFILE X How Elixir Strings’ research-driven rebranding incorporates the needs and values of its customers.
Taylor Harnois
Cyph Shah
Julie Tan
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T his month’s issue is one of our team’s favorites to put together: the annual Gear Guide. To compile this drool-worthy catalog of MI products, we comb through hundreds and hundreds of NAMM gear press releases — and Q1 and Q2 releases — to fill these pages. But one thing you’ll notice as you flip through the 2025 Gear Guide, which starts on page 39, is a noticeable lack of universal, or “one-size- fits-all,” products. In recent years, consumer habits have shifted to cater to specific pref- PERSPECTIVE I BY KATIE KAILUS THE ‘BEAT’ OF 2025
erences and playing levels as opposed to guitars, drum sets or keyboards that work for both pros and novices alike. Products like Squire’s hot pink limited-edition Hello Kitty electric guitar, Nino Percussion’s Stackable Cajons for children and Yamaha’s high-end YEV104Pro and YEV105Pro elec- tric violins are all featured in this year’s guide and all cater to specific tastes or playing abilities. This trend is also something Taylor Harnois, general manager of Music Shop 360, writes about in his guest column this month, “MI Retail Predictions for 2025.” “The market for generic or entry-level instruments has remained steady with a surge due to COVID-19, largely catering
to new players or casual enthusiasts,” Harnois writes. “However, more advanced musicians are driving a shift toward niche offerings, preferring high-quality, specialized instruments that align with their unique musical preferences — whether it’s a mandolin perfectly suited for bluegrass or a saxophone tailored for jazz.” Another factor potentially affecting the gear in our industry this year? The possibility of proposed tariffs on products made overseas by the new Trump Administration. Last December, NAMM put together an infor- mative and in-depth webinar titled “NAMM Policy Update: Overview of Tariffs,” on the potential situation and how these tariffs could affect the MI industry. The webinar included insights into the legislative processes governing tariffs and the roles the president and Congress play in the matter. It’s a must-watch for all MI suppliers, distributors and retailers and can be viewed in its entirety on NAMM’s website. Whether you plan to enact a try-before-you-buy program, an after-sale texting platform or start a TikTok or Bluesky account for your store in 2025, one thing is for certain: there will be a slew of awesome new gear to promote and sell. After seeing a strong start to the year during The 2025 NAMM Show, which welcomed back many large exhibitors for the first time in five years, we, at Music Inc. magazine, are excited to see what the new year holds. Here’s to strong sales and strong customer relationships in 2025 — and beyond. MI
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Setting the Stage for the 50th PASIC I f you read the PASIC recap in the January 2025 issue of Music Inc., you learned what an awe- some event PASIC 2024 was for everyone who attended — per- cussion hobbyists, professionals, students, educators and vendors. We couldn’t put on a world-class event like this every year without the tireless work of the Percussive Arts Society (PAS) staff, our vol- unteers, performers and clinicians, and the percussion industry that sponsors our artists and fills the expo hall with all the latest percus- sion technology and gear. Thanks to all of the Music Inc. readers who attended “the greatest four days in drums and percussion.” This year’s event will be even more exciting, as we celebrate our 50th PASIC! Plan to join us in Indianapolis from Nov. 12–15, 2025, for what is certain to be the best PASIC yet. We’ll honor our rich history and the legacy of education and performance that PAS members have created over the years, celebrate the passion our percussion community brings to the craft, and share our vision of the future of PASIC and the per- cussive arts. If you have attended PASIC, you know how special it is to be with this community of percus- sionists who push the boundaries of our art and support and cel- ebrate one another. We envision a future where we continue to expand our educational resources and programs to reach even more percussionists. Even in this mod- ern world, there’s nothing quite like gathering in person to cel- ebrate our art. It’s why member associations like PAS and events like PASIC are so important, to keep us connected and making music together. Joshua Simonds Executive Director Percussive Arts Society Indianapolis
music advocacy, and the inspira- tion of our exceptional Krutz artists. We couldn’t have done it without the support of our incredible authorized dealer network, who play such a key role in our success. Anton Krutz Founder Krutz Strings Merriam, Kansas A True Honor A s a pillar of the MI industry, Music Inc. is our go-to source for trends, best practices, and cov- erage of peers and partners on the move. I would like to thank Music Inc. for providing a platform to share our ideas and be a sound- ing board. None of our success would be possible without the help of our customers, associates, retail community and vendors. Together, we’ve achieved great milestones, but we know there’s so much work left to do as we continue to deliver a premium assortment of products, improve the store experience and look ahead to 2025. It was with great excite- ment that, for the first time in almost 10 years, we were honored by Music Inc. as a top five retailer of 2024 [in its an- nual Excellence Awards]. Our associates have been working around the clock to improve our inventory, reset our stores as experience centers, enhance our sales team’s training and improve our digital presence. I cannot tell you how excited our team was to have all this work recognized. Thank you for being a beacon in our industry.
Thanks for Looking Out ‘for the New Guys’ W e’d like to thank everyone at Music Inc. for the won- derful feature on Tone Central Station in this month’s February/ March issue. It’s been an amazing experi- ence getting to see our vision for a music retail store come to fruition, and we really appreciate the exposure we were given by the article — both in the issue and online. As we head into 2025 and continue our journey, we’re sure to see benefits from being spot- lighted by Music Inc. — it’s an honor to be noticed by such a respected and reputable maga- zine! Thanks for looking out for the new guys! We’ll soon open our in-store performance space, Platform
615, and look forward to serv- ing Nashville’s thriving music community in the future. For us, it’s all about the music, and we’re just getting started. Jamie Jackson & Todd “Toddzilla” Austin Owners A Heartfelt Thanks W e would like to thank Music Inc. magazine for featur- ing our new fret shop, as well as our new line of guitars and upcoming mariachi instruments, in its January 2025 issue. As we celebrate 33 years in business, receiving continued support from our industry is warming and heartfelt. At Krutz Strings, our un- paralleled craftsmanship is a testament to the dedication of our accomplished luthiers, our commitment to innovation and Tone Central Station Nashville, Tennessee
Gabe Dalporto Guitar Center CEO Westlake Village, 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 Connolly Music, Blustream Strike Partnership > Page 19 Algam Establishes Algam USA Distribution > Page 25 Fort Bend Music Center Founder Passes Away
— a refreshed identity that bridges its legacy with a bold vision for the future. This rebranding comes at a pivotal moment. The past decade has seen an exciting surge of younger musicians picking up guitars, inspired by everything from viral social media perfor- mances to the resurgence of DIY music culture. Inspired by this shift, Elixir Strings embarked on a research-driven journey to understand the needs and values of this emerging audience. The outcome? Tone for Life, a modern brand philosophy that promises to resonate with play- ers of all levels and next-gen guitarists, as well. “We started with about two years of con- sumer research, everything from focus groups to in depth interviewing to hanging out in base- ments and garages with guitarists to pick their brain on all things strings and guitar,” said Bill Fabiszewski, global marketing leader at Elixir. “What we found was this younger audience that was incredibly passionate about strings, but we didn’t feel that we were speaking to them in the right way. Emotional campaigns really allow us to open our arms and open our community to all backgrounds, new and seasoned into the Elixir community, so that’s what we set out to do based on our roots, but also extend our arms to this new group that we found out in the marketplace and we’d really like to share what we pioneered in the marketplace and reintroduce ourselves.” The journey to Tone for Life was not an overnight endeavor. In addition to the two years of dedicated consumer research Fabisze- wski mentioned, he said Elixir also deployed focus groups to hang out in basements and garages with players. With this research in mind, Tone for Life includes new packaging designs, an updated logo and a marketing campaign that speaks directly to the aspirations of younger players. But, beneath the fresh aesthetics lies the same commitment to innovation that made Elixir a household name among musicians. The brand remains true to its roots by delivering its signature string quality, ensuring that its patented coating technology continues to set
Elixir Strings’ Bill Fabiszewski
A BOLD REFRESH Elixir Strings has undergone a brand refresh, unveiling at The 2025 NAMM Show its Tone for Life initiative, which is centered around human connection, self-expression and the impassioned power of the guitar. — By Kimberly Kapela
F ew brands in the MI industry have left a mark as long-lasting as Elixir Strings, celebrated for revolutionizing the coated guitar
strings market with its unique technology. But at The 2025 NAMM Show, the brand unveiled something nearly as transformative
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TECHNICAL INNOVATION Elixir’s reintroduction is also a celebration of its pioneering role in the marketplace. By engaging directly with guitarists in their own spaces, they’ve reignited their mission to pro- vide strings that elevate the playing experience. “We strive to hold that place of future thinking, innovation and technology first,” Fabiszewski said. “We are essentially a technol- ogy company that produces these wonderful strings that we wouldn’t want to continue to innovate. In the coming years, we have a full technology funnel, innovation funnel, about ready to explode.” While Elixir Strings remains steadfast in its product-centric foundation, these cam- paigns are designed to expand the conversa- tion, celebrating the personal and communal experiences that come with picking up a gui- tar. Whether it’s a seasoned professional or someone strumming their first chords, Tone for Life ensures that every guitarist feels seen, heard and equipped to express their passion. “These campaigns are going to be a com- pletely different look for Elixir,” Fabiszewski said. “We’re product-first and product-centric, which we will continue to be, but we’re re- ally delving into the emotional side and self- expression side of the guitar and guitarists,
the gold standard for durability and tone. With the unveiling of its Tone for Life initiative at The 2025 NAMM Show, Elixir Strings aims is reintroducing itself — not just as a brand, but as a community-driven movement inspired by the voices of today’s guitarists. Central to this evolution is a refreshed visual identity, including updated packag- ing that feels as modern and dynamic as the players it’s designed for. But it’s more than just aesthetics. The brand is embracing emotionally driven campaigns that speak to the passion, creativity and diversity of the guitar community. “Our strings continue to win as the gold standard in technology-based strings,” Fa- biszewski said. “There’s no new product release with it, but it allows for new audi- ences to try the string for the first time. We just want to present ourselves and champion creative self-expression and celebrate that human connection through guitar playing. So, what we did is change our tagline to Tone for Life, which shows that we remain com- mitted to delivering the same exceptional, long-lasting tone life that players have come to expect throughout the years, but now reintroducing that to this modern audience that may not have heard our story before.”
again, creating that community. We heard a lot in our consumer research around human connection and picking up the guitar connect- ing with humans and creating and expressing moods through their playing.” From evocative visuals to heartfelt nar- ratives, the campaign invites musicians to see themselves in Elixir’s evolving story. It’s an open call to players who use their instru- ments to inspire connection and create lasting memories. As the brand enters this exciting new chap- ter, one thing is clear: Elixir’s commitment to crafting its golden standard of strings on the market remains unwavering. But with this renewed focus on the emotional side of playing guitar, it’s reminding the world that music isn’t just something you hear — it’s something you feel, share and live. “I think the growth is in capturing the younger generation, and now they have the opportunity to see our new brand story through our eyes,” Fabiszewski said. “Once you have Elixir Strings on your guitar or feel it for the first time, we definitely feel that you’ll make that switch over to Elixir. We’re excited to see that growth naturally through our product and what we represent.” MI
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TONE CENTRAL STATION OPENS UP IN NASHVILLE
For Austin and Jackson, the closure of the Sam Ash Nashville store was not the end of a story — it was the beginning of a bold new venture. “We wanted it to be a more-than-wel- coming environment, and we encourage people to come out and experience music with us,” Jackson said. “It’s music on all levels. We want that old school hardware store mentality where people would gather on Saturdays and just talk about how to change and plan for the world to be better. We want that vibe in here, and that’s what we’ve got so far.” To celebrate the grand opening, Austin and Jackson held a ribbon cutting ceremony in November. “Our cup runneth over with the amount of love we’ve received from our commu- nity,” Jackson said. “We want to continue the work that we’ve both done in our long careers in this business, and it’s really just to help guide and facilitate musicians on their journey.” That love is a testament to the duo’s legacy in music retail. Over the years, they’ve not only sold instruments but also guided count- less musicians in their journeys. “Nashville is a very special place for mu- sicians and the hub of a lot of what goes on in the music industry,” Austin said. “We’re very lucky and very blessed to have both had careers in this city where there’s so much going on.” MI — Kimberly Kapela
Tone Central Station owners Jamie Jackson (left) and Todd “Toddzilla” Austin.
O n Nov. 2, 2024, Jamie Jackson and Todd “Toddzilla” Austin celebrated the grand opening of their new store Tone Central Station in Nashville, Tennessee. This new venture brings together decades of experience and a commitment to empowering musicians of all levels. Jackson has more than 20 years of experience in music retail and managed multiple Sam Ash Music locations, while Austin brings over 30 years of experience and a unique charisma to the partnership. As a new member of the Music City scene, Tone Central Station aims to set itself
apart by serving as a community resource. Musicians of every level, from seasoned pros to beginners, are welcomed into an environment designed to foster creativity, exploration and connection. “We want a place that’s a sanctuary for musicians,” Austin said. “Jamie and I have extensive experience in music retail. We have over 50 years worth of experience between us, so we spent a lot of time in music stores, and we wanted to create something that was unique. It’s a different take on your typical music store.” expand our product offerings to a greater share of musicians, engineers and audio aficionados, and these updates are a way for us to showcase our appreciation for its position in the industry,” said Shawn Wells, ACT Entertainment market manager, sound. “Lava Cable has always been an industry leading brand, and we are excited that the packaging further reflects that.” Founded in 2004, Lava Cable’s most well-known solutions are the Tightrope cables and solder-free DC kits. {lavacable.com}
ACT Entertainment’s Lava Cable Gets New Look A CT Entertainment has announced a new look to its Lava Cable brand.
While the products, which are designed to improve tone, functionality and durability, will remain the same, the brand’s logo, packaging and marketing materials have been enhanced to showcase its position as a boutique audio solution. ACT Entertainment, which acquired Lava Cable in 2019 under RHC Holdings, has honored the company’s history with a 21st century look. “Bringing Lava into our roster helped us
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C onnolly Music Company has announced a partnership with Blustream, a post- purchase product experience platform. This collaboration establishes Connolly as Blustream’s premier partner in the musical instrument industry, setting the stage for innovation and enhanced support for music retailers nationwide. The partnership aims to enhance customer engagement by integrating Blustream’s tech- nology with Connolly’s extensive industry expertise and reach. Blustream’s platform enables music dealers to connect with renters and customers through personalized, auto- mated messaging, offering tailored instrument care tips, educational resources and purchase recommendations. Together, the companies will help retailers boost renter retention, drive revenue, reduce returns and maximize the lifetime value of each customer. Connolly Music, Blustream Announce Strategic Partnership
Yorkville to Distribute KHS Music’s B&O Lines in Canada Y orkville Sound has announced its Canadian distribution of KHS Musical Instrument Co.’s band and orchestral lines, including Altus Handmade Flutes, Azumi Flutes, Jupiter Band Instruments, Majestic Percussion, Mapex Marching and XO Professional Brass. The two notably with Mapex Drums. “Since Yorkville began to distribute Mapex Drums in Canada over 10 years ago, it has grown to become the number one acoustic drum brand in the country,” said Jeff Cowling, Yorkville’s vice president of sales and marketing. “We see a similar opportunity with these prestigious brands. They’re a natural fit for our customers and for our network of dealers and music educators.” The band and orchestral distribution partnership with Yorkville and KHS is companies have a long and successful relationship, most effective immediately. Canadian retailers are encouraged to contact their Yorkville Sound sales representative for more information . {yorkville.com; khsmusic.com} “Blustream has redefined customer experi- ence by connecting brands with their audi- ences in meaningful, data-driven ways,” said Ken Rapp, CEO and co-founder of Blustream. “Our collaboration with Connolly Music will allow us to scale these capabilities, helping music retailers retain their renters and grow their businesses like never before.” The partnership leverages Blustream’s success in the music industry, demonstrat- ing proven results, including community re- tention rates exceeding 90% and significant revenue growth. By embedding Blustream’s product experience technology into existing rental and sales processes, Connolly Music will empower its dealer network to create enduring connections with its customers. “For decades, Connolly Music has sup- ported music dealers with top-tier products,” said Jake Connolly, CEO of Connolly Music. “Partnering with Blustream allows us to take this commitment further, enabling our deal- ers to offer a superior rental and ownership experience that fosters long-term customer loyalty and success.” {connollymusic.com; blustream.io}
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CALZONE & ANVIL CASE CO. ACQUIRES KANGAROO, EXPANDING TEXAS BUSINESS
C alzone & Anvil Case Company has ac- quired Kangaroo Cases, a Dallas-based case manufacturer serving the Southwest re- gion for more than 35 years. The acquisition marks Calzone’s seventh strategic purchase since 1985 and expands the company’s manu- facturing capabilities and customer service presence in the Dallas-Fort Worth area. “We have been keeping an eye on Kan- garoo Cases for a while now,” said Joe Calzone, president and CEO of Calzone & Anvil Case Company. “As Calzone’s Dallas location enters its 40th year in 2025, we recognized that expanding our presence in the Southwestern territory required add- ing an experienced business leader with an entrepreneurial spirit. Bo Rollins has transformed Kangaroo Cases from a local manufacturer to a formidable competitor in the Southwest market, and we are thrilled to welcome him and his team to the Calzone
ficer of Calzone’s Dallas operations. “We are honored to join such an iconic brand family and continue to manufacture the best quality cases in the industry while focusing on increasing value for our custom- ers,” Rollins said. “By combining forces, we will be able to increase capacity while also providing new and innovative offerings to a broader range of industries.” In conjunction with the acquisition, Cal- zone & Anvil Case Company announced the appointment of Phil McKinzey as Southwest district manager, operating from the Dallas facility. McKinzey brings extensive technology and sales experience from his recent role in management at Sam Ash Music in Dallas. The Kangaroo acquisition expands Cal- zone’s reach into diverse sectors, and custom- ers will benefit from increased production capacity, faster lead times and enhanced local support. {calzoneanvil.com}
Anvil family.” The acquisition includes Kangaroo’s manufacturing assets and workforce, which will enhance production capacity and re- duce lead times for customers throughout the region. The integration brings together two companies with aligned core values in quality, culture and customer service. Kan- garoo’s office staff will manage Calzone’s Dallas front office, providing enhanced local customer support. Bo Rollins, former owner of Kangaroo Cases, has been appointed chief growth of-
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Algam Establishes Algam USA Distribution
E uropean distributor, Algam SAS, has announced its new subsidiary, Algam USA. This expansion marks Algam’s com- mitment to bringing high-quality products and its distribution expertise to the American market. Algam USA will be headquartered in Benicia, California, and spearheaded by CEO Matt McDevitt, a seasoned MI veteran. Algam USA will serve as the exclusive distributor of Lag Guitars, along with other
brands under the Algam portfolio. Under McDevitt’s leadership, Algam USA aims to foster strong relationships with American retailers and musicians. “Joining Algam to lead Algam USA is a tremendous honor,” McDevitt said. “I look forward to working closely with our team to deliver the quality, service and market innovation that Algam is known for.” {algamusa.com}
H osa Technology has appointed Rowville, Victoria, Australia-based Link Audio and Auckland, New Zealand- based Webb Enterprises Ltd. as its newest distributors for its products. The announcement was made by Mayumi Allison, CEO of Hosa Technology, and showcased the company’s longterm strategic business plan for ongoing expansion and growth. This news follows on the heels of the company’s appointment of industry veteran Derek Snyder to the position of global sales director. Link Audio, established in Australia in 2015, has grown to become a prominent specialist in pro-audio and high-tech product distribution. Representing industry- leading brands, such as Apogee, PreSonus and SPL, Link Audio is committed to delivering high-quality audio solutions. “The last piece missing from our complementary brand list was a professional range of cables, and if you are going to add that last piece, then surely you do it with the market-leading brand,” said Michael Jago, managing director. “That brand without question is Hosa Technology. Hosa has been the dominant player in Australia’s MI accessory business for well over 20 years and provides the most comprehensive range of cables and adapters on the market. Link Audio is very proud to continue Hosa’s market-leading tradition and build on it in the years to come.” Since its establishment in 1986, Webb Group has been a trailblazer in New Zealand’s MI industry. In addition to its flagship Rockshop retail brand, Webb Group also encompasses KBB Music, New Zealand’s leading retailer of classical instruments since 1888. Through a network of 30 retail stores, two e-commerce platforms, and wholesale distribution to resellers nationwide, Webb Group has been a trusted provider of Hosa Technology products in New Zealand for many years. Now as Hosa’s exclusive New Zealand distributor, Webb Group can further expand distribution as Hosa Technology becomes a mainstay cornerstone of the group’s accessory business. “Webb Group is pleased to be working directly with Hosa Technology to continue offering the range to our customers and grow the business in our market,” said Leon Dahl, senior product manager of Webb Group. {hosatech.com} Hosa Increases Reach in Australia, New Zealand
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stone that showcases four decades of growth from the company’s European roots to its current position as a leader in pro-audio. This milestone comes during a period of growth for L-Acoustics, which has seen a 40% increase in its workforce over the past two years. With global hubs in Paris, Los Angeles, London and Singapore, the company has strategically expanded to sup- port its worldwide network of partners and clients while maintaining its commitment to innovation, with 20% of its workforce dedicated to design and R&D. “For 40 years, L-Acoustics has been driven by a spirit of innovation and a simple vision: bringing people together through extraor- dinary sound,” said Anne Hamlett, chief people officer at L-Acoustics. “Welcom- ing our 1,000th team member represents a significant milestone in our journey to connecting people by creating the world’s most exceptional sound experiences and demonstrates our continued commitment to excellence across all geographies and divi- sions of the company.” {l-acoustics.com}
L-ACOUSTICS MARKS 40TH YEAR WITH MAJOR GROWTH MILESTONE The entire L-Acoustics team celebrates the company’s 40th anniversary at Paris’ La Seine Musicale. C apping off 2024, the company’s 40th anniversary year, L-Acoustics has an- nounced the addition of its 1,000th team member. Kevin Gouriou joined the company as a prototypist in L-Acoustic’s research and development department, marking a mile-
Sweetwater Rakes in 10 Comparably Awards
S weetwater has been awarded a total of 10 Comparably Awards during 2024, most recently earning recognition for Best Company Culture and Best CEO. These acco-
an on-site medical clinic, health club, adop- tion assistance, and more. “We pride ourselves on caring for our peo- ple and serving with heart. These values are
lades rank Sweetwater among the country’s top company cultures, alongside companies like Adobe and Top- Golf, and place Sweet-
embedded throughout the Sweetwater culture, and in all that we do for our people and our communities,” said Jeff Ostermann, Sweetwa-
From left: TIK PIK co-founder Kevin Mac, Guitar Center Nashville Store Manager Da- vid Cubelo and TIK PIK co-founder Nicholas George at the Guitar Center Nashville store.
GC Featured on ‘Shark Tank’ with TIK PIK Partnership G uitar Center was featured on the television show “Shark Tank,” when Nicholas George and Kevin Mac, co- founders of the guitar pick company TIK PIK, announced its partnership with the MI retailer. TIK PIKs are now available in more than 300 Guitar Center stores nationwide and online. Additionally, an exclusive SKU was developed with GC exclusively for its retail customers. TIK PIK, known for its unique design that keeps picks conveniently attached to the guitar until ready for play, has experienced serious growth since its appearance on Shark Tank and partnership with Mark Cuban. The partnership with Guitar Center is just the beginning of TIK PIK’s expansion as it prepares to launch Fender-branded TIK PIKs in 2025. {guitarcenter.com; tikpik.com}
water’s CEO, Mike Clem, among an exclusive group of standout chief executives, including Microsoft’s Satya Nadella. Comparably, a ZoomInfo company, is a recognized, third-party workforce survey platform and rankings are based on anony- mous employee feedback to 50 data-driven questions spanning nearly 20 key workplace culture metrics. In 2024, Sweetwater won Comparably Awards for 10 different categories — a testa- ment to Sweetwater’s holistic approach to nurturing a people-centric culture. Sweet- water prioritizes training and professional development, and continuously assesses its benefits package to ensure the company con- tinues to be a national leader with employee wellbeing resources and amenities, such as
ter’s chief people and culture officer. “It starts at the top — and Mike Clem leads by example, cultivating a workplace where employees can grow, thrive, and pursue work that is both challenging and rewarding.” The 10 accolades from Comparably during 2024 include: Best CEO, Best Company Cul- ture, Best Company Outlook, Best Company Work-Life Balance, Best Company Perks & Benefits, Happiest Employees, Best Leader- ship Teams, Best Career Growth, Best Sales Teams and Best Company Compensation. “Comparably’s Best Places to Work Awards are an invaluable benchmark for organizations striving to create positive, inclusive and high-performing workplace cultures,” said Chad Herring, CHRO of ZoomInfo. {sweetwater.com}
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AWM Acquires Herco Instrument Care Products A merican Way Marketing (AWM) has acquired the Herco line of traditional
Herco instrument care products. Known for its durable and reliable maintenance ac- cessories, Herco’s product line includes a range of essential maintenance accessories designed to keep instruments in optimal playing condition. The transition will ensure a seamless continuation of Herco’s tradition of acces- sory excellence. {americanwaymktg.com}
instrument maintenance products from Dunlop Manufacturing. This acquisition marks an additional milestone in AWM’s commitment to delivering high-quality prod- ucts for musicians, educators and retailers. Effective immediately, AWM will as- sume all operations and management of
Herco’s Jasmin Dunlop Powell, AWM’s Tim Ricci and Herco’s Jim Dunlop Jr.
ARTIST APPROVED
The Nashville, Tennessee-based singer-songwriter discusses her first guitar and what’s currently in her arsenal. KATIE SCHECTER Music Inc.: What was your first instrument? Katie Schecter: My dad got me a Washburn dreadnought acoustic guitar when I was 14, and I painted flowers on the pickguard a la Woodstock 1969. MI: Are there any new or emerging pieces of gear you’ve recently tried that have inspired you in the music-making process? KS: My husband just acquired an MCI con- sole for our home studio, which is beyond exciting. I like recording to tape, and I like vintage gear — there’s just something about the sound of human imperfection. Other than that, [I love] my Orange TremLord 30. I keep it old school. MI : What instruments are currently in your arsenal? KS: My 1960s Danelectro Convertible, which I aptly named Venus De Milo, is my go-to for performing live, and it was my push present when I had my daughter. I’m playing it on the single cover for ‘Pay It No Mind.’ — Kimberly Kapela
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Hal Leonard Distribution Expands Catalog H al Leonard’s MI Distribution Division has added five brands to its catalog: Royer Labs, Truetone, Decksaver, Headliner and Magma. These partnerships, covering the U.S., bring a variety of high-quality products that are now in stock and ready to order. Royer Labs has altered the audio industry with its modern ribbon microphones, offering a combination of warmth, analog character and smooth sound. Truetone provides essential tools for powering guitar pedals and pedalboards. Decksaver offers durable
MAGNATONE AMPLIFIERS NAMES DIRECTOR OF GLOBAL SALES
M agnatone Amplifiers has announced Granville Helm has joined the company as the director of global sales. Helm’s music retail experience, combined with his lifelong passion for guitars and amplifiers, gives him a unique perspective that will expand Magnatone’s boutique
Granville Helm
legacy and grow Magnatone’s dealer network worldwide. Helm comes to Magnatone from Eddie’s Guitars in St. Louis, where he was store manager. In that role, Helm es- tablished a reputation for being a knowledgeable and trusted music gear expert. Granville is also a seasoned musician with an understand- ing of the nuances of the music industry and the needs of players at all levels. “Granville’s retail sales experience and personable rela- tionships with musicians will be great assets to help propel Magnatone’s worldwide sales efforts,” said Ted Kornblum, Magnatone’s president and CEO. {magnatoneusa.com}
covers to safeguard DJ control- lers, mixers and other equipment from damage in clubs, studios, on stages and at home. Hal Leonard
is initially stocking models designed for the most popular DJ devices. Headliner specializes in professional DJ accessories, including portable booths, cases and stands, while Magma offers solutions for DJs, producers and frequent travelers. “All these lines complement our existing distributed brands,” said Peter Carlson, Hal Leonard MI’s sales manager. “This expan- sion allows our dealer network to provide even more value to their customers, whether they’re musicians, audio professionals or DJs.” {halleonard.com}
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FORMER ISB PRESIDENT PHILLIPS PASSES AWAY F ormer president of the Interna-
tional Society of Bassists, Barre Phillips, passed away at his home in Las Cruces, New Mexico, on Dec. 28, 2024. He was 90.
Barre Phillips
Phillips was a jazz bassist and com- poser who studied briefly with Charles Siani, assistant principal bass of the San Francisco Symphony and originally planned on an academic career, but, in his mid-20s, he resolved to pursue his personal music. During his time in New York in the 1960s, he worked with Jimmy Giuffre, Archie Shepp, George Russell and other avant-garde jazz musicians. Phillips moved to Europe in 1967 and lived there for most of his life, returning to the U.S. in recent years. He was president of the International Society of Bassist (ISB) from 2001–2003 and chaired the 2003 ISB convention at the University of Richmond, Virginia. {isbworldoffice.com} FOUNDER OF FORT BEND MUSIC CENTER PASSES AWAY R ick Cochran, founder and president of Fort
Bend Music Center, passed away unex- pectedly on Dec. 4, 2024. He was 64. Born on Feb. 19, 1960, Cochran
Rick Cochran
dedicated his life to sharing the joy of mu- sic. His journey in the music industry began in 1983 when he co-founded Blue Streak Transport, a piano-moving service serv- ing Houston. He eventually expanded into piano tuning and repairs with the acquisi- tion of Complete Piano Service in 1995. In 2004, Cochran founded Fort Bend Music Center in Stafford, Texas, a small teaching studio that quickly grew to serve more than 500 students weekly. Under his leader- ship, Fort Bend Music Center became an authorized Yamaha piano dealer, with locations in Stafford, Houston and San Antonio. {fortbendmusiccenter.com}
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Roland Sets Goals for CO2 Emissions Reduction R oland Corporation has announced its carbon reduction targets. In alignment carbon neutrality as declared in the Paris Agreement in mind. Roland’s efforts have been disclosed in line with TCFD (Task Force on Climate-related Financial Disclo- sures) recommendations.
with the Paris Agreement international treaty on climate change, Roland said it aims to reduce greenhouse gas emissions across its operations and value chain — paving the way for a sustainable future that supports creativity, music and artistic expression. Roland said its reduction targets are set in line with the concept of Science Based Targets (SBT), with the goal of achieving
Roland reported its total CO2 emis- sions in fiscal year 2023 were reduced by 12% from the previous year, and it will continue its efforts to reduce CO2 emissions further. {roland.com/global/sustainability}
R adial has announced its “True to Your Music” marketing campaign. The campaign, which will continue throughout 2025, will incorporate advertising, social media, content marketing and other sales support elements that reinforce Radial’s commitment to innovation and creative solutions that facilitate a player’s creative process. The “True to Your Music” theme centers around Radial Engineering’s mission to provide reliable, world-class audio gear that removes barriers to creativity, allowing users to focus on what matters most — their music. From solo practice to live performance and studio recording, the campaign will focus on Radial products that enable musicians to achieve the highest levels of sound quality and performance, no matter where they are in their journey. “Every wire we solder, every product we design and every customer we serve is a reflection of our pursuit of excellence,” said Roc Bubel, Radial’s director of sales and marketing. “The ‘True to Your Music’ campaign is designed to reaffirm our dedication to supporting our dealers and customers by providing sales support and innovative tools that reflect a player’s personal music, sound, and vision.” {radialeng.com} Radial Announces New Marketing Campaign
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> Page 30 My Turn > Page 32 Women of NAMM
IN THE TRENCHES I BY CYPH SHAH BRIDGING THE GAP T here are plenty of good products hitting the market each year, but recently I’ve been left wondering, how many
have to effectively take it on the chin when questions are raised about a product’s shortcomings. The product developers behind the design may be engineers, but they typically aren’t using the product in the field like their consumers. Blind spots can exist that are un- accounted for, a sign that enough perspectives were likely not taken into account early in the planning stages. Product developers may be confined to echo chambers of thought and/or company policy, left to fend without the adequate resources or corporate encourage- ment required to explore valuable considerations. For peak innova- tion to manifest, the requirement is being willing and open to tap into a series of micro-discoveries early in the incubation stage. THE DISCONNECT Dealers naturally have a large Rolodex of brand reps and, ev- ery week, it’s likely we’re going to be pitched the latest hot prod- uct hitting shelves. Sometimes I come in contact with a “hot” product announcement that I feel is lacking in some facet of design — lacking in ways I think will limit its ability to appeal to customers. And in those cases, I’m sometimes inclined to play along with their enthusiasm to politely appease the presenter. It’s kind of like telling someone their ugly baby is cute. There’s less incentive for me to put energy into being
constructively honest unless it’s going to viably spur a change for the better. Don’t get me wrong, I appreciate the excitement my reps bring to the table. They’re doing their job and doing it well, acting in accordance with the parameters and resources provided to them. But, I’m left feeling empty-handed and slightly heavy-hearted when my curiosity in a new product is downtrodden by the lack of a seemingly obvious feature I find myself wishing was included from the get-go. MISSED OPPORTUNITIES IN DESIGN A few years ago Pioneer DJ re- leased a new robust DJ mixer, geared towards performers who favor live production. One of its unique features was a com- pressor on each channel. I got up close with the mixer during The NAMM Show, getting the run down from a senior product specialist. But it was missing some- thing that I knew would have been a game-changer: an option for side- chain commands. Sidechain is an essential tool for a musician who’s balancing synthesizers amongst other audio elements. With the compressor already in place, a side- chain function could have been an engineering tweak that would have paid dividends in its appeal to end-users. The feedback I got was that this concept was never explored but not intentionally. Historically, R&D has included
missed the mark to be great? The answer can’t be zero, but I have reason to think the actual figure has been migrating in the wrong direction. What we hope for is that a product will have all the features and design attributes we obviously need, but also some of the ones we didn’t even know we would want later — things you discover after you’ve had the op- portunity to establish a workflow with it. Features that make you marvel at the foresight in design. That level of proficiency in product planning requires a more grass- roots perspective to be laid into the foundation of the design approach. Adequately diverse feedback loops during development can curate well-performing products. But the widespread initiative to stimulate those types of conversations might not be as prevalent as one would hope. It raises a question of if we are missing out on opportunities for meaningful innovation right under our noses. Let’s paint a picture of a prom- ising product launch that’s unfor- tunately tailed by a few quarters of lackluster introductory perfor- mance. As it sometimes happens, the product wasn’t as much of a winner as was projected. Some- times it’s bad timing, other times
it’s a sign of something more. Those on the executive level can find themselves disconnected from the current ground-floor tempera- ture, ill-equipped to make assess- ments on product utility. Those in the middle trying to make the gears turn are then potentially subject to blame for design over- sights or flaws. The rep firms who interact directly with the dealers “It’s my belief that many manufacturers overlook the value of retailer input during the early stages of product development.”
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a healthy level of interactive feedback because that’s generally what it takes to cover all the necessary bases in understanding use cases. Brands once weren’t so shy about showing some skin in order to take in retail impres- sions. But now it’s structured as a more iso- lated framework, reducing opportunities for innovation. Sometimes, we dealers receive as little as two-to-three days notice before a product is publicly announced, barely giving us enough time to prepare outgoing digital promotional assets and e-commerce listings. Reps struggle to get their hands on demo units ahead of stocking ship dates, making it tougher for dealers to proactively get inti- mate with a product in ways that will matter. It’s my belief that many manufacturers overlook the value of retailer input during the early stages of product development. I’m visited by product developers who seek feed- back well after its release, but that doesn’t help anyone. Barriers seem to be in place that thwart the types of communication that should be unfolding much earlier. I’m inclined to think that manufacturers are better off in maintaining a reasonable fear of sticking too much to the playbook. What worked to develop a successful product yesterday won’t necessarily apply in today’s market. CHALLENGES IN THE CURRENT SYSTEM When I have pointed out shortfalls or shared potential improvements to product teams, their responses weren’t, “We discussed it but it didn’t pan out because of ‘XYZ’ constraint.” Typically they seem surprised, indicating it’s the first time someone presented this notion. By the time the meat hits the grocery store it’s too late to ask to inspect the cow. You just have to hope the farm did their part from the start. The unfortunate reality is that opportu- nities for great features are stepped over more often than we acknowledge. It means those products aren’t capturing the full potential reach of their demographic, or perhaps even closing off the opportunity to reach a new, unintended demographic entirely. After all, that’s how Panasonic figured out Technics turntables weren’t just for the audiophiles. If the intention behind creating a short gap between dealer involvement and public release is to protect IP and curtail information leaking early, it’s a strategy that’s proven to be ineffec- tive. In fact, some can argue it actually hurts the dealers’ ability to strategically manage their purchasing interests, inventory backstock and maneuver market conditions. The informa- tion inevitably gets out there regardless and if you doubt me, do a quick Reddit search for news about the DJ controllers to be released
in 2025. If protecting their investment is the manufacturers’ primary intention, I would encourage them to reassess their methods in order to pursue a more effective strategy that binds the dealer-supplier relationship. A CALL TO ACTION My hope here is to embolden the sales reps, the product developers and even the “higher-ups” to think about these missing links. I encourage them to capitalize on what these avenues have to offer. Push off the complacency of sticking to how things are done now and bend a few rules in the interest of bettering the
product’s end design. The right retail partners can help you refine a product’s trajectory if you invite them into the kitchen while the oven is still warming up. Invite outside per- spectives into the inside processes that can help better emulate the application in the real world. Otherwise, I’m likely to just save my breath and tell you that your unsightly baby is actually Gerber-model worthy. MI Cyph Shah is the manager of Astro Audio Video Lighting in Glendale, California. He’s also the lead instructor of the DJ School, Astro Mix Lab, and designs and commissions AVL systems for nightlife, art exhibits, corporate showrooms, sports facilities and live performance venues as Astro AVL’s installation foreman. He’s performed across the country for more than 20 years as a club DJ.
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