behind the continued growth of the electronic drum market. “One of the key rea- sons behind this positive response is not only our understanding of actual customers’ needs, but also our ability to exceed their expectations in a meaning- ful way,” Shibata said. “We are constantly asking our- selves whether our products are truly inspiring the drummers. This goes beyond musical performance or playing instruments. It also means enriching their lives as a whole by achieving this through technology-driven solutions.” It’s a crucial distinction, especially in a market where drummers have become more selective. Shibata said that repeat customers tend to prioritize value-centric attributes like quality, service and reputation over cost. “We are highly conscious of whether we can earn brand loyalty as a result of the overall customer experience. This extends far beyond just product specifications and pricing conversations,” Shibata said. Indeed, today’s buyers are looking for brands they can grow with, companies that offer support, evolve alongside them and provide long-term value. The successful re- launch of Slingerland under the DW brand, which Roland owns, is a clear example. “If customers are unaware of the brand, it becomes extremely difficult to establish a high-value-added business like this,” Shibata said. “Ultimately, building brand value is an essential element in influenc- ing purchasing decisions.” For Yamaha, the evolution of the drum market in 2025 isn’t defined by a clean break between acoustic and electronic, it’s a convergence. The company
tronic, but rather a blending of both worlds,” said Matthew Rudin , Yamaha’s market- ing manager for drums. “We’re seeing acoustic players looking to expand their creative toolkit, and electronic players pushing the limits of what they can do sonically.” Rudin said that today’s drum- mers have more choices than ever, whether they’re searching for affordable, entry-level kits or professional-grade e-drums built for the stage and studio. “The tech behind the higher-end kits is getting more impressive, while the afford- ability and quality of entry-level drums has never been better,” he added. But Rudin was quick to point out that not all kits are created equal. As the mar- ket becomes more saturated, discerning consumers are learning to look beyond flashy features. “What I find customers are learning is the importance of finding a company that focuses on quality,” Rudin explained. “Rushing products to market can prove to be disastrous if the quality control on the products isn’t fully baked. And while a long spec list might look impressive, more bells and whistles often mean more points of possible failure.” In a market where drummers want reli- ability as much as innovation, Yamaha’s approach is proving successful, especially in the hardware category. Rudin reported that products like the FP-9 Series Foot Pedals and its newly released HHS9D hi-hat stand have been among its top sellers this year. “Hardware is always a top category for us,” Rudin explained. “It’s one of the most accessible upgrades players can
during fluctuating economic times is un- derstanding the customer and their budget constraints. “Drumheads and drumsticks always do well,” Uding said. “Even in times of un- certainty, if you’re not buying new drum sets, you’re either upgrading, repairing or improving what you have. You’re just trying to do more with what you have. Accessory sales tend to do well through times of politi- cal and global unrest.” As players prioritize portability and ver- satility in the next few years, Uding said Dixon’s compact kits — specifically the Little Rumor series — have become a staple. “I think one thing we’ve all realized is that compact kits are here to stay, and most drummers will have a compact kit ready to go,” Uding said, adding that, with compact acoustic kits solidifying their place in both live and practice settings, Dixon is leaning into its strengths as an acoustic-first com- pany, even in a climate where electronic drums seem to be dominating. “People discover Dixon because of its progressive approach, but then embrace it because we do everything and we do every- thing well,” he added. During The 2025 NAMM Show, the company took a new step in that direc- tion, committing to what Uding calls a “top-down” sales and marketing strategy, focusing less on how Dixon fits into the broader category and more on what makes the brand unique. “The brand has progressed to the point where we’re talking about what we do best, rather than what we do like ev- erybody else,” Uding said.
“It’s exciting to be able to report that we’re making that progress as an acoustic brand.”
is witnessing acoustic drum- mers seeking out electronic elements to enhance set- ups, and electronic drum- mers exploring ways to infuse more organic feel into their playing. “It’s not so much a shift from acoustic to elec-
make. Enhancing your existing kit with better hardware can transform your playing ex- perience without the price tag of a full kit overhaul.” Jim Uding , brand manager for Dixon Drums, agreed with Rudin, adding the key to staying relevant
RETAILERS FIND THE RIGHT GROOVE
The drum retail market has seen its fair share of surprises over the past two years, and Drum Center of Portsmouth’s owner Shane Kinney has had a front-row seat to
AUGUST 2025 I MUSIC INC. I 33
Powered by FlippingBook