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AUGUST 2025 I VOL. 36, NO. 7
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. 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:
MUSIC INC., 188 W. Industrial Drive, Suite 310, Elmhurst, Illinois 60126
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August 2025
Jonathan Spangler
28 I FROM THE TOP
Ciari Guitars founder Jonathan Spangler shares how his background as chief patent counsel for a medical device company helped him transition into building travel guitars.
32 I THE BEAT OF THE DRUM MARKET From the hottest new digitals to popular travel kits, we take the temperature of the drum market in 2025 with insight from some of the industry’s leading brands and top drum retailers.
Ddrum’s E-Flex BT8 Kit
37 I THE 2025 FALL PRODUCT PREVIEW Music Inc.’s annual fall gear guide has returned, and it’s chock full of the latest product releases head- ing into the holiday selling season. Plus: We ask MI retailers what they’re stocking up on for Q4.
20 I MY TURN X MI retailer Miles DeCastro shares his take on tariff surcharges.
38 I GUITARS, AMPS & ACCESSORIES 44 I AUDIO & RECORDING 50 I DRUMS & PERCUSSION 54 I BAND & ORCHESTRA 56 I PIANOS, KEYBOARDS & SYNTHESIZERS 58 I DJ & LIGHTING RETAILER ASK THE 62 I ASK THE RETAILER X Retailers share their best tips for handling the back- to-school season.
14 I NEWS X Cassell’s Music to Close After 78 Years X Cosonic Acquires Beyerdynamic X Two Old Hippies Sells Breedlove, Bedell Guitars X NAMM NeXT Europe Debuts X Sweetwater Brings Back GuitarFest X Fender Establishes Fender Music Korea X Samson Appoints New Head of Sales 12 I INDUSTRY PROFILES X NAMM’s Museum of Making Music celebrates 25 years of sharing the joy of music making with its community — while approaching the 1 million- visitor mark.
22 I MY TURN X Rande Vick advocates that retailers be memory makers.
24 I NAMM YP X Music educator Brandon Dittgen offers tips to support percussion educators. 26 I WOMEN OF NAMM X Sarah Hollandsworth on the importance of cultivating support. On the cover, from left: PRS Guitar’s 40th Anniversary McCarty SC56 LTD in Translucent Black; Korg’s B2+ and B2+SP keyboards; LP’s Praise cajons; Warm Audio’s WA- CX24; and P. Mauriat’s PCL-521S intermediate clarinet.
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A s this issue is going to print on July 10, we find ourselves smack in the middle of Amazon’s yearly Prime Days sale. This year, the online giant moved from a one-day format to a four-day format, offering shoppers extra opportunities to stock up on products during a time when many Americans are clutching their wallets a little more tightly. With tariffs and economic uncertainty on everyone’s mind, it’s not all that surprising to see Forbes’ July 9 preliminary report that Amazon’s Prime Day sales were off to a slow start. Momentum Commerce, which oversees Amazon sales for major retailers PERSPECTIVE I BY KATIE KAILUS THE Q4 CRYSTAL BALL
representing $7 billion in spending on the platform, reported that early sales were down nearly 14%. However, analysts suggest this decline may be due to the event being stretched across four days this year, reducing urgency. While Amazon’s stock initially dropped 1.8% on July 8 — the first day of the sale — Adobe Analytics predicted consumers will spend $23.8 billion during the event, an increase of $9.6 billion over 2024’s sales. Outside of Amazon, Goldman Sachs has estimated consumer spending to grow just 0.9% Q4-over-Q4 in 2025. That’s down from 3.1% in 2024.
This raises an important question: Could the MI industry be facing slower sales — and potential tariff-related supply delays — in Q4? According to Brian Douglas, co-owner of Cream City Music in Brookfield, Wisconsin, the answer is no. “We feel that our Q4 is going to be as good, but likely, even better than last year’s Q4,” Douglas shared. “I’m predicting that holiday spending will provide a meaningful ‘pressure release’ valve for people everywhere during these troubling times, barring any major world catastrophe between now and then. “Tariff-related price increases are far from ideal, but I anticipate that customers will adjust by Q4,” he continued. “These changes won’t impact my purchasing approach unless there’s a noticeable decline in SKU velocity across specific brands. In those cases, I reduce orders for the underperform- ing items and reallocate resources to SKUs with stronger performance. This is consistent with my standard process, so while tariffs may influence what I order, they won’t change how I make those decisions.” Justin Sims, general manager of Sims Music in Columbia, South Carolina, also expressed optimism. “If things continue on the path they’re on so far this year, we predict a big fourth quarter,” he said. “We’re pacing ahead of last year so far. We plan to stock up big, as usual, for the holidays, even with higher pricing. I don’t stress over the tariff price increases, as we’ve seen 10 price increases since COVID anyway.” Regardless of sales forecasts, MI suppliers have a plethora of new product coming down the pipeline for Q4 — and we’ve highlighted some 50 of those new gear items in our Fall Product Preview, which starts on page 37. Flip through this issue, circle products to stock up on and make a plan as we head towards September. The holidays will be here before you know it. MI
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Fortunate & Grateful W e’re writing to extend our heartfelt gratitude to Mu- sic Inc. for featuring Brighton Music Center’s Dealer of Year Award in the July issue of the magazine. The headline of the cover story, ‘Kindness Is Key,’ not only honors everything we do at Brighton Music Center but it honors the founders, Jim Kaplan and Jim Botti. There could be no better gift to us here at Brighton Music Center than to keep that legacy going. We wanted to give a special thanks to all the employees of Brighton Music Center who made this honor possible. We truly work in the best industry in the world. This may be the only industry that genuinely works collaboratively to make sure everyone in the business of music succeeds. We have been fortunate to work with some of the most amazing people from our fellow retailers, to manufacturers, and all the people in between. So, thank you again for the amazingly well-written article. Richard Schiemer Co-Owner Brighton Music Center Pittsburgh Energized & Ready to Invade W e’ve just returned from Hellfest 2025 in France, which was an absolutely amazing edition full of incredible encoun- ters and inspiring conversations. As summer begins, we feel energized and full of ideas. This month, we celebrated Invaders Amplification’s 11th anniversary, and we’re very proud to have been featured in Music Inc.’s July issue. We remain optimistic about the connection people have with organic, all-tube amps, and we can’t wait to see what the rest of the year has in store for us.
Troubles with a B&O Rental Provider W hen the penny pinchers get involved in the sales room, it typically signals the downfall of a company. We’re starting to see signs that this dynamic is playing out in the band in- strument rental companies and impacting one of the very big- gest band rental companies in our industry. The horrible news arrived this week when I was told that I would no longer be supplied with rentable cellos. I was presented with a spreadsheet of my cello renting history, and told that with how lacking it is, there was no good reason to spend $102 to ship a cello for my customer to rent. Funny thing is: The data is actually pretty good for a remote location such as ours. It proves that, since 2017, we rented 16 cellos and six of the rentals were for a duration exceeding 100 days, which creates enough profit to negate the shipping cost and build a nice profit. I’d consider our affiliate ac- count a low-hassle account, as we often handle cello restrings and setups in-house, so it’s not as if we were making service demands. I can only assume that a ‘scarcity mindset’ has taken hold of this company, and many future opportunities will be missed, which results in many families not getting access to good quality band instruments. I’m shaking my head at the stupidity of the whole thing.
By the way, for those in the U.S., a few shops now have our amps available to try out. From Belgium to the U.S. — thanks for supporting indepen- dent builders.
ling in the opportunity to try Taylor Trumpets. Their distinc- tive sound, coupled with their multitude of custom finishes and designs, ensured the instru- ments were extremely popular with people at the conference. Alongside the established fa- vorites were additional models which did much to catch the eye, including a Taylor Piranha in C, and the new Taylor Phat Puppy Plus. It’s a flugelhorn, in a full-size trumpet layout — and people couldn’t get enough of it. Thank you for showcasing the creative brilliance of [com- pany founder] Andy Taylor, and for shining a spotlight on U.K. manufacturing.
Francois Deschamps Founder Invaders Amplification Huy, Belgium
‘Thank You’ for Showcasing U.K. Manufacturing’ T hank you for the recent Industry Profile on Taylor Trumpets. Our company con- tinues to forge its own unique path with its bespoke range of horns, hand made in the U.K. We recently spent a fantas- tic week at the International Trumpet Guild conference in Salt Lake City, with profession- als and enthusiasts alike revel-
Anthony Mantova Owner Mantova’s Two Street Music Eureka, California
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
Mark Good Marketing Coordinator Taylor Trumpets Norwich, England
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INSIDE NEWS > Page 14 Cassell’s Music to Close > Page 15 Cosonic Acquires Beyerdynamic > Page 17 Rotosound Rebrands Strings Packaging
“When you find a place that loves music as much as you do as a visitor to this museum, it’s as if the world opens up,” said Grant, who’s been with the museum since its incep- tion in 1998. “People will tell us it’s like, ‘Oh, you mean I’m not alone in this fascination of music?’ It’s a personal goal of mine to make sure that everybody knows that there’s a place for them in music.” THE EVOLUTION OF MOMM Shortly after the public opening in 2001, the museum’s operators noticed a disconnect be- tween the general public and the purpose of the museum. “The general public wasn’t quite clear on what NAMM is, what a music product is, and why we were located in a business park in Carlsbad,” she said. “So, over the years, we did a few retrofits to the museum to bring that more front-and-center so that we could orient our visitors, because we felt like we were missing some opportunities. And people have loved it.” Several decades later, the museum needed to be refocused again. Technol- ogy and its impact on the music-making process had changed. “When we opened, it was a different time,” she said. “So much had changed in 20 years. So, we raised money, and, coincidentally, finished raising money in February 2020, and then the COVID pandemic hit in March, and we closed. We used that next year to completely redo the museum and reinterpret it in such a way that it would speak to today’s audiences.” During the renovation, the team organized the MoMM into themes that would resonate with the general public. “This museum is a bridge between our industry and the general public,” Grant said. “We’re inviting people into our industry. We believe that our industry is so impactful and so valuable that everybody needs to know about it. So, we reinterpreted the museum to simplify it for people about what goes into mak- ing an instrument, why instruments change
In 2000, the Museum of Making Music opened to the public at NAMM’s headquarters in Carlsbad, California. A quarter-century later, it’s seen almost 1 million visitors while changing lives in the process. — By Katie Kailus Carolyn Grant 25 YEARS OF MAKING MUSIC
I n 1998, NAMM was planning for its cen- tennial anniversary in 2001. To celebrate, NAMM leadership decided to open a museum dedicated to music products. Three years after the museum’s inception, it went from an industry-facing operation to a public-facing one. Today, as the Museum of Making Mu-
sic celebrates its 25th anniversary, it’s also nearing another milestone: 1 million visitors. According to Carolyn Grant, NAMM’s director of marketing development and the executive director of the Museum of Music Making (MoMM), the museum has changed lives.
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over time, why instruments go in and out of popularity, the impact of technology on making instruments, and the impact of cultural shifts on making musical instruments.” In the retrofit, the MoMM team also broke out how the MI industry gets instruments into the hands of players, while also incorporating a “beyond the instruments” feature, where visitors can reflect on the impact of instruments as catalysts for change, sources of solace or art objects. The Museum of Making Music officially reopened in June 2021. “Response has been amazing ever since,” Grant said. “People love it. I witness that first- hand every day. It’s just amazing to watch people interact with our digital technology and say to each other, ‘I didn’t know that. Did you know that?’ It’s very satisfying.” Additionally, as a spotlight program of the NAMM Foundation, NAMM’s philanthropic arm, MoMM has become a mouthpiece for the work of the foundation, including getting more people interested in making music. “We highlight careers in music in our mu- seum, and we infuse the careers in music messaging into all of our school tours,” Grant said. “We interpret it for the younger kids, and then we also have a video piece that speaks to the middle school and high school kids. We also show our school groups firsthand the impact of music making.” CHANGING LIVES FOR A QUARTER-CENTURY Over the last 25 years, Grant said the Museum of Making Music has had many memorable moments — from an appearance by singer Mavis Staples to a culturally transcending musical experience with a West African kora player and a French cellist. But, she said, the most impactful moments happen each week when local school groups tour the museum. “Some of the kids who come through the museum are on a Title I tour program where we pay for all of the busing, offer free ad- mission, and provide pre-visit and post-visit packets,” she explained. “A lot of these kids haven’t been exposed very much to music. I remember one little girl saying she had never seen a piano before. We don’t realize how one touch of an instrument can spark a lifetime of music making. And now that we’ve been here 25 years, we occasionally have people come in who say, ‘I’m a music teacher because I was exposed to music when I came here to the museum as a kid.’ Those types of stories are very heartwarming.” To celebrate the 25th anniversary, MoMM is rolling out several special offerings, including 25th anniversary t-shirts, “Original Admission Day” where visitors are charged the original
admission price of $3 and 25-minute “speed” tours through the museum. For John Mlynczak, president and CEO of NAMM, the museum’s anniversary is a moment to reflect on its role in cel- ebrating both the past and present of the music industry. “The Museum of Making Music not only tells the history of music making and music products throughout time, but also showcases the best of today’s music industry,” Mlynczak said. “The brand-new interactive PRS Guitars exhibit is just one example of the hands-on experience our MoMM provides, allowing guests to play the
museum’s musical instruments and experi- ence the joy of making music firsthand.” For Grant, she said it’s hard to wrap her mind around the fact that the museum has hit the quarter-century mark. “A lot of times, when I try to explain the museum to people who are not involved, I almost have to say what we’re not. We’re not about celebrity. We’re not exclusively about the history of instruments,” Grant explained. “We’re about the process of providing the tools for human beings to express themselves through music. And that resonates with people at a very deep level.” MI
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there is no easy way to come to the end of an era,” said Intagliata, who has run the store since 1978 after purchasing it with his father the year before. Founded in 1948 by Albert Cassell, the shop has endured changing times and trends but also managed to outlast more than a dozen competing music stores in the area. The store gained international recog- nition after it was featured in the 1992 cult-classic film “Wayne’s World.” Fans from around the world have visited what Intagliata lovingly refers to as the “Wayne’s World Shrine” — a dedicated display in- side the shop showcasing props used in the film. “Our biggest claim to fame by far is being the music store that was featured in Wayne’s World,” Intagliata said. “That movie really put us on the global map.” As word of the closure spreads, long- time customers, friends and fans have been visiting the store to share their memories and say their farewells. “So many folks have been stopping by to say ‘goodbye’ and how they will miss having us in the community,” Intagliata said. “There’s going to be a huge void in this neck of the woods and hopefully some new entrepreneur will decide to take up the mantle and continue to serve the greater San Fernando Valley. There’s still plenty of business to be transacted.” MI — By Kimberly Kapela Together, Mroz and Pollard will carry forward the legacy built by Tom Bedell, his team and the generations that came before. “We’re incredibly grateful to Tom Bedell and the entire team for creating this founda- tion and vision for us to build on,” Mroz said. “We can’t wait to get to know our partners, artists, community of players and everyone who loves these instruments. This is a legacy we intend to honor and elevate.” “We feel a deep sense of responsibility and are honored to help shape the future of these brands,” Pollard said. “This isn’t just a business venture — it’s a personal and passionate commitment to ensuring Breedlove and Bedell continue to inspire and serve players around the world. {breedloveguitars.com}
Wayne’s World director Penelope Spheeris and Cassell’s Music’s owner Ed Intagliata.
CASSELL’S MUSIC TO CLOSE AFTER 78 YEARS A beloved San Fernando, California, music store has played its final notes. After 78 years in business, Cassell’s Music closed its doors on July 12. Owner Ed Intagliata announced his retirement and the store’s closure on May 21. “It was hard to make this decision as
Two Old Hippies Sells Off Breedlove, Bedell Guitar Brands T wo Old Hippies Guitars, LLC, parent company of Breedlove and Bedell Guitars, has completed the sale of the company to Nashville-based artists and music industry advocates Pete Mroz and Shannon Pollard.
by his high-performing roles at brands like Ping Golf, TravisMathew and FootJoy. His combined expertise in music and business positions him uniquely to help guide the next era of Breedlove and Bedell Guitars. Pollard, grandson of country music icon Eddy Arnold and founder of Plowboy Re- cords, is an entrepreneur with a focus on bespoke development. His career spans music, design and craftsmanship. Pollard brings a commitment to preserving musical legacy while creating space for new voices to emerge.
This transition brings the company under the stewardship of two individuals who have each spent a lifetime immersed in music — as players, performers and stewards of the musical community. Mroz, a nationally recognized singer-song- writer and former contestant on NBC’s “The Voice,” has long been part of the Breedlove and Bedell family as an artist. In addition to his deep connection to songwriting, stage performance, and guitar culture, Mroz brings advanced business acumen to the role, shaped
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Cosonic Acquires Beyerdynamic C hinese audio company Cosonic has ac- quired Beyerdynamic for approximately
$140 million. This acquisition marks the end of Beyerdynamic’s century-long private, fam- ily ownership. Under the new ownership, the Beyer family will step away from the company, but the existing management team will remain intact. Beyerdynamic’s headquar- ters in Long Island, New York, will also continue operating without changes to staff or structure. “The acquisition of Cosonic affords Beyer- dynamic the financial resources to continue to grow,” Richard Campbell, Beyerdynamic North America’s managing director told Mu- sic Inc. “We’ve launched more products in the last year than we have in quite some time. This acquisition gives us the financial
NAMM NeXT Europe Debuts N AMM recently announced the conclusion of NAMM NeXT Europe, a regional summit focused on insights and analysis to shape the future of the European music industry. More than 60 European company leaders gathered at the conference, which was held at the Marriott Hotel Grand Place in Brussels, Belgium, on June 4–5. “After the success of our inaugural NAMM NeXT event in Nashville last year, we wanted to expand globally with a similar event in Europe to unite European leaders and associations — from NAMM member companies to industry partners — around the common goal of strengthening the global music products industry,” said John Mlynczak, president and CEO of NAMM. “The NAMM NeXT Europe event demonstrated why the global music products industry is stronger when we work together to share ideas and focus on how to create more music-makers worldwide.” NAMM NeXT Europe featured sessions with experts from inside and outside of the music business and focused on driving conversations that will take the global industry to the next level. Attendees participated in keynotes, panel discussions and workshops that allowed for a deeper look into critical business issues. NAMM NeXT Europe was proudly supported by nine European music industry associations, including: AVHN, BDMH, CAFIM, Comusica, CSFI, Dismamusica, EMIA, MIA and SOMM. One of the primary goals for NAMM NeXT Europe was to unite NAMM member communities and partners from across Europe and share insights. “Our music products industry, both professional and consumer, is always stronger when we work together toward common goals,” said James Gordon, CEO of Audiotonix. “To be part of this inaugural event, in Brussels, that combines outside-the-industry shared knowledge with inside-the-industry perspectives to help our industry’s growth was very impactful. We can’t wait to participate and support future events.” The NAMM NeXT format will continue as an investment in the global music industry at large and be held annually in a variety of event formats. {namm.org}
resources to continue to be able to do that. Cosonic wants to continue the history and the legacy of what we’ve been building — and do more of it.” Cosonic, a publicly traded company in China, issued a press release announcing the acquisition roughly two weeks ago, confirming the deal and its value. The ac- quisition is expected to strengthen both companies’ global reach while maintaining the integrity of the Beyerdynamic brand. {north-america.beyerdynamic.com}
Diamond Farnsworth (left) holds the mic while Keith Burns performs on his Pearl River guitar.
PEARL RIVER GUITARS PARTICIPATES IN MIDSOUTH NOSTALGIA FESTIVAL P earl River Guitars once again par-
guitar. Stuntman and actor Diamond Farn- sworth — whose credits include NCIS, First Blood, and Ghostbusters — was so taken with Burns’ guitar, he joined the roster of Pearl River endorsers and was gifted an S1CO-JCB as a welcome. “This festival is all about storytelling, heritage and connection,” Carlisle Smith said. “That’s what Pearl River Guitars is about, too — so the match couldn’t be more perfect.” With Hollywood stars like Mary Bad- ham, Robert Carradine, Patrick Wayne and Jon Provost all in attendance, the event was a haven for classic cinema fans. {pearlriverusa.com/guitars}
ticipated in the MidSouth Nostalgia Festival, held June 5–7 at the Whispering Woods Hotel in Olive Branch, Mississippi. Backed by a team led by North American Pearl River guitar representative Sherry Carlisle Smith and SCE Group, the brand’s presence was felt during the three-day fes- tival, where attendees were treated to ap- pearances by brand spokesman and country artist Keith Burns, who signed autographs, took part in celebrity Q&A panels, and performed at the Saturday night banquet. Among this year’s crowd favorites were the Pearl River S1CO-JCB Jumbo Cutaway and the BPJ60-N all-maple bass
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FENDER MUSIC KOREA TO LEAD DIRECT MARKET OPERATIONS UNDER NEWLY APPOINTED GENERAL MANAGER JACK KIM F ender Musical Instruments Corporation (FMIC) has es-
confident that Fender Music Korea will continue to support the market with the same commitment to qual- ity and innovation that musicians in Korea have come to expect.” “It has been an honor to repre- sent Gretsch, EVH, Charvel and Jackson in Korea,” said William Park, CEO of PK International Inc.
tablished Fender Music Korea (FMK) a new, wholly owned and operated subsidiary dedicated to managing all direct-to-dealer and direct-to-consumer operations for FMIC products in Korea, includ- ing the Fender, Fender Custom
Jack Kim
Shop, Squier, Gretsch, EVH, Charvel and Jackson brands. FMK will be the exclusive distributor of FMIC products in Korea be- ginning Oct. 1. The subsidiary will be led by general manager Jack Kim, who will report to Edward “Bud” Cole, president of Asia Pacific for Fender. “We are incredibly grateful to Guitarnet and PK International for their exceptional stewardship of FMIC’s brands,” Cole said. “We aim to build on Fender’s already strong legacy in Korea to create even more excite- ment and growth for dealers and consumers.” “As a valued partner of FMIC, we are proud of the success we’ve achieved to- gether for the Fender, Fender Custom Shop and Squier brands in the Korean market,” said John Park, CEO of Guitarnet. “We are
(Tone Quest). “Starting with Gretsch, and gradually expanding our partnership with FMIC to cover all of its sister brands, we are proud of what we have achieved together. We are confident that Fender Music Korea will continue to drive growth and inspire musicians throughout Korea.” Fender Music Korea’s purpose is to align more closely with FMIC’s global strategies, providing access to FMIC brands while ensuring consistency in marketing, customer service, and artist support, and managing all aspects of sales, artist rela- tions, and direct-to-consumer outreach to drive growth in Korea. The establishment of Fender Music Korea has been planned to ensure no disruption for dealers or consumers. {fender.com}
John Packer’s Managing Director Meets King Charles III Rob Hanson (left), managing director of John Packer Musical Instruments, speaks with King Charles III during a reception at Windsor Castle. J ohn Packer Musical Instruments, the U.K.-based musical instrument manufacturer, distributor and retailer, recently received royal recognition as the company’s managing director, Rob Hanson, met with His Majesty the King. Hanson attended a reception at Windsor Castle in Berkshire, where he spoke with King Charles III, as well as HRH The Princess Royal and HRH The Duke and Duchess of Edinburgh. The reception came after John Packer Musical Instruments won the King’s Award for Enterprise in the International Trade category, recognizing the outstanding international growth of the business. This is the second time JP Musical Instruments has won the award, having received the Queen’s Award for Enterprise in the International Trade category in 2018. “Attending the royal reception at Windsor Castle was a huge honor, and it was a pleasure to chat with His Majesty the King and other members of the royal family about the work of John Packer Musical Instruments,” Hanson said. “The King showed great interest in the growth of the company and took time to discuss its continued progress in what is a fast-paced and continually-evolving international trading landscape.” The King’s Awards for Enterprise, previously known as The Queen’s Awards for Enterprise, were renamed in 2023 to reflect His Majesty The King’s desire to continue the legacy of HM Queen Elizabeth II by recognizing outstanding U.K. businesses. The Award program, now in its 59th year, is the most prestigious business award in the U.K., with successful businesses able to use the esteemed King’s Awards
PRS GUITARS HIRES LOVE-BIVENS AS ARTIST RELATIONS MANAGER P RS Guitars has named Lind- say Love-Bivens its artist
her role. She has been a performing guitar player across multiple genres, in addition to several years of ex- perience in guitar production and repair. Love-Bivens has held senior leadership roles at large churches, so she has strong ties within the wor- ship music community. She has also worked as a diversity and culture
relations manager, effective immediately. She will report to Bev Fowler, director of artist and community relations. Previously, Love-Bivens served as artist rela- tions and partnerships manager at Taylor Guitars.
Lindsay Love-Bivens
“We’re excited to welcome Lindsay to the PRS artist relations team,” Fowler said. “She brings with her a wealth of guitar knowledge and a longstanding admiration for PRS, making her a natural fit for the role. Her strong reputation in the industry speaks for itself, and we’re confident she’ll be a valuable addition to our team.” Love-Bivens brings more than 20 years of experience and a mix of credentials to
advisor to multiple organizations. “As a longtime fan of PRS, the company and the exceptional instruments, working with their internal team and incredible roster of talented artists is a dream come true. It also allows me to grow into the electric guitar side of the industry, which is thrilling,” Love-Bivens said. I’m ready to start connecting with artists immediately.” {prsguitars.com}
Emblem for the next five years. {jpmusicalinstruments.com}
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ROTOSOUND REBRANDS STRINGS PACKAGING
R otosound has introduced a complete redesign of its electric and acoustic guitar string packaging to improve prod- uct clarity, simplify customer navigation and reflect the brand’s British heritage. While the look is changing, the strings themselves will remain the same. The new design will begin rolling out immediately with the Rotos line, while other products — including British Steels, Jumbo King and Tru Bronze — transition gradually as existing stock sells through. During this period, customers may receive mixed packaging styles depending on stock levels. The new packaging features distinct graphics for each product line, color-coded gauge groupings, simplified spec panels and more visible artist endorsements. QR codes provide updated recycling information, and familiar product names, gauge details, and color themes have been preserved for easy shelf recognition. All barcodes and product codes remain unchanged, so
no updates to POS or inventory systems are required. These updates are based on feedback from customers and retail
partners, with the goal of making Roto- sound products even easier to shop and identify. {rotosound.com}
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Artist Will Wood performs at House of Guitars on June 13.
SAMSON TAPS MIKE ZEGELBACH AS ITS NEW HEAD OF SALES S amson has named Mike Zegel- bach as its new head of sales.
ners, and help Samson grow with creativity and staying power in to- day’s evolving market. I also want to acknowledge Bob Caputo, who has been a highly respected member of the music community, both in this role and across the industry. His leadership and dedication have
With a rich sales background in the music industry, Zegelbach brings a wealth of experience, knowledge and passion to Samson and its distributed brands. Over the past two decades, Ze-
House of Guitars Celebrates 60 Years H ouse of Guitars in Rochester, New York, has been serving its community for 60 years. Since opening in 1964, the shop has been considered a legacy store visited by generations of artists, fans and music legends. On June 13, the store held a surprise in-store performance by singer- songwriter Will Wood in celebration of the anniversary. Hundreds of fans crowded into the shop for the stripped- back set from Wood, which promoted his latest album, “In Case I Make It.” Founded by brothers Armand and Bruce Schaubroeck, the store’s customer base has included rock artists, such as Metallica, The Ramones, Aerosmith, Ozzy Osbourne and Joe Walsh. Its in-store stage has hosted bands like Cheap Trick, Flogging Molly and Less Than Jake. {houseofguitars.com} Sweetwater Announces Return of GuitarFest S weetwater has announced the return of GuitarFest, which will take place at the company’s Fort Wayne, Indiana, campus on Sept. 27. The event will let guitar players and music fans explore manufacturer booths from top brands, such as Gibson, Fender and Marshall. There will also be appearances by major artists throughout the day. Attendees will also have the opportunity to connect with their favorite brands and artists. “We’ve taken everything we learned from last year’s event — along with the valuable feedback from attendees — and used it to make the experience this year even better,” said Samantha Hunter, director of artist relations and campus events at Sweetwater. “We truly believe 2025’s GuitarFest will be an unforgettable celebration for music lovers of all kinds.” {sweetwater.com}
Mike Zegelbach
gelbach has made contributions to the MI industry, spanning retail, distribution and brand development. Prior to joining Samson, he served as national sales manager at a global musical instrument distributor, where he led a prominent sales team in bringing innovative music products to market. His experience also includes an extensive background in music retail management, with a focus on day-to-day operations, buying/selling, inven- tory and customer relations. “Samson is an established legacy brand with deep roots in the music and pro audio community, and I see tremendous potential ahead,” Zegelbach said. “My industry experi- ence has taught me the value of strong brand partnerships and smart channel strategies. I’m excited to bring that perspective here. I’m ready to jump in, connect with our part-
left big shoes to fill. I’m grateful to have his support and will be working closely with him to ensure a smooth, thoughtful transition.” “We’re thrilled to welcome Mike Zegel- bach to the Samson leadership team. His deep understanding of the music and audio industry, paired with his energy and proven track record, make him the right person to help guide our next chapter of growth,” said Branislav Zivkovic, Samson’s president. “Mike’s commitment to our partners and his strategic mindset will be instrumental as we continue to innovate and expand the reach of Samson, Hartke and Michael Kelly globally. I also want to express my sincere thanks to Bob Caputo for his three decades of outstanding leadership. We are grateful for his continued support during this important transition.” {samsontech.com}
PALEN MUSIC CENTER NAMES SETH SWAFFORD ITS NEW PRESIDENT P alen Music Center, a full-line music retailer based in the Mid-
ground combining CPG strategy and cutting-edge retail analytics, along with his proven leadership with major national brands, makes him the ideal person to lead us into our next chapter.” Swafford’s appointment comes at a time of transformation for
west, has appointed Seth Swafford as its new president. In this role, Swafford will guide strategic ini- tiatives, among its 250 employees, to drive growth and operational excellence across all 10 Palen Music locations throughout the Midwest.
Seth Swafford
Palen Music. As the company, which cur- rently partners with more than 500 school locations, continues to grow its footprint in music education, retail and technology. Swafford’s leadership will be critical in fos- tering innovation, operational efficiency and exceptional customer experiences. “I’m honored to join a company with such a rich history and inspiring mission,” Swaf- ford said. “Palen Music has made a profound impact on musicians of all ages. I look forward to working with the talented team here to continue that legacy.” {palenmusic.com}
Swafford brings a wealth of experience from the Consumer-Packaged Goods (CPG) industry and the retail analytic software tech- nology sector. Over the course of his career, he has successfully partnered with 19 Fortune 500 companies, demonstrating a strong track record of customer-centric leadership, data- driven solutions to complex challenges, and business transformation. “We are thrilled to welcome Seth to the Palen Music family,” said Brett Palen, own- er/CEO of Palen Music. “His unique back-
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Bach to Rock Moves Virginia Location B ach to Rock has announced the relo- cation of its South Riding, Virginia, school to a new building down the street in Chantilly, Virginia. first time, and with all new equipment! Families are going to be thrilled with this new option for lessons, special events and summer fun.”
The new space features upgraded lesson rooms, an enhanced performance space with LED stage lights and the Beat Refinery DJ studio, where students learn how to become DJs through practical and artistic training. To celebrate the move, Bach to Rock South Riding hosted a grand opening event which featured live music, instrument demos and giveaways in July. “We are quite excited about the Beat Refinery DJ studio,” said Thom Rou- ton, site director of Bach to Rock South Riding. “This summer we are debuting DJ lessons, parties and camps for the
In addition, the relocated school is out- fitted with new smart TVs, which seam- lessly integrate with the school’s iPads, enabling instructors to offer high tech presentations of Bach to Rock concepts and music arrangements. “Our address may have changed, but what hasn’t is our commitment to pro- viding progressive and modern music education to students in South Riding and the entire Loudoun County area. Families will continue to see the same staff and instructors providing the same high quality, fun and inspiring music
education as usual,” said Brian Gross, president of Bach to Rock. “We have the same passion for music education and our community, all in a popular community hotspot.” {backtorock.com} Participants of a Bach to Rock program.
Ensemble Performing Arts Receives ‘Best Places to Work in Denver’ Recognition T he Denver Business Journal has named Ensemble Performing Arts one of the best places to work in Denver. The company ranked sixth among “large” companies, defined as having 50–149 employees working in the Denver metro area. The Best Places to Work Awards “recognize local employers that have gone above and beyond to create an outstanding workplace culture.” The rankings are based on confidential surveys of employees that measure team effectiveness, trust in senior leadership, feeling valued, manager effectiveness, compensation, benefits and more with a minimum of 85% of employees responding to the survey. While Ensemble is known for its nationwide network of music and dance schools, the company has also made significant strides in the music retail and rental space. In 2024, Ensemble acquired National Educational Music Company (NEMC), a provider of school instrument rentals since 1957 and, this year, it acquired High School Music Service, a player in the Texas music education scene . {ensembleschools.com}
Participants at the Beat Garden music workshop in May.
ROLAND, FAUNTLEROY JOIN NFL TO SUPPORT FOSTER YOUTH R oland recently partnered with four-time Grammy winning songwriter James
like the SP-404MKII sampler, TR-8S drum machine, and AIRA Compact instruments. Fauntleroy, a longtime advocate for music education, created Beat Garden to give young people the same creative opportunities that shaped his own career. His broader mission to support underrepresented talent contin- ues with the launch of All NEW, a platform designed to connect emerging creatives with resources and industry access. {roland.com}
Fauntleroy to host a Beat Garden music workshop for foster youth as part of Open Your Doors Dream Week in May, supported by the NFL. Held at Laboratory Studio in Burbank, California, the event welcomed 10 foster youth to explore music production ca- reers alongside Fauntleroy and special guest Hit-Boy, with hands-on access to Roland gear
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MY TURN I BY MILES DECASTRO PULLING BACK THE CURTAIN ON TARIFFS T he year 2025 is a wild time to be a music products dealer. Tar- iffs and economic un- certainty abound. And
pad crisis of the mid-2020s would not be enough to charge my clients more than what I told them I would charge after inspecting their instrument. If I mistakenly undercharge, that’s on me. I take note of why this happened and adjust for the fu- ture. But never for the past. It’s not only common courtesy but also the level of service my cli- ents expect. And they should expect it. Anyone exchanging their hard-earned dollars for the opportunity to make mu- sic, or facilitate music making, should at the very least be fully informed of how many of those dollars will be changing hands. When it comes to the manu- facturers, sure, I can cancel my orders. And in a few cases, I have. But I wouldn’t have much of a music store without any music products in it. So, I must soldier forth with the new surCHARGE (more like surPRISE) pricing. ADVICE TO SUPPLIERS Does it need to be like this? I submit that it does not. There are better, more ethical options available. The first, and best, op- tion would be to fulfill orders sooner. If an item wasn’t backor- dered to begin with, we wouldn’t need to worry about a tariff and its related surcharge. I will be surcharged for items I ordered in September of last year. If these items had been delivered in nine months or less, both
if you’re anything like me, you’re probably sick of hearing about it. I will likely need to write “tariff” several times during this article, but I’ll do my best to keep it to a minimum and to not focus on the doom-and-gloom of the current economic outlook. These wild times have led to, or at least coincided with, dealer terms I have not seen the likes of in my 20 years in the industry. Raising prices af- ter an order has been placed is something I never imagined I would see, yet I have received memos from multiple manufac- turers stating that they would be doing this — usually calling it a tariff surcharge. To me, this is somewhat sketchy. I’ve heard it called words much worse than “sketchy” from industry friends, but I’ll stick with “sketchy.” I can’t think of another situation in life where I would agree to purchase something at the price the seller decided on — let’s not forget, the manufacturer is the one who decided on the price in the first place — only to have the seller increase the price after an agreement has been reached. I understand why they’re doing it, and empathize with
One MI retailer’s take on the tariff surcharges.
their position, but I can’t fathom raising a price that both parties already agreed to. Imagine a customer ordered a product online for in-store pickup. Then, once the cus- tomer got to the store to pick up the item, they were charged an extra 10%. That would be a good way to lose a sale, your credibility, your trustworthi- ness and a customer for life. While I do have more than 1,000 SKUs in my shop, the bulk of my business is instru- ment repair. Estimating or quoting is one of the tricki-
est parts of repair, yet I would be hard-pressed to think of a scenario where I would have the audacity to charge a repair client an amount higher than what I quoted them. Instrument repair is my business and what I’ve devoted my professional life to. I know it well and use my expertise to try to account for all possible scenarios when I inspect, and ultimately quote, the cost of the work I plan to do on an instrument. Occasionally, unforeseen things arise. But a surprise problem during disas- sembly or the great saxophone
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parties could have avoided tariff troubles. I understand that music product manu- facturing is complex, and products don’t magically appear at a moment’s notice, but I would also like their incubation period to be shorter than that of a human baby. Being closer to caught up on orders would have the added benefit of sticking to the agreed price. I wouldn’t begrudge any manufacturer for raising their prices on short, or even zero notice, in 2025. Several have done this, and in some cases, they’ve issued multiple price lists in 2025, even before we’ve reached the summer. I think the most I’ve seen from one manufacturer is four new price lists in 2025. And I ap- plaud this. I want these manufacturers to be around for a very long time and to continue to do business with them. If they need to raise prices so they can continue to be around, then I want them to do exactly that. On the day I order, I will look at the current pricing they decided upon, factor that into my decision of what to order and know the terms of our purchase agreement. But now I’m worried. How do I know a tariff surcharge won’t get tacked onto the new, higher prices? If it becomes common practice to change pricing after the fact, what other terms of the sale can be unilater- ally altered? I want to get the manufactur- ers’ wonderful products into the hands of my wonderful customers. Sometimes, when items are back-ordered for long periods of time, this requires taking pre-orders. And my clients, quite understandably, want to know the price of something when they put down their deposit. This goes double for more expensive items. How can dealers accept pre-orders when they don’t know what the items will cost? Imagine accept- ing a pre-order nine months ago based on the pricing at that time, only to find out the item will cost you an extra 12% (the highest tariff surcharge I’ve seen so far) when it actually ships. If we can’t have shorter lead times, we at least need firm, guaranteed pricing from our manufacturing partners. Pricing that we can trust, come hell or high tariff. NOW, IT’S YOUR TURN As this uncertainty plays out, we as MI retailers must all reevaluate our stores and focus on what works best for ourselves and our customers. For me, I’m pumping the brakes on orders from manufacturers who have imposed tariff surcharges, as well as orders I import myself from foreign com- panies who have no U.S. distributors.
Instead, I’m focusing even more on re- pairs, presenting clinics and repair courses, and stocking up on products from manufac- turers who charge the exact prices stated on their price lists. While it’s not an ideal situation, I still have confidence in our manufactur- ing partners. Our stores wouldn’t exist without them, and I’m under no delusion that manufacturing isn’t tough. I trust that when manufacturing costs stabilize or go down, they will lower prices and is- sue tariff credits as quickly as they raised
prices and issued tariff surcharges. I know, I know … wishful thinking. I look forward to continuing to work with the amazing manufacturers I’ve aligned my business with, getting their products into my clients’ hands as quickly as possible and in the largest quantities possible. And I believe the best way to do this will be with clear, transparent pricing. MI Miles DeCastro owns North Country Winds in Potsdam, New York, and teaches courses in band instrument repair tech- nology at the Crane School of Music at SUNY Potsdam.
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MY TURN I BY RANDE VICK Make Memories, Not Discounts
S everal years ago, I wandered into a little music shop tucked between a barber and a Frosty Freeze in a sleepy Los Angeles suburb. I wasn’t looking to buy anything; just killing time before a meeting. But then the owner — a bluesman who looked to be part Gandalf, part Billie Gibbons — noticed me eyeballing an old SG on the wall. He didn’t do the usual sales pitch. Nothing about specs or years or discounts. He just said: “That guitar’s got a different kind of mojo, don’t it? Wanna plug in and see what it says to you?”
a sincere compliment on their setup. Be authentic. Be kind. Be memorable. The goal is simple: make them smile. Make them feel seen. That’s what they’ll talk about later. Celebrate Your Customers’ Stories. People love to see themselves in the spotlight. So, give them the stage. Start a ritual of taking a photo of every new instrument buyer, with permission. Or better yet, build a selfie station with a branded backdrop and a hashtag that encourages sharing. Celebrate their wins. Share a short caption on your wall or social media: “Jess just picked up this Telecaster for her first studio session!” This isn’t marketing. It’s storytelling. And people remember stories. Follow Up Like a Human, and Not an Algorithm. You don’t need a fancy CRM tool to build loyalty. You just need a little follow-up. Reach out after the sale — not with a pitch, but with curiosity. Try, “Hey Sam, how’s that digital piano working out?” Or, “Any questions on those amp settings?” Better yet, invite them to a clinic or jam night. Show them they’re part of a community, not just a customer file. The big boxes may win on price. But you can win on memory. Your store already has a soul. Make sure people remember it. Because in retail, forgettable means replace- able. And in the long run, memory beats discounts every time. MI Rande Vick is the founder of Vick Agency, a neuroscience‑driven brand consultancy specializing in the music industry and profes- sional services, and author of “NeuroBrand- ing.” He has industry experience working for brands like M-Audio, Yamaha and Fender.
Fifteen minutes later, I walked out of the store with that SG. Not because it was cheap. And not because I was looking for an old Gibson, either. But because the whole thing felt like a moment — and I felt like I was part of something rare. I’ve never forgotten that experience. In fact, every time I think of it, I can recall every second of those 15 minutes … And that’s the power of memory in retail. In an industry where the race to the bottom feels like the default strategy, it’s time to ask a better ques- tion: What if you didn’t have to be cheaper, just more memorable? If a customer buys a guitar and never returns, it’s missed opportunity. But if that same customer tells five friends about “that one store with the vibe,” you’ve crossed into a different category. Now you’re living rent-free in their memory.
“If a customer buys a guitar and never returns, it’s missed opportunity. But if that same customer tells five friends about ‘that one store with the vibe,’ you’ve crossed into a different category.”
Here’s the neuroscience: Emotions drive memory and surprise cements it. The brands we remember are the ones that made us feel something. The store decorated like the main stage at Coachella? The one that felt like an art exhibit? The one that smelled distinctly like mahogany and lacquer? The store that had a Keurig in the parents’ area of the lessons rooms? Sensory overload? No, these are re-defin- ing elements that will embed themselves in the brain of the pleasantly surprised. How do you become that store? Try these ideas:
Create a Checkout Ritual. Every single exchange is the opportunity to make a lasting impression. Most MI store checkouts feel purely transactional. But a small, intentional moment can become a brand- defining experience. Try this: Include a handwritten thank-you note right then and there. Remind them that their musical journey now includes you. Drop in a branded pick or sticker. Tiny, tactile, unforgettable. Offer
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