2 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 3
4 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 5
NOVEMBER 2026 I VOL. 35, NO. 10
PUBLISHER Kevin R. Maher EDITOR Katie Kailus
ASSOCIATE EDITOR Kimberly Kapela CONTRIBUTING EDITOR Ed Enright SALES MANAGER Chris Maher DESIGNER Žaneta Čuntová
CHAIRMAN Kevin Maher PRESIDENT Frank Alkyer ASSISTANT TO THE PRESIDENT Sue Mahal
CIRCULATION MANAGER Evelyn Hawkins BOOKKEEPING Evelyn Hawkins
OFFICES Phone: (630) 941-2030 Email: editor@musicincmag.com CUSTOMER SERVICE (630) 941-2030 ext. 122
Jack Maher, President, 1970–2003 SUBSCRIPTION RATES: Free to qualified retailers and suppliers of musical instruments. For all others: $60 one year (11 issues). $100 two years (22 issues) to U.S.A. addresses. $85 one year (11 issues), $150 two years (22 issues) to Canada and other foreign countries. Air mail delivery at cost. SINGLE COPY (and back issues, limited supply): $14.95, plus shipping, surface mail. Air mail, delivery at cost. We cannot be responsible for unsolicited manuscripts and photos. Nothing may be reprinted in whole or in part without written permission from Maher Publications Inc. Copyright 2026 by Maher Publications Inc., all foreign rights reserved. Trademark register pending. OTHER MAHER PUBLICATIONS: DownBeat, UpBeat Daily CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include your current MUSIC INC. label showing your old address. MUSIC INC. (ISSN 1050-1681) Published monthly, except March. Printed in U.S.A. by Maher Publications Inc., 188 W. Industrial Drive, Suite 310, Elmhurst, IL 60126. Periodical Postage Paid at
Elmhurst, IL and at additional mailing offices. POSTMASTER: Send address changes to: MUSIC INC., 188 W. Industrial Drive, Suite 310, Elmhurst, IL 60126
6 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 7
November 2026
THE ACCESSORIES ISSUE
Valeisha Butterfield
30 I FROM THE TOP We go one-on-one with Guitar Center
Music Foundation’s new CEO Valeisha Butterfield.
38 I THE MI 5 UNDER 45 AWARDS
The second annual awards highlight the best and brightest MI professionals under the age of 45, as voted on by industry veterans. Discover their keys to success.
Tim Oliver and Rich Galassini
44 I LAST-MINUTE
34 I HITTING A NEW KEY How Cunningham Piano, a 135-year-old retailer, is leaning to technology and incusitivity as it opens its brand-new, state-of-the-art showroom. Plus: the dealer’s owners share what they’re seeing in the larger piano market.
STOCKING GUIDE Eight surefire accessories to stock up on for the holidays.
25 I MY TURN X Rande Vick shares how every aisle should tell a story. 26 I AI IN MI X Peter Dods explores how AI can uncover hidden issues. 28 I MY TURN X Ray van Straten discusses how to be a reputable partner. 29 I WOMEN OF NAMM X Cassandra Sotos on looking beyond your “backyard.”
48 I GUITARS, AMPS & ACCESSORIES 52 I AUDIO & RECORDING 56 I DRUMS & PERCUSSION 58 I BAND & ORCHESTRA 59 I DJ & LIGHTING
16 I NEWS X Former NAMM CEO Larry Linkin Passes Away X PRS Founder Gets Inducted into GC’s Rockwalk X NAMM Announces NAMM NeXT LATAM X Gibson Garage Opens in Miami X Acoustic Shoppe Is Named to ‘Inc.’ List X ESP Guitars Promotes Key Staff 14 I INDUSTRY PROFILE X How the founder of VHT amps has transitioned to his Fryette Amplification brand and what it offers retailers and players.
RETAILER ASK THE 62 I ASK THE RETAILER X Retailers share their store’s holiday traditions.
Cover photo by: Ed Williams. Ray van Straten Cassandra Sotos
Rande Vick
Peter Dods
8 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 9
F or years, customers’ holiday shopping trips started with a simple Google search or random “browse” of your showroom. However, the holiday shopper of 2026 may be starting their holiday hunt with a simple question to ChatGPT or Claude: What’s the best drum set for a 9-year-old interested in learning to play? What’s the best step-up violin for my wife? Or what can I buy the guitarist who has everything? According to management consulting firm McKinsey & Company, nearly half of consumers plan to use AI for holiday shopping, with McKinsey’s 2026 ConsumerWise research finding that 46% of U.S. consumers said they would definitely or probably use AI tools for holiday shopping. PERSPECTIVE I BY KATIE KAILUS ARE YOU AGENT-FRIENDLY?
That’s a large shift and one that music retailers should have on their radar as we head deeper into Q4. If ever, now is the time to think beyond what customers will see on your shelves and consider what AI will see when it recommends where they should shop. The first step? Make your catalog “agent- ready.” The LLMs need clear, accurate product information to make recommen- dations. Make sure your online listings include specific product names, brands, prices, availability, specs and detailed descriptions that answer the questions a customer might ask. Consider the ques-
tions above that customers are already answering. Then, make sure your product copy gives AI enough context to confidently point them to the right answer on your website. Secondly, think in terms of scenarios, not specific products. A customer may not ask AI for a “25-watt tube combo,” but instead ask for a “small amp for playing at home.” Build gift guides, landing pages and product content around those real-world scenarios. The more context you provide, the more useful your products become to both shoppers and AI. In our September issue, columnist and president of marketing firm Amplify 11, Tracy Hoeft, shared strategies for getting ChatGPT and the other LLMs to recommend your store. His No. 1 tip? Keeping your store’s overall brand message consistent. “Pick what you want to be known for, then keep it consistent every- where: your homepage, your Google Business Profile, your reviews and your YouTube page,” Hoeft writes. “The AI trusts what it sees repeated, so the same story told the same way becomes the story it repeats back.” If there’s one thing you can do this holiday season to improve your website’s performance, it’s optimize for AEO. First and foremost, if noth- ing else, clean up and expand your online product listings. Make sure every product has accurate pricing, availability, specs and descriptions that clearly explain what the product does and who it’s for. In the automated world we find ourselves in, customers are shopping and finding products in new ways. Make sure they can still find yours. MI
10 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 11
Strength in Numbers W e wanted to offer our sin- cere thanks for the “From the Top” article on ESP Guitars in your September issue. It was an honor to be included. Music Inc. serves a valuable role in our industry, sharing expertise and perspectives between manufac- turers and retailers. I’d like to reiterate that the most important aspect of ESP’s success is the strength of our team. There’s no single person who makes ESP Guitars what it is. Across our mul- tiple brands of guitars and basses — from the ESP Custom Shop models to our LTD Series — it takes a great team that includes not only our manufacturing and business operations, but also the terrific support of our dealers, dis- tributors and the musicians who turn to our instruments every day for their best work. Many thanks to all of them for helping make ESP the success story it is today!
card with a message of support to a young musician. We’ll take their donations and use them to provide needed supplies to music classes in our community. More importantly, we’ll distribute the messages of sup- port and care to students, who often need some encouragement to keep learning to play. Being there for your customers takes many forms. I wish you the best for a successful and joyous Q4.
Robert Christie A&G Music Central President Troy, Michigan
A Heartfelt ‘Thank You’ T hank you for featuring Brian Ball in your October issue’s “From the Top” article. We’re espe- cially grateful to journalist Michael Gallant for the care he took in this interview capturing the heartbeat of the Ernie Ball company and what makes us unique. His ques- tions gave readers a glimpse of the culture that has guided the company from its earliest days: listening to musicians, taking pride in our work and remaining curi- ous about what we can do better. Brian’s reflections on our people, our California roots and his own life as a musician showed how personal those values are. Additionally, we would like to thank everyone at Music Inc. for the thoughtful, professional industry reporting you bring to every issue, month after month. You give this community a place to see the people and purpose behind the businesses that serve music, and we’re honored to have our story told with such care.
Todd Binder President, COO The ESP Guitar Company Los Angeles
made up 18.3% of the responses from audio post specialists. This really illustrates to me how both professionals and hobbyists in our world tend to wear multiple hats. Nugen Audio makes plug-ins as wide ranging as creative immersive reverbs, utilitarian bass-manage- ment tools and legislation-driven loudness meters. The notion that these tools each have a completely different target market is truly a thing of the past! It is wonderful to see Music Inc. highlighting this op- portunity for MI retailers to expand the range of products they offer.
tiful is our willingness to share with each other. Perhaps this is because music is collaborative by nature. Early on, we learn how to listen, give space and add our voice to make something bigger than just our own part. It was in this spirit that I was grateful to be among those who contributed their thoughts and ideas for a successful Q4. I think for many of us, success looks like creating and supporting more music makers. I’m so grateful to Music Inc. for facilitating this kind of sharing. While I truly hope that you find some of the sales-related in- formation in the article helpful, I would encourage you to do more this season. Try to find a way be- yond sales to help lift your com- munity. This year we will be asking our customers to spend an extra dollar at checkout. When they do, they will be able to fill out a little
Expanding Reach T he “Beyond The Music” piece in your September issue was a fascinating read, and I really appre- ciated being given the opportunity to share my own perspective. In the meantime, I’ve been going over the data from our latest customer survey, and some of the responses really cemented for me how much overlap there is between the worlds of music production and audio post-production. We asked our users: “For which tasks do you use any audio plug-ins, regardless of the brand?” and split the results into those who primarily consider themselves music produc- ers and those who primarily work in audio post-production. To quote just one example, “music mixing”
Freddy Vinehill-Cliffe Product Specialist Nugen Audio Leeds, United Kingdom
The Ernie Ball Team San Luis Obispo, California
Uplifting the MI Industry O ne of the many things that makes our industry so beau-
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
12 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 13
INSIDE NEWS > Page 16 Former NAMM CEO Larry Linkin Passes Away > Page 20 Roland Opens NYC Store > Page 22 Yamaha Names New Product Divison Leaders
genre association, allowing the company to better represent its range of musicians and problems it was serving. “We were getting pigeonholed as a metal amp company, and we felt that wasn’t the best thing for the company because we were trying to reach a wide variety of artists because all of our gear is intended for all genre of players, and we make products and solutions for a wide range of applications,” Steven said. “The metal amp association was a restriction we felt, so we changed that in 2009, and have been Fryette Amplification ever since.” SOLUTIONS WITHOUT COMPROMISE At the heart of Fryette Amp’s mission is to solve the problems guitarists encounter every day without forcing them to sacrifice the sound they’ve already worked to create. The challenges of modern guitar rigs often have little to do with simply plugging a guitar into an amplifier. Players need their ampli- fiers to interact with recording equipment, other amplifiers’ interfaces and a growing ecosystem of gear. “As a guitar player and a problem solver, we have a more unique perspective on how guitar players really want those solutions delivered,” Steven said. “In other words, an accessory might work, but is it the best acces- sory? Does it best represent what the player is trying to achieve? Rather than ‘this box actually accomplishes sort of what I wanted, but I had to make a sonic compromise in order to get it.’ Our goal has always been to try to solve these problems without creat- ing new ones or presenting the player with compromises that would prevent them from getting where they want to go.” Player input is central to Fryette Amp’s development process. For Steven, under- standing guitarists’ needs means having a conversation that can reveal what is hap- pening underneath it. “Once they comprehend that we under- stand what’s possible, they start asking more questions along the lines of, ‘If you can do
With decades of experience in high-gain amplification, tube power amps and guitar-rig technology, Fryette Amplification continues to push the boundaries of what players can do with their gear. — By Kimberly Kapela BETTER SOLUTIONS, NO COMPROMISE Steven Fryette
B efore high-gain amplification became a defining force in guitar culture, Steven Fryette was already thinking about how to make it work better. A pioneer of multi- channel high-gain amplifiers and tube power amps, Steven built his career around solving the day-to-day problems guitarists encoun- tered with their rigs.
Refusing to accept the limitations of existing technology, Steven set out to find solutions of his own. His problem-solving drive became the foundation of VHT Am- plification, which Steven founded in 1989. Two decades later, the company rebranded as Fryette Amplification, a change that re- flected a desire to move beyond the metal
14 I MUSIC INC. I NOVEMBER 2026
this, then can you do this?’ Once the conver- sation starts, then we have a real insight into what the root problem is that they’re trying to solve, not just the superficial,” Steven said. GENERATIONAL RESONANCE Solving problems without compromise is best shown in Fryette Amp’s most popular product, the Power Station. Designed as an attenuator, the Power Station allows guitar- ists to get more out of the amplifiers without stripping away the tonal character and play- ing response that make those instruments special. Its appeal is particularly strong among players with vintage and legacy gear. “It basically reinvigorates gear that you thought that you wouldn’t be able to use any- more,” Steven said. “What it does is it causes people to go into their legacy stash and haul everything out and re-experience those things all over again. Every new amplifier that comes out by any other manufacturer also benefits from using the Power Station with it.” Rather than replacing that gear, the Power Station gives it another life. It allows players to revisit the amplifiers they have collected, loved and perhaps forgotten about, creating an opportunity to experience familiar instru- ments in an entirely new way. “An attenuator is a device that makes a loud amp quieter,” Steven said. “Sound systems are much more sophisticated and better, so you don’t need big amplifiers to be heard in a large audience. However, legacy tube amplifiers sound better when they’re louder, even if you don’t need the volume, and there have been devices on the market for years that attempt to turn that amplifier down without losing any of its personality when playing it. I believe that the Power Sta- tion has resonated with guitarists because it preserved and enhanced the playing relation- ship that they have with their favorite gear.” BUILDING FOR WHAT COMES NEXT That same commitment to solving practical problems continues to shape what Fryette Amps is developing for the future. Among its latest releases are the Valvulator Mini, a tube buffer intended to improve the way a guitar interacts with a modeler, pedalboard or digital amp. The Pittbull Ultra-Lead, a new three-channel, 100-watt tube amplifier that brings Fryette’s high-powered approach to a compact format. “It’s a three-channel, 100-watt tube ampli- fier, with a couple of interesting twists; it’s in a two-rack-space housing that’s very light- weight, and features all of the performance and power of a full-blown large tube amplifier
head,” Steven said. “It allows touring players to carry a high-powered, great-sounding guitar amplifier on a tour, but in a very flexible, small and lightweight package.” The Ultra-Lead is part of a broader pe- riod of expansion for Fryette Amplification. Over the past three years, the company has seen significant growth in demand while expanding its dealer network, broadening its reach and giving more players access to its products than ever before. That expan- sion has also created a closer relationship between the company, its dealers and the
musicians they serve. For Fryette, the mo- mentum reflects a continued demand for high-performing amps while also creating new opportunities to respond to players’ changing demands. “We’re committed to working in a close partnership with our dealers to better un- derstand how our design decisions can posi- tively affect their bottom line,” Steven said. “It coincides with all the development that we’ve been doing for the last three years on new products, so there’s a nice convergence going on right now.” MI
NOVEMBER 2026 I MUSIC INC. I 15
MI INDUSTRY REMEMBERS FORMER NAMM CEO LARRY LINKIN
L arry “Link” Linkin, former president and CEO of NAMM, passed away on Aug. 26. He was 87. Linkin devoted more than a quarter of a century to shaping the music products industry. After beginning his career as a sales representative for the G. Leblanc Corporation, he joined NAMM in 1975 and was named president and CEO five years later in 1980. Linkin helped transform the association from a North American trade organization into a global advocate for music-making. Throughout his tenure, Linkin left an enduring mark on NAMM and the MI industry as a whole. He helped establish what would become NAMM U and played a large role in the creation of the Museum of Making Music, which opened in Carlsbad, California, in 2000 to celebrate the history, innovation and people behind musical instru- ments. Linkin also championed the NAMM Oral History Program, which preserves the stories of industry members and has become one of the world’s largest archives dedicated to music products history. Linkin retired from his post in 2001, but was a constant presence at NAMM shows for many years. Industry reflections have been pouring in since the news of his passing. Here are a few: “Larry Linkin led NAMM through two decades of growth, while our industry was constantly evolving through the boom of digital product innovation, the introduc- tion of the internet, and the growth of the international winter NAMM show,” said John Mlynczak, current NAMM president and CEO. “NAMM, and our industry, are stronger today because of Link’s leadership. His legacy will not only be remembered, but is seen and felt every day in what he built for us.” “It’s impossible to measure Larry Linkin’s impact on NAMM and the global music products industry,” said Joe Lamond, former NAMM president and CEO who succeeded Linkin. “Through his vision, leadership and unwavering belief in the power of music, he changed countless lives and helped build a stronger, more connected industry. I was fortunate to know him not only as a mentor, but as a father figure and dear friend. His wisdom, generosity and confidence shaped
owner of Maher Publications, Music Inc.’s publishing company. “We lost a truly great one. I’m sure he’s upstairs with all the great ones that preceded him.” “Every so often, someone comes along who touches your life in a way that leaves an indelible mark. Link was one of those rare people whose impact was lasting and profound,” said Gerson Rosenbloom, a former NAMM chair who served during Linkin’s tenure as CEO. “We met in 1989 when I first joined the NAMM board. As I moved through the various officer roles, Link and I grew closer, and I learned more about how genuinely talented he was. As he’d often point out, he had one of the toughest jobs in the music industry: a new boss — the NAMM chairman — every two years, and an industry constituency so varied that it was virtually impossible to keep everyone uniformly happy. He played that role master- fully. His outsized personality endeared him to people. Combined with his encyclopedic knowledge of the industry and his sharp busi- ness acumen, he was able to deftly navigate those tricky challenges. During my time as NAMM chairman, Link and I spoke almost every day. I got to witness firsthand his deep knowledge and insight as we navigated the challenges facing the industry and NAMM. His wealth of experience proved invaluable time and again. At the same time, he never let his strong opinions cloud his openness to learning. Link was outspoken in his be- liefs, but also willing to thoughtfully con- sider other views. It was this combination of resolute conviction and willingness to evolve that helped him lead so effectively as he transformed NAMM from a strug- gling trade association into the international industry powerhouse it is today. I also had the opportunity to witness the incredible respect Link commanded around the globe. Wherever we went together, doors opened because Link was there. I personally owe Link a world of gratitude for helping me develop a more global view of our industry, for teaching and inspiring me to be a better leader, and for sharing so many incredible times together that enriched my own life and gave me memories that will endure as a living tribute to him.” MI — By Katie Kailus
Larry “Link” Linkin
my life in ways I can never fully repay. I find comfort in knowing that Link is reunited with his beloved wife Peggy, along with his industry peers who have passed before him. And I know that every time our global music family gathers at The NAMM Show — a community he helped build — his spirit and legacy will be there with us.” “Larry (who else but) Linkin was a com- plex individual and a self-described ‘cool cat,’” said Steve West, retired president of West Music and former NAMM chair under Linkin. “Link’s impact on the music industry will be felt and realized for years to come. He was driven, a visionary, a great musi- cian, a proud Iowan, and at times, cantan- kerous. Since most of the global production of musical instruments was consumed by U.S. consumers, Link was driven to make sure the international music products indus- try association, NAMM, was the premier showcase and organization to help drive musical instrument sales globally. After 29 years with NAMM, Link and NAMM have established themselves as the global place to meet, conduct business and develop lasting friendships and relationships. Link will be missed and appreciated not only for what he accomplished, but for the fun we had being a part of his vision.” “All you had to say was ‘Link’ and every- one in the industry knew exactly who you were talking about,” said Kevin Maher Sr.,
16 I MUSIC INC. I NOVEMBER 2026
York. Half of the company’s team has been with RDA for more than 20 years, bringing continuity and knowledge of the region’s dealers, consultants, production companies and end-user communities. “What stood out to us about RDA is how the company has continued to evolve while retaining the market knowledge that comes from five decades in the region,” said Mat- thew Whitman, national sales manager for dBTechnologies USA. “Their investment in the RDA Tech Lab, product demonstrations and training — and their ability to support customers from the earliest design conversa- tions through commissioning — gives us a strong platform for developing dBTechnologies across New England and Upstate New York.” RDA recently moved into a larger office, showroom and product demonstration facility in Newburyport, Massachusetts. The facility includes the RDA Tech Lab, where customers can experience products firsthand, partici- pate in software and product training, and attend multi-manufacturer technical events.” {dbtechnologies.com}
The Richard Dean Associates team.
dBTechnologies USA Strengthens Northeast Presence D BTechnologies USA has appointed Richard Dean Associates (RDA) as its manufactur- dealers, integrators, rental companies, con- sultants and end users with direct access to an experienced local team.
ers’ representative for the six New England states and Upstate New York. The partnership expands the company’s sales and technical presence across the region while providing
Today, RDA is an eight-person organiza- tion, with six team members based in Mas- sachusetts and two located in Upstate New
NOVEMBER 2026 I MUSIC INC. I 17
GC INDUCTS PRS FOUNDER INTO ROCKWALK G uitar Center honored Paul Reed Smith, founder and managing general partner
induction. Smith then addressed the audience and commemorated the honor by placing his hands in cement as part of Guitar Center’s traditional Rockwalk ceremony. Smith’s hand- prints will travel back to Hollywood, where they will be permanently installed in Guitar Center’s Rockwalk outside its flagship Hol- lywood store. Holding the induction during Crossroads celebrated the full ecosystem of guitar culture, bringing together builders, players and fans around a shared appreciation for the guitar and the people shaping its future. Smith’s career has been deeply connected to working musicians, from Carlos Santana’s early support of PRS to his longstanding collaboration with Mayer and other influential players. Mayer’s role in the induction reflected that relationship. “This is a truly special day. I am thankful to Gabe and the entire team at Guitar Cen- ter for presenting this. The Rockwalk is an iconic part of our industry, and to be part of that history is an honor,” Smith said. {guitarcenter.com}
of PRS Guitars, with an induction into the Guitar Center Rockwalk on Sept. 26, during Eric Clapton’s Crossroads Guitar Festival 2026 in Austin, Texas. The honor recognizes Smith’s five decades of craftsmanship and innovation as a guitar maker. Founded in 1985, PRS Guitars has grown from Smith’s one-man pursuit into the third- largest electric guitar manufacturer in the U.S., establishing a modern guitar company with its own unmistakable identity, design philosophy and following. “Paul is obsessive about building the per- fect guitar — and I mean that as the highest compliment. He has spent his life questioning every assumption about how a guitar should sound, feel and perform, and then doing the hard work to make it better. That obsession has materially moved the electric guitar forward and raised the bar for the entire industry,” said Gabe Dalporto, CEO of Guitar Center. “Paul is a living legend whose influence spans gen-
erations of musicians and instrument makers, and we’re proud to honor him with a place in Guitar Center’s Rockwalk.” The induction took place at the Dell West Plaza on the Rockwalk Stage during Eric Clap- ton’s Crossroads Guitar Festival 2026, begin- ning with a live performance by Isaac Holmes. Dalporto opened the ceremony before PRS artist John Mayer introduced Smith for his Artist John Mayer looks on as Rockwalk inductee Paul Reed Smith places his hands in cement as part of GC’s Rockwalk ceremony.
18 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 19
ESP GUITARS PROMOTES KEY STAFF MEMBERS E SP Guitars has promoted four veteran staff members to new roles.
Roland Opens New York City Store R oland has opened its first standalone U.S. retail location with the launch of its Roland Store New York City. Located in Manhattan’s Meatpacking District, the new destination brings Roland, Boss and Drum Workshop (DW) together under one roof. Roland Store New York City is designed as a destination for musicians, producers, creators and music enthusiasts to play, explore, learn and connect. Visitors can experience Roland’s ecosystem firsthand, with opportunities to get hands-on with products and receive guidance from knowledgeable Roland specialists. Housed within a historic New York City building, the showroom features dedicated spaces spanning piano, drums, guitar, synthesizers, dance/DJ and Roland Cloud, with additional product warehouse space bringing the total footprint to more than 9,000 square feet. “New York has long been a place where new sounds, ideas, and creative movements take shape, making it a natural home for Roland’s U.S. flagship store,” said Masahiro Minowa, CEO of Roland Corporation. {roland.com} NAMM Announces NAMM NeXT LATAM N AMM will bring together senior music industry leaders from across Latin America for the NAMM NeXT LATAM Leadership Gathering on Nov. 12 in Sao Paulo. This event is strategically positioned on the eve of Conecta+ Musica & Mercado. Designed to foster leadership, strategic dialog and meaningful connections across the region, the gathering will offer an opportunity for NAMM leadership and Latin American music industry insiders to exchange insights, discuss the future of the industry and explore opportunities to support continued growth throughout the region. “Latin America is home to a dynamic and increasingly connected music products industry, and we are committed to listening, learning and building stronger relationships across the region,” said John Mlynczak, NAMM president and CEO. “The NAMM NeXT LATAM Leadership Gathering provides an important forum for industry leaders to come together, share perspectives and identify opportunities to work collectively building a strong future for our global industry.” {namm.org}
Miguel Soto has been named execu- tive vice president; Mike Brinker is now the company’s director of U.S. sales; Ryan Dominguez has been tapped as director of USA manufacturing operations; and Tim Jennaway is now ESP’s director of product development and operations. “We’re excited to give these well-deserved promotions to Miguel, Mike, Ryan and Tim,” said Todd Binder, ESP president and CEO. “All four of these guys have dedicated them- selves to ESP, and over the course of time, they’ve all become some of the best at what they do in their respective areas of expertise.” Soto joined ESP in 2007 as international sales manager, where became the main con- duit for product distribution to ESP’s large network of global distributors. In 2023, his role was expanded to vice president of global sales. In his new position of executive vice president, Soto oversees all aspects of the company’s sales, marketing, support and operations departments. Brinker started with ESP in 2004 as a regional sales manager and held various sales positions in the company, including national sales manager. As director of U.S.
Clockwise from top left: Miguel Soto, Mike Brinker, Ryan Dominguez, and Tim Jennaway.
sales, Brinker is responsible for the manage- ment of sales and service for ESP’s rep force and entire network of domestic dealers. Dominguez started with ESP in 2003 as a QC tech and worked his way up through various positions in service and repair. In his new role as director of USA manufacturing operations, Dominguez oversees all aspects of the ESP USA Shop. Jennaway also began his career at ESP as a QC tech, in 2008. His new role as director of product development and operations has him replacing Binder in the position after Binder was named president and CEO of ESP in spring 2026. {espguitars.com}
20 I MUSIC INC. I NOVEMBER 2026
ings of the Gibson Garage Nashville and Gibson Garage London. Located in the heart of Miami’s Wynwood Art District at 2660 NW 3rd Avenue, Mi- ami, FL 33127, Gibson Garage Miami brings together music, art, craftsmanship, culture and community in one of the world’s most dynamic creative cities. “Miami is a city where cultures, sounds, and stories come together, and that makes it a natural home for Gibson Garage,” said Anne Rohosy, interim CEO of Gibson. “We want this to be much more than a place to experience our guitars. We want it to be a place where people come together around music — artists and fans, experienced play- ers and people picking up a guitar for the first time, families and the broader Miami community. Music has a unique ability to connect people across generations, cultures, and backgrounds, and few cities represent that better than Miami. Our hope is that Gibson Garage Miami becomes part of that community — a place to connect, be inspired, discover something new and experience music together. {gibson.com}
Gibson Garage Miami’s main showroom.
Gibson Garage Miami Opens G ibson has opened the doors to its new Gibson Garage Miami. Music fans lined
Gibson Garage. The Gibson Garage is the ultimate gui- tar experience and a global destination for music lovers, offering fans the opportunity to explore Gibson’s more than 130-year history of craftsmanship, innovation, and music-making. Gibson Garage Miami marks Gibson’s third global retail and experience destination, following the successful open-
the streets to be among the first to experience the new destination. Inside, guests enjoyed a special “In Conversation” event with Gibson artists, live music from the Gibson Garage Miami stage, artist appearances, and an im- mersive look at the instruments, art, culture, and creative energy that define the newest
NOVEMBER 2026 I MUSIC INC. I 21
YAMAHA NAMES NEW MANAGERS TO LEAD PRODUCT DIVISIONS Y amaha Corp. of America has pro- moted four leaders to oversee newly
organized product divisions. These ap- pointments are designed to strengthen category expertise, enhance customer support and accelerate growth across the brand’s core product segments.
From left: Reed Larrimore, Gary Klugman, Amy Sorter and Doug Steinmetz.
New York Town Renames Street to ‘D’Addario Way’ T he Town of Babylon, New York, and D’Addario & Company unveiled ceremonial street signs on Sept. 3, designating Smith Street, from New Highway to Wellwood Avenue in East Farmingdale, as “D’Addario Way.” Supervisor Rich Schaffer and members of the Babylon Town Board were joined by members of the D’Addario family for the ceremony. The designation honors D’Addario & Company, which has oper- ated in the Town of Babylon for decades. Its products are sold in more than 100 countries. “D’Addario is exactly the kind of company every town hopes to have,” Schaffer said. “They could have gone anywhere. Instead, four generations of this family have stayed here, built here and hired here. Putting the family name on this street is a small way of saying what that has meant to this community.” “The Town of Babylon has been our home for more than 50 years, and this recognition is truly an honor for our family and family of employees,” said John D’Addario III, D’Addario’s CEO. {daddario.com} Acoustic Shoppe Named to Inc.’s List of Fastest Growing Companies I nc. magazine has ranked The Acoustic Shoppe No. 3,211 on its annual Inc. 5000 list, the benchmark of the fastest-growing private companies in the United States. Operating out of a single brick-and-mortar storefront in Spring-
“I’m very excited to have seasoned industry veterans leading these essential business areas for Yamaha,” said Garth Gilman, VP of the music instrument business unit. “Their expertise will enhance the customer and dealer experience and create new opportunities for growth through a more product-focused approach. As we continue to optimize our organizational structure, we look forward to announc- ing additional staff promotions and leadership appointments in the coming months to better serve our authorized dealer community.” The following have been appointed to oversee the company’s product divisions: Amy Sorter, general manager of the piano divi- sion; Reed Larrimore, general manager of the guitar division; Doug Steinmetz, general manager of the band and orchestral division; and Gary Klugman, general manager of the digital music instru- ments division. {usa.yamaha.com}
field, Missouri, The Acous- tic Shoppe has built a global community of musicians — shipping acoustic guitars, mandolins, banjos, fiddles and ukuleles to players across all 50 states and 12
countries. That growth has been fueled by an active online presence, including its YouTube channel which has more than doubled its subscribers in the past year, from roughly 62,000 to 128,000, and reached 48 million lifetime views. “We sell instruments to people who have never set foot in Spring- field, and that only works if they trust what we tell them about an instrument,” said Jeremy Chapman, CEO of The Acoustic Shoppe. “There are no shortcuts, and it doesn’t happen without our team. We had 11 employees when this period started and 15 when it ended. This ranking belongs to them.” {theacousticshoppe.com}
22 I MUSIC INC. I NOVEMBER 2026
ARTIST APPROVED
Pop singer-songwriter GAYLE shares the unex- pected ways her love for the upright bass has expanded her sonic world and opened new pos- sibilities within her musical projects. GAYLE MUSIC INC.: What was your first instrument? GAYLE: My first instrument was an acoustic Breedlove that my mother got me from Target for Christmas. I was about 10 or 11, and I was so excited. Funnily enough, I had already been singing for a couple years, so I already knew I loved music but little did I know how much more I would fall in love with music through instruments. MI: What’s your all-time favorite instrument? What makes it stand out? GAYLE: Currently, my favorite instrument is probably the upright bass! I love the texture the instrument adds to records. I enjoy the fact that you can play the instrument with or without a bow. You can use some chords, just use a singular note or even do some pick- ing patterns if you want to get creative. It’s a very easy instrument to stack on top of itself and you can have it be the centerpiece to a song or it can just be the cherry on top! It’s a very customizable instrument, yet quite a big and stubborn instrument — and I enjoy that! A producer I work with very consistently, Reed Berin, plays upright bass and opened up such a fun sonic world with being able to have that in his back pocket. MI: What’s currently in your arsenal? GAYLE: For the studio this year we brought out a banjo, mandolin and a guitalele which was really fun! MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your attention? GAYLE: I bought a loop pedal off of Sweetwater on sale about a week ago with a fuzz pedal, and it’s safe to say I’m about to become the most annoying person ever. MI — By Kimberly Kapela
NOVEMBER 2026 I MUSIC INC. I 23
24 I MUSIC INC. I NOVEMBER 2026
> Page 26 AI in MI > Page 28 My Turn
> Page 29 Women of NAMM
MY TURN I BY RANDE VICK EVERY AISLE TELLS A STORY W alk into most music stores and you’ll see a remarkable amount of in- are positioned. offer meaningfully larger than the box using the Problem, Solution, Transformation framework: Problem: What frustration, un- certainty or stalled ambition brought this person through the door? Solution: What combination
Instead of opening with, “This has a thin-U neck profile and Al- nico V pickups,” start with a ques- tion that reveals the customer’s intended use, like: “Are you mainly playing at home, or are you trying to get a band together soon?” TURN CATEGORIES INTO STORES Most retail floors are organized around inventory control and prac- tical operations. While efficient, this layout does little to activate a customer’s imagination. A wall of guitars says, “Here are guitars.” A story zone says, “Here is what happens next.” Creating story zones doesn’t require a store-wide reinvention. Start with one display table, end- cap or demo station built around a customer mission. For example: The First Song Setup: Place an entry-level acoustic, tuner, capo, spare strings, and a first-lesson of- fer together with a simple prompt: “Everything you need to play your first full song.” This removes the small obstacles that cause begin- ners to stall. MAKE COMPARISON LARGER THAN PRICE When a sales pitch is mostly a fea- ture list, price becomes the easiest point of comparison. A discount may close a quick transaction, but it trains customers to treat your store as a physical showroom for online deals. And nobody loves that. The alternative is to make the
formation about products — and surprisingly little about what cus- tomers are actually trying to do with them. Sales conversations often begin with features. When customers hesitate, the fallback is usually price. It’s logical. It’s also incomplete. Customers, however, rarely en- ter a music store hoping to learn a collection of specs. They come trying to change something about their musical lives. Of course features matter. They validate the purchase, but they’re not where the customer’s story begins. The retailer’s advantage is helping customers recognize the distance between where they are now and where they want to be, then making the path forward feel possible. That begins with a simple re- alization: Every aisle already tells a story. The question is whether it’s a story about what you have in stock or about who your customer can become. THE PRODUCT ISN’T THE HERO Music retailers often position the product or brand as the protagonist of the sale, turning the showroom into a shrine to figured maple tops, famous logos and dazzling pedal- boards. But when the product be-
of product, expertise, service and guidance removes the friction? Transformation: What can this customer credibly do, make, per- form or become after the purchase? You can create immense non- discount value by bundling services that online-only retailers can’t match, for example, including a professional setup with a qualify- ing instrument purchase, offering a complimentary bench check after 90 days, building a post-purchase setup appointment or first-lesson voucher into beginner packages, and inviting buyers to local jam nights, workshops, or clinics to build community belonging. Every aisle is already telling a story. The only question is whether it’s a story about what you have in stock — or a story about who your customer can become. Try This: Pick one aisle this week. Rename it based on what the customer wants to accomplish, then build one complete solution around that mission. See what hap- pens. 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.
comes the hero, every competing product feels interchangeable, and the conversation collapses into a comparison chart. The customer, however, is the protagonist. The staff’s role is to become the trusted guide: knowl- edgeable enough to understand the customer’s challenge, cred- ible enough to recommend a path and invested enough to help them make progress. Recognizing that shift changes how staff talk, how displays are built and how services “The retailer’s advantage is helping customers recognize the distance between where they are now and where they want to be.”
NOVEMBER 2026 I MUSIC INC. I 25
AI IN MI I BY PETER DODS What the Audit Uncovered
R ecently, a garbled trademark symbol led me to a five-year-old problem I didn’t know I had. A few columns ago, I shared how I’d built an agentic email system in n8n that read cus- tomer inquiries and drafted responses, and it turned me into a full-time supervisor for a system meant to save me time. My conclusion was that agents work well under active supervision, the way agentic coding does, and fall apart the moment you hand them real autonomy. I said I’d remain the human in the loop, and I meant it. Last week, that opinion softened. Here’s why. THE EXPERIMENT
what you’d expect: thin product de- scriptions, an inconsistently updated blog, an agents.md file still sitting as empty boilerplate. My catalog also had no structured specifica- tion data, and digging into why led somewhere I didn’t expect. Shopify didn’t have native meta- fields when we built our site, so the site’s structure has been quietly out of date for four years. This was structural, sitting underneath everything else on the list. THE PRIORITIZATION CALL That left two paths. I could chase the AEO work: agents.md, struc- tured specifications, review mark- up, everything that makes a store legible to an AI shopping agent. Or I could fix product categorization and upload consistency, the un- glamorous plumbing nobody sees. The traffic numbers made the decision for me. AI assistants were sending a fraction of a percent of my sessions, and there’s no point sending more shoppers, human or artificial, to a site whose product data is inconsistent. Categorization and upload consistency come first because that’s what everything else is built on. WHAT THIS REALLY CHANGED I didn’t ask Claude to find my cat- egorization problem. I asked it to run an AEO audit, and it found a much larger issue. That’s the shift agentic AI represents for small busi- ness owners. It can look across an entire business at once. I’d spent years fixing mojibake one symbol at a time and never once asked why it kept happening. What else needs updating that I’ve never thought to ask about? MI Peter Dods is the owner of Honolulu- based Easy Music Center.
I connected Claude Cowork to my Shopify store, which took about as long as clicking a connector and logging in and asked it to run an AEO audit. I expected a surface-level report. It came back as a prioritized list of real problems, and we started fixing them the same day. WHAT THE AUDIT DELIVERED The format won me over first. Every finding was broken down by who it affects, its impact and the effort to fix it. Instead of a wall of text with no obvious starting point, I could see at a glance which changes were high impact and low effort. THE MOJIBAKE Buried in the findings was a name for something that had
bothered me for years. Mojibake is what happens when a special character like ™ or © gets mangled into a garbled string that makes a product page look hacked. It usually starts when someone opens a product export in Excel and resaves it, quietly corrupting those characters before the file is ever re-uploaded. I’d catch one occasionally, fix it by hand and hope I wouldn’t come across another. Claude told me I had 243 of them across roughly 8,000 SKUs — a countable problem I’d been treating as unsolvable. I had it fix one instance so I could check the work personally. Claude then asked about a bulk
“I didn’t ask Claude to find my categorization problem. I asked it to run an AEO audit, and it found a much larger issue.”
upload. I uploaded the reviewed batch of 10. It worked perfectly. From there I kept accelerating, moving from line-by-line checks to casual glances. The pattern held, and we cleared all 243 in short order. What made this work was the pace. Trust was handed over one small batch at a time, scope growing only after each batch held. The n8n agent never got that. THE BIGGER DISCOVERY Chasing the mojibake pulled me into the rest of the findings. Most were
26 I MUSIC INC. I NOVEMBER 2026
NOVEMBER 2026 I MUSIC INC. I 27
MY TURN I BY RAY VAN STRATEN Dear Valued Partner
T hat’s how the letter always starts, whether it s a product announcement, policy update or program rollout — “Dear Valued Partner.” I’ve written some version of that line countless times across 30 years on the supplier side of the music products industry. And in every case, whether I was writing for myself or on behalf of another executive, my standard was always the same: Whatever followed that salutation had to exhibit partnering behavior or its use would be invalidated, diminishing the reputation of the company and sender.
provide insights that help both sides plan future investments.
CREATE COMPELLING ORIGINAL CONTENT AND EVENTS. The top retail partners use the manufacturer’s assets to maintain brand integrity while bringing their own voice and style to the presentation. They invest in local or targeted online market- ing to attract new customers while nurturing the relationships with existing ones. INVEST IN PEOPLE. Elite dealers ensure their floor staff and online sales teams are thoroughly trained on key features and benefits, specifica- tions, and price and performance value proposition. HONOR COMMITMENTS AND POLICIES. Engaged dealers ask all the right questions and understand every nuance before ever putting pen to paper or committing to a pur- chase target. No vendor likes to end a relationship with a retailer over either an agreement or policy issue. Sadly, I’ve seen these letters land in dealers’ mailboxes with a “Dear Valued Partner” salutation. Retailers: If you’ve ever felt a gap between the salutation at the top of a vendor letter and the experi- ence behind it, trust that instinct. Manufacturers: If you can’t iden- tify the behaviors that make the word “partner” genuine, stop writing it at the top of the letter. The word has never been the problem. MI Ray van Straten is a strategic advisor to founder- led and challenger brands in the music and pro-audio products industry. With over three decades in sales, marketing, leadership and executive roles, most notably at Yamaha and QSC, van Straten has served on the NAMM Board of Directors. Learn more at vanstratengroup.com.
Think about other places that word shows up. Busi- ness partners. Domestic partners. Accountability partners. The contexts are wildly different, but we intuitively understand what the word means in every one of them. The following are some defining characteristics of a reputable vendor partner. THEY COMMUNICATE OFTEN . They alert customers about new product introductions with ample notice so they can plan and manage their purchasing decisions. They also don’t hesitate to inform when things go wrong, like a shipping delay or a newly discovered product issue. A retailer should never be the last to know about some- thing that affects their ability to run their business. THEY UNDERSTAND YOUR BUSINESS. A conscientious vendor recognizes that no two retailers are the same. Each one serves a distinct market, reaches different customers and brings something unique to the table. Their support should reflect that.
“A conscientious vendor recognizes that no two retailers are the same.”
THEY DEFAULT TO TRUST. Sometimes, you have to make things right even when the circumstances aren’t fully clear. If they come from a place of trust, no issue is too big to solve. THEY GROW THE PIE. The best vendors drive demand for their brand — making it visible, desirable and top of mind. That’s one of a manufacturer’s fundamental responsibilities. While many compa- nies today also sell directly to consumers, they should also be able to demonstrate how their efforts are building broader demand for the brand in ways that benefit everyone in the channel. Growing the pie is partnering. Taking a bite off someone else’s plate is not. But of course, any good partnership requires mutual engagement and reciprocity. Over the years, it became evident to me that great retail partners: SHARE OPENLY AND TRANSPARENTLY. Collaborative retailers share essential sales data, customer feedback, market trends and general concerns freely. They
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64Powered by FlippingBook