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JANUARY 2026 I VOL. 37, NO. 1
PUBLISHER Kevin R. Maher EDITOR Katie Kailus EDITORIAL ASSISTANT Kimberly Kapela CONTRIBUTING EDITOR Ed Enright SALES MANAGER Chris Maher DESIGNER Žaneta Čuntová
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January 2026
Yusuke Suzuki
32 I FROM THE TOP Casio America’s new president and CEO Yusuke Suzuki explains how the company is using AI to make its products more intuitive. 40 I THE 2026 NAMM SHOW PLANNING GUIDE
Chris White
NAMM CEO John Mlynczak shares what to expect at this month’s show, including the expanded educational programming and the 125th NAMM anniversary bash. Plus: The full schedule of events.
36 I THE CONNECTION MAKER A one-on-one conversation with NAMM’s new chairman, Chris White of White House of Music, in which he outlines his goals for his new role, including elevating members’ voices and building stronger connections.
25 I MY TURN X John Powell on turning today’s noise into tomorrow’s musicians. 26 I MY TURN X Rande Vick shares the importance of engineering emotion in your retail store. 28 I VIEW FROM THE WORK BENCH X Steve France discusses three ways to start a repair apprenticeship program. 30 I NAMM YP X Angelica Primachenko on how to cash in on content at The NAMM Show. 31 I WOMEN OF NAMM X Cassandra Sotos offers tips for “honing your tone.”
48 I GUITARS, AMPS & ACCESSORIES 52 I AUDIO & RECORDING 54 I DRUMS & PERCUSSION 56 I BAND & ORCHESTRA 58 I PIANOS, KEYBOARDS & SYNTHS 59 I DJ & LIGHTING RETAILER ASK THE 62 I ASK THE RETAILER X Retailers share the reasons why they’re attending The 2026 NAMM Show.
16 I INDUSTRY NEWS X NAMM Foundation Expands 2026 Grantmaking X PASIC50 See New Attendance Record X OMG Music to Distribute EBS X Newsweek Ranks Sweetwater for Top Customer Service X Apogee Names New Owner X Guitar Center Music Foundation Appoints New Chair X She Rocks Awards to Honor Carnie Wilson at NAMM 12 I INDUSTRY PROFILES X SKB Cases’ new owner discusses expanding the company’s global footprint. X How Furch Guitars grew from a Czech basement to become a guitar leader through innovative design.
Cover photo by Wade Peronto.
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I t’s our January issue, which means it’s also our annual NAMM Show Plan- ning Guide. Aside from show highlights and the schedule of events, this issue also features a cover story on NAMM’s new chairman, Chris White of White House of Music — a perfect fit for this show-focused issue as the interview centers on connection, a cornerstone of The NAMM Show. In our conversation with White, which starts on page 36, he says he hopes the legacy he leaves as NAMM’s chair is one that NAMM listens PERSPECTIVE I BY KATIE KAILUS MAKE THOSE NAMM CONNECTIONS COUNT
to its members. His top goal while in the role? To help NAMM members, both large and small, make quality connections within the industry. “To understand what makes [NAMM members] tick, we ask, ‘How does NAMM add value for everyone in our industry?’ I think the answer comes down to helping members make connections,” White says in the coverage. An apt goal for this month’s NAMM Show Planning Guide issue. And one that NAMM YP featured columnist Angelica Pri- machenko shares in her column on creating content at The NAMM Show on page 30. “One of the best parts of being a creator is realizing you’re surrounded by people
who understand the same creative rhythm,” she shares. “Don’t hesitate to start a conversation. Ask what others are working on, share ideas or cap- ture a quick clip. Collaboration sparks ideas. Partnering with others helps you learn new techniques, gain fresh perspectives and find inspiration in someone else’s process.” Networking can be scary. Showing up to an event without your team by your side can be intimidating. But The NAMM Show is a much more rewarding experience when you leave with new contacts, and maybe even a few new friends. For first-timers, Women of NAMM is holding its First-Time Attendee Meetup at the start of the show on Thursday at 10 a.m. in the NAMM Member Center. For those under 40 looking to network, NAMM YP is holding its annual Networking Reception on Thursday at 5 p.m. on the Hilton Lanai Patio. If you’re in the pro-audio industry, the annual Pro-Audio Pool Party, held at the Marriott Pool Deck on Friday at 6 p.m., provides the perfect atmosphere to meet others in the same industry vertical. All three events offer great opportunities to expand your circle and create new NAMMily members. For show veterans, strike up a convo with the folks sitting next to you in the Ideas Center before a session starts or choose a table at the Breakfast Sessions with new faces. Come ready to shake a hand, share an idea and meet someone unexpected, because at The NAMM Show, connection is the real headliner. MI
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A Special Shout Out I wanted to send a quick note of thanks for allowing your readers to get to know a little more about me and the great work happening here at Conn Selmer. Your From the Top fea- ture in the November issue of Music Inc. did an outstanding job of capturing one of my core beliefs as a leader: that people really do matter. We have so many great peo- ple who work in our company, but I’d like to highlight one in particular: Jerome Jackson, an employee at our Elkhart fac- tory. For more than 30 years, Jerome has handcrafted bells in our factory, and I’m sure he’s responsible for many of the instruments your readers are playing today. I’m deeply grateful to all our craftspeople, artists and teach- ers who dedicate their lives to making instruments, creating beautiful music and inspiring the next generation. Can you imagine what life would be like without them? John Fulton President & CEO Conn Selmer Elkhart, Indiana Passing Down to the Next Generation I wanted to share the latest up- date on my book: “The New Musician.” Reception to the book has been gaining mo- mentum, especially from major universities. NAMM’s senior program manager Eric Ebel and I recently participated on a national call hosted by George Mason University. We discussed multiple topics covered in “The New Musician,” with a special focus on entrepreneurship. The seminar was presented by pro- fessor Dr. Karalee Dawn who heads up George Mason’s Col- lege of Visual and Performing Arts department. We were also
One of the many sessions held during PASIC50.
joined by Summer Pittman in Nashville, Tennessee. When I wrote this book, my intent was to reach this exact audience, because I believe the future of our industry is reliant on today’s rising musicians. It’s a new and different time for young musicians, and there’s now more fast-paced data than ever before. My passion has always been to communicate and connect with today’s rising artists; shar- ing the teachings handed down from the uniquely successful artists, writers and performers who have set the stage for us. Many thanks to former Hal Leonard CEO Larry Morton, as well as all the wonderful folks at Hal Leonard, for making this work come to life. Menzie Pittman Owner Contemporary Music Center Haymarket, Virginia A Little NAMM Love W e find that The NAMM Show is the best place to build and strengthen relation- ships — with our fellow retail- ers, our suppliers and even with- in our own team. Many of these connections have turned into friendships that span decades,
even though we may only see each other once a year in Ana- heim, California. As a business owner, I also see NAMM as a powerful staff development op- portunity. We bring our future leaders so they can deepen their understanding of our industry and our business. That invest- ment pays dividends back home as well, inspiring other team members who aspire to attend in the future. Whether it’s industry trends, advocacy issues, new products, new manufacturers or best practices, The NAMM Show provides the best envi- ronment for my team to engage more fully with our customers and our mission. Jonathon Breen President The Music Shoppe Normal, Illinois 50 Years of PASIC T hanks to the 7,800 attendees who were able to join us for PASIC50 last November. It was a remarkable event that cel- ebrated the history and beauty of the percussive arts. It truly was the greatest four days in drums and percussion. We kicked off with the
traditional African sounds of the Wulu Drum and Dance En- semble and concluded with a powerhouse concert from Ga- lactic with Jelly Joseph, whose funk-infused rhythms had thousands of attendees danc- ing. Their fiery performance enticed musicians like Gregg Bissonette, Matt Billingslea, Ash Soan — and even me — on stage with the band. In between, more than 100 ses- sions featured musicians from around the world celebrating percussion in all its forms, from timpani to tap dancing, maracas to marimbas, and drumlines to drum sets. We even took the music outside, where 150 musi- cians performed Inuksuit in a nearby park. It will be hard to top PASIC50, but we’re going to try. Plan to join us for the PASIC 2026 conven- tion, to be held November 11–14, 2026, in Indianapolis. Joshua Simonds Executive Director Percussive Arts Society Indianapolis
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
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INSIDE NEWS > Page 16 EBS Selects OMG Music for U.S. Distribution > Page 20 Guitar Center Music Foundation Names Chair > Page 23 PASIC50 Breaks Attendance Records
equity firm known for investing in estab- lished, profitable brands and guiding them into their next phase of growth. After more than 45 years under the stewardship of SKB’s founders, the ac- quisition marked a new era for the brand. For co-founder Dave Sanderson, the de- cision to sell to MPE came at a perfect time when introducing the company to the next generation. “MPE is a perfect match for the com- pany,” Sanderson explained. “They special- ize in profitable, established brand name, family-owned businesses that they buy and they professionalize them. We were running this place like a really big little company. They’re recruiting new team members and implementing business systems across the organization that we needed but really didn’t know what to do. It’s a match made in heaven.” That “match” now looks like structured growth and a clear roadmap for the future while maintaining the roots that made SKB a household name among touring musi- cians and gear manufacturers worldwide. Looking to the Future Leading SKB into its next chapter is newly appointed CEO John Saxon. “MPE focuses on founder and fami- ly-owned businesses that are great busi- nesses,” Saxon said. “MPE does not buy distressed assets. It buys quality companies and helps them professionalize and grow and encourages the founders and fami- lies to reinvest in the business alongside [us]. So, we’re blessed to have Dave as a co-investor.” That continued involvement from Sanderson ensures the founders’ values remain embedded in SKB Cases’ future, even as the company embraces its ex- panded infrastructure. Before leading SKB, Saxon built his career in automotive plastics manufactur- ing. No stranger to SKB’s products and
SKB Cases has entered a fresh chapter under new ownership with new CEO John Saxon. The company is focusing on global expansion and deeper MI engagement — all while continuing its mission to protect equipment so the music can keep playing. — By Kimberly Kapela SKB CASES’ NEW ERA SKB Cases’ new owner John Saxton (left) and co-founder Dave Sanderson.
A
new era for SKB Cases has unfolded over the past year as the manufacturer of protective cases transitioned into new
ownership and leadership. In January 2025, the family-founded company was officially purchased by MPE, a private
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on a global scale. We’re looking to ex- pand globally outside of our Southern California roots. We still lean into the Southern California roots, but we want to expand beyond that, so new product development and re-engaging with the music community is a big part of the rebirth of SKB.” What makes SKB Cases stand out is the construction of the cases themselves. For instruments that travel thousands of miles and endure the unforgiving condi-
tions of touring life, SKB’s cases are con- structed from a copolymer polypropylene engineered for higher impact resistance. “I think the hardcore musicians, par- ticularly touring musicians, never lost sight of SKB,” Saxon said. “We’re the only case company out there that provides a lifetime warranty on our product. That’s how much we believe in the product. No one else does that. Why wouldn’t you, as a retailer, put it on your shelves? Because it’s not coming back.” MI
rigorous product testing, Saxon recalled recently watching a test engineer aggres- sively drop an SKB case during evaluation. While others may have flinched, Saxon said he remained calm, telling his col- leagues not to worry since the products were secure inside SKB cases. Leveraging his automotive background and several members of his previous team, Saxon spearheaded SKB Cases’ successful effort to achieve an AS9100 certification, the gold-standard quality management system for aerospace and defense. “The AS9100 certification was a real accomplishment as it’s the marquee aero- space defense quality certification,” Saxon explained. “It’s very difficult to get. Typi- cally, that’s a 24-month effort. Thanks to my automotive background and some former teammates who were excited to follow me to California and join in on what’s going on at SKB, we got that done in six months.” As he entered his first few months as CEO, Saxon’s vision for the company is steering it towards an even more inten- tional future that reconnects with SKB’s music roots. “The first thing to do is the old Hippocratic Oath of ‘do no harm,’” Saxon said. “Come in and learn the business. The ability to learn from the founder of the business is a unique opportunity. The first thing I did was listen and learn. The second thing I did was start to hire industry professionals to augment what we already had. We’ve hired quite a few outside salespeople. We’ve also brought on some new rep groups, so we have a very good mix now of professionals who have been in the industry for a long time. We’re marrying new ideas while honoring the legacy of the business that has been very successful in this first year of new ownership.” “They brought this through new tech- niques and education and people who have come in just to fill holes that we’ve had in this place,” Sanderson added. “It’s terribly exciting to me to walk around and look at what they’ve done, and the positive changes being made here and at our plant in Mexico.” Global Expansion Ahead Moving forward, Saxon plans to focus on new product development as a rebirth of the brand. “The product speaks pretty loud for itself, and those who own SKB speak pretty loudly for it,” Saxon said. “We’re promoting the brand while honoring the legacy. We have a desire to be a player
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ROOTED IN CRAFTSMANSHIP Furch Guitars, celebrating 45 years in 2026, has grown from Frantisek Furch’s basement workshop into a globally recognized brand renowned for innovation and player-focused design. Proprietary innovations and unique finishes continue to set Furch apart. — By Kimberly Kapela
F urch Guitars’ story begins not in a board- room or a polished factory, but in a base- ment in 1980s Czechoslovakia, where musi- cian and metalworker, Frantisek Furch, set out to build the guitar he couldn’t find. His underground operation, born out of necessity and creative drive, has, decades later, evolved into one of the largest guitar manufacturers in Europe, with more than 70 authorized deal- ers around the world and a loyal following. Today, Furch Guitars is guided by a new generation. Under the leadership of Frantisek’s son, Peter Furch, who serves as owner and CEO, the company has embraced modern manufacturing, integrating CNC machinery and precision-based processes that lets build- ers pursue more detailed, consistent work. In 2018, Peter shifted to a fully Furch-branded distribution model and established a dedicated U.S. operation. Marc Harris, managing director for that U.S. operation which is based in Nashville, Tennessee, said that when musicians play Furch Guitars, they find a uniqueness due to the vibration of the wood. In fact, the brand received significant attention from retailers who voted in our 2025 Excellence Awards last month. “There’s an instant reaction when people realize that Furch’s guitars are something different,” Harris said. “They really fall in love with them.” Much of that distinction comes from the company’s proprietary innovations, including its custom UV finish, which is an ultra-thin coating roughly one-third of the mass of traditional nitrocellulose finish, yet harder and more protective. “Furch also created a CNR neck reinforce- ment, and that’s an apparatus that is inside every one of the necks that creates a stability and a sustain that’s unique to our guitars,” Harris
ergonomic enhancement that reimagines how a guitar should feel against the body. “Furch came up with a feature they call bevel duo which is a comfort curve on the front, which we see on a lot of other acoustic guitars, but on ours, we also put the curve on the back, similar to the cutaway on the back of an electric guitar or Stratocaster,” Harris said. “People find it very attractive, very com- fortable to play. I find that the average age of guitar players keeps getting older and older, and the players need comfortable guitars.” Though many guitar manufacturers mix their brands with laminated woods with dif- ferent imports, every instrument bearing the Furch name is built entirely in the company’s facility in the Czech Republic, crafted by the same team of luthiers who carry forward Frantisek’s legacy of hands-on construction. “There’s no confusion as to if you have a Furch guitar,” Harris said. “It was built by our builders in our building, and made of all solid woods, so I think that’s another aspect that makes us unique compared to the other brands.” Furch Forward As 2026 marks Furch’s 45th anniversary, the company is preparing to celebrate nearly half a century of innovation and global growth. A central part of that celebration is Furch Back- stage, the company’s annual event that brings together dealers from Europe, Asia and the U.S. “That’s when we focus on new product developments,” Harris said. “At this month’s NAMM show, the Performance Series [will be displayed], which includes the bevel duo and the CNR active, a new sound port called the booster sound port. We’re also working on relaunching a Furch mandolin which used to be made 20 years ago. We’re still busy perfecting it.” MI
Marc Harris
said. “This year, we enhanced that by adding a feature called CNR active that incorporates the original CNR neck, but adds an active ele- ment, which uses a block of wood as a hinge. It’s automatically perpetually adjusting the action of the instrument based on humidity.” Designing for the Modern Musician Amongst American players, Furch is known for its travel guitars, especially its Little Jane travel guitar. “Frantisek is a Harley-Davidson rider and needed a guitar he could fit in his Harley saddle bag, so he designed a travel guitar that breaks down into three pieces,” Harris explained. “The neck comes off, the headstock splits from the neck. That’s completely unique. Nobody makes anything like that, and it’s an all-solid wood guitar, so even though it’s a scaled-down size, when you put it together, it’s in tune and has a big guitar sound.” Beyond its travel-friendly designs, Furch continues to push the boundaries of comfort through its celebrated Color Series. Central to the series is Furch’s proprietary bevel duo, an
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Foundation, expanding on the spirit of generosity, compassion and hope that The NAMM Foundation has demonstrated since its founding,” said Julia Rubio, executive director of The NAMM Foundation. “Each of the programs selected support communi- ties and neighbors who turn to music as an essential part of their daily lives, re- minding us that together, there is always reason for hope.” NAMM and The NAMM Foundation share a global vision to grow and diversify the grantmaking program, with responsive investments that deepen impact, expand inter- nationally, and balance representation across industry segments and funding priorities. This year, The NAMM Foundation opened its grantmaking process to all eligible non-profit organizations in the U.S. and abroad, with funding decisions guided by an independent panel of industry experts. These efforts have significantly increased the capacity to cre- ate more music makers worldwide and The NAMM Foundation is ready to exponentially accelerate these efforts over the next decade. “The NAMM Foundation helps us keep the student studio open as a pathway for young people returning from incarceration,” said Brandon Steppe, founder and executive director of The David’s Harp Foundation. “We’re grateful to partner with the founda- tion in using creativity as a bridge back to the community.” {nammfoundation.org}
A NAMM Foundation grant recipient.
NAMM FOUNDATION EXPANDS GRANTMAKING FOR 2026 N AMM and the NAMM Foundation have announced more than $800,000
“Our unwavering commitment to support- ing music making and workforce development for our industry has always been part of our core mission at NAMM,” said John Mlync- zak, NAMM president and CEO. “With our industry in a regrowth phase, it is more vital than ever to be laser-focused on creating more music makers from a variety of backgrounds, communities and programs that further enrich arts and music in our society.” “This marks the most significant phil- anthropic endeavor from the NAMM
in grants to 57 charitable organizations, which represents the largest number of grants ever given to organizations from across all industry segments. The programs selected serve music makers across industry segments in 26 states and five countries and help provide access to music learning and career opportunities in a variety of com- munities and demographics, especially those who are underrepresented in the industry.
EBS Partners with OMG Music for U.S. Distribution E BS Professional Bass Equipment has AB. “We want to make the brand more visible and easier to get hold of for bass players across the country.”
appointed OMG Music as its new ex- clusive distributor in the U.S., with the agreement taking effect immediately. This strategic move marks a significant ramp‑up for EBS’s presence in North America, mak- ing EBS accessories, bass amplification, cabinets and pedals available to bass play- ers across the nation. Since 1988, EBS has built a reputation as a maker of bass equipment geared toward professional bass players, from amps and cabinets to pedals and accessories. While the brand has always had a foothold in the U.S., the company believes it still hasn’t reached its true potential stateside. “We believe OMG Music has both the spirit, ambition and organization to take EBS to a new level,” said Bengt Lilja, in- ternational sales director of EBS Sweden
Established in 1990, OMG Music is a U.S. sales, manufacturing and distribu- tion company servicing MI retailers across North America. The company currently supports more than 3,000 active dealers in the U.S. “EBS represents the gold standard in professional bass equipment,” said Misha Guiffre, director of sales and marketing at OMG Music. “We are honored that EBS selected OMG Music based on our deep roots in the independent dealer commu- nity. We are committed to backing their exceptional engineering with the trusted service and personal relationships that our dealers rely on.” EBS extended its appreciation to Adam
Hall North America for its role in distrib- uting EBS products in the U.S. over the past years. In a statement it said, “As we move into the next phase of our North American growth strategy, OMG Music is well-positioned to expand the brand’s reach across the full product range.” {omgmusic.com, ebssweden.com}
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From left: Andy Owings, Jr., The SCE Group’s Sherry Carlisle Smith and Andy Owings, Sr.
Pearl River Guitars Stops By Andy Owings Music P earl River Guitars made an appearance during a special in- store promotion held at Andy Owings Music in Myrtle Beach, South Carolina, on Nov. 11, 2025, allowing local players to experience the guitars. Sherry Carlisle Smith of The SCE Group hosted the promotion, greeting customers, answering questions and inviting them to play three featured Pearl River models: the BPJ60-N bass guitar with ash body and maple neck, the A800N-D dreadnought acoustic and the A800N-D acoustic. The comparisons led to discussions about the Pearl River S1CO-JCB, a jumbo cutaway acoustic with a solid European spruce top and cocobolo back that has been gaining notoriety as the favorite of Keith Burns, formerly of the platinum-selling group Trick Pony. “The players who sampled these Pearl River guitars were amazed by the feel and the craftsmanship,” Carlisle Smith said. “They were especially impressed when they learned that some of our artist endorsees have even traded in their Taylors for a Pearl River.” The Pearl River promotion was at the center of the sales floor, surrounded by approximately 1,500 guitars on display. Established in 1975, the family-owned Andy Owings Music is a full-line music store in the South Carolina Grand Strand Mall and Carolina regions. It’s known for its extensive inventory of guitars, violins, percussion instruments, pro-line gear, P.A. systems, lighting, accessories and keyboards, including the Pearl River line of acoustic pianos. In conjunction with the adjoining Andy Owings School of Music, the store is a hub for local musicians, churches, schools and beginners. {pearlriverusa.com/guitars}
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ARTIST APPROVED
The Nexora team.
T he Women’s International Music Network (WiMN) has an- nounced Carnie Wilson has been added as an honoree for the 14th annual She Rocks Awards, taking place Jan. 23 at the Anaheim Hilton during The 2026 NAMM Show. Carnie Wilson to Be Honored at 2026 She Rocks Awards “This is an exciting milestone for our business,” said Clive Fitzharris, Nexora CEO. “Nexora reflects who we are today and where we are going, a community of specialist businesses built on deep expertise and strong partnerships. It is an identity and direction which captures our energy, our ambition and our belief in the power of technology to enrich lives. I am proud of the inclusive process that brought us here and grateful to our teams who helped shape this next chapter.” {nexora.com} JAM Parent Company Rebrands as Nexora D CC Technology, parent company of JAM, The Music People, Erikson and more, has announced its rebrand to Nexora, unveiling a new identity and direction which reflects the group’s evolution into a unified and purpose-led community of specialist businesses. The rebrand brings together 27 specialist businesses under one shared vision to deliver progressive technology that enriches lives. The rebrand began in March 2025 when col- leagues across the group were invited to propose names for the new identity. More than 400 ideas were submitted.
Singer-songwriter A.J. Croce reflects on a lifetime of mu- sical exploration, tracing his journey from his first piano to building an arsenal of instruments, including vintage guitars like his 1955 Gibson SJ and 1967 Gibson ES330. A.J. CROCE, SINGER-SONGWRITER Music Inc.: What was your first instrument? A.J. CROCE: I started playing piano on an upright Wurlitzer that had been in my house as long as I could remember. As I became more dedicated to music I acquired many other electric pianos and organs, which were all lost in a house fire when I was 15. The first instrument I bought was a 1963 Steinway M Grand Piano. MI: What is your all time favorite instrument? AC: My 1963 Steinway M. I found my sound through that instrument. It informed me of what was possible melodically, harmonically, rhythmically, as well as the great dynamic possibilities that existed. MI: What instruments are currently in your arsenal? Are there any that are your go-to choices for recording or performing live? AC: I tour with a Yamaha N2 piano, a Vintage Vibe electric piano, a 1955 Gibson SJ, a 1966 Martin D-18, a 1967 Gibson ES330, a 1957 Gibson Goldtop Les Paul (Murphy Lab), a 1968 Fender Deluxe Reverb and a reissue of a 1957 Fender Tweed Champ. I’ve used all of these instruments (except the Yamaha which I recently acquired) on many of my albums. The ES330 was my first electric guitar, and while I didn’t start playing guitar until I was in my 30s, it has been on all of my albums since 2003. MI: Are there any new or emerging pieces of gear you’ve recently tried that have caught your eye or inspired your creative process? AC: The new Yamaha N2 has been a game changer for live per- formance. I also travel with a Micro Mellotron, which has a lot of great uses. My Vintage Vibe electric piano has also been an amazing addition to the variety of tones that I can use in my show. — By Kimberly Kapela
A five-time Grammy-nominated art- ist and member of group Wilson Phil- lips, Wilson has defined a multi-faceted career spanning nearly four decades. The daughter of Brian Wilson, found- ing member of The Beach Boys, Carnie has carried forward a powerful musical legacy while forging her own path as a singer, songwriter, television host, au- thor, actress and mental health advocate.
Carnie Wilson
In addition to her chart-topping work with Wilson Phillips, Wilson has hosted talk shows, game shows and cooking programs, including winning Food Network’s “Chopped,” and earned an Emmy nomi- nation for hosting The Newlywed Game. Other She Rocks 2026 honorees include singer-songwriter Rachel Platten, guitarist Sophie Burrell, Full Compass Systems’ Susan Lipp, Yamaha’s Lisa MacDonald and more. {sherocksawards.com}
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expression. It’s a powerful reminder that the spirit of giving resonates strongly with our team — and that supporting young musi- cians can be the most meaningful gift of all.” Hal Leonard has a longstanding relation- ship with the Boys & Girls Clubs of Greater Milwaukee, having helped establish the or- ganization’s first after-school music-making program, which is now a blueprint for similar programs nationwide. Its former CEO, Keith Mardak, remains a major donor to the Boys & Girls Clubs, particularly supporting their music programs. Another former Hal Leonard employee, Brad Smith, is now a board mem- ber of his brother Chad Smith’s foundation. Many Hal Leonard employees have served as teachers at the B&GC music programs. “The Boys & Girls Clubs of Greater Mil- waukee is grateful for Hal Leonard’s support of our new music teacher placement program in partnership with the Chad Smith Foundation,” said Mark Knapp, assistant vice president of development of Boys & Girls Clubs of Greater Milwaukee. “This support will provide Club members with access to lessons on a variety of instruments, group music classes and expert teachers.” {halleonard.com}
HAL LEONARD CHOOSES CHARITY, DONATES TO BOYS & GIRLS CLUBS From left: Hal Leonard’s Derek Byrne, Chad Johnson and Trish Dulka; Chad Smith Foundation’s Brad Smith and Lewis Smith; and Boys & Girls Clubs of Greater Milwaukee’s Mark Knapp.
H al Leonard employees demonstrated their commitment to community mu- sic-making during 2025’s holiday season. When parent company Muse Group offered staff the option of receiving a holiday gift or donating the equivalent value to a local charity, Hal Leonard employees chose to give back, directing more than $7,500 to the Boys & Girls Clubs of Greater Milwaukee. The donation supports a rapidly growing initiative developed in partnership with the
newly established Chad Smith Foundation, which works to bring music education and instructors to youth programs nationwide. Employees formally presented the check at Hal Leonard’s Milwaukee headquarters. “I’m not at all surprised by our team’s choice,” said Derek Byrne, Hal Leonard’s Milwaukee office manager. “Our employees live and breathe the belief that music changes lives — especially for young people who are seeking connection, confidence and creative
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SOUNDPRO ADDS INDUSTRY VET HECTOR VARELA TO SALES TEAM S oundPro has added Hector Varela to its sales team. With almost two
GUITAR CENTER MUSIC FOUNDATION APPOINTS NEW BOARD CHAIR T he Guitar Center Music Foundation (GCMF) has announced that Cur-
tis Heath, president of Guitar Center Business Solutions, has been appointed board president and chair. Heath’s ap- pointment marks a new chapter for the Foundation as it works to expand ac- cess to music education and deepen its impact in communities across the country.
decades of experience in the AV industry, Varela brings a deep understanding of both the technical and musical sides of sound. Before joining SoundPro, Varela worked with GC Pro for 18 years, man- aging projects ranging from live sound to system installations. As a seasoned
Curtis Heath
Hector Varela
Joining Heath on the foundation’s Board are Greg Glaser, vice president of Custom House and GC Pro at Guitar Cen- ter, and Jerry Brandehoff, executive vice president and chief merchandising officer for Guitar Center. After many years of dedicated service as board chair, David Helfant will continue supporting the foundation as a member of the board of directors. Together, they bring creative, business and strategic leader- ship that strengthens the foundation’s mission to inspire and empower people through music. {guitarcenterfoundation.org}
front-of-house engineer, Varela has mixed for concerts, conferences and a wide variety of live events. He’s also known for his expertise in house-of-worship system design and consulting. When he’s not engineering, Varela can often be found playing the saxophone, a passion he’s said gives him a unique perspective on creating balanced, musical sound experiences for performers and audiences alike. {soundpro.com}
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Newsweek Ranks Sweetwater Among Top U.S. Companies for Customer Service
I n Newsweek magazine’s latest list of America’s Best Customer Service Com- panies, Sweetwater ranked eighth overall, placing ahead of leaders in service, such as The Four Seasons, American Express, Nordstrom, Chewy and many others. Newsweek also named Sweetwater No. 1 for customer service in the music indus-
try. Sweetwater scored a 94.09 out of 100 on Newsweek’s evaluation. The annual review of businesses by Newsweek draws from more than 200,000 customer evaluations that are gathered through independent surveys of people who have made purchases, used services, or have conducted research on products and services in the past three years. {sweetwater.com}
SABIAN Launches 3rd Annual Mentorship Award F or the third year, SABIAN has kicked off its annual SABIAN Dom Famularo SEN Mentorship Award. Set up in honor of Dom Famularo, one of SABIAN’s longest standing endorsers, the award is aimed at encouraging and helping drummers with their career by offering a cash award along with mentorship sessions with some personal relationship with Famularo. The selected recipient will receive a $2,500 grant and a package of individual mentorship sessions with each of the judges. Each judge is an industry expert who had a personal connection with Famularo, understanding his passion for drumming and education. These sessions are likely to be career highlights for the winner, with them being able to tap into decades of experience that the judges have to offer. Prior to his passing Famularo said about the award, “SABIAN is offering an opportunity for the next generation of the industry’s most respected practitioners who all had a close of drummers who want to make a difference. That has always been my purpose: to make a difference and to matter! We are looking for wave makers. Someone to really want to offer their passion to inspire people to aspire.” “We have been astounded by the caliber and number of applicants for the previous two year’s awards and duly expect that to continue for this year,” said Joe Bergamini, SABIAN’s education network director. “While we miss Dom deeply, this award and the process to find a worthy recipient, allows us to continue Dom’s positivity and passion for improvement through drumming and education. As Dom regularly signed off in both emails and in person — the award in his name continues to go ‘onward and upward!’” Applications can be made on SABIAN’s website and are open now through Jan. 10. {sabian.com}
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FRYETTE AMPLIFICATION HIRES DIRECTOR OF SALES, MARKETING F ryette Amplification has announced
APOGEE NAMES DIRK ULRICH AS NEW OWNER A pogee has named Dirk Ulrich as its new owner, marking a new era Dirk Ulrich
industry veteran Scott Emmerman has joined the company as director of sales and marketing. Emmerman brings more than 30 years of industry experience to this role and has previously headed up sales and marketing for E-mu/Ensuing and Hohner Inc. He’s also served as director of purchasing at Sweetwater.
in the company’s 40-year history. The transition sees Betty Bennett, founder, and Bob Clearmountain entrust their work to Ulrich, an industry veteran with a track record in pro-audio. “I want to take the Apogee team in[to]
Scott Emmerman
the future, now that Betty and Bob have entrusted me with their lifetime achievement,” Ulrich said. “I am thankful for that amazing opportunity, and promise you — just as I have promised them — that I am fully committed to Apogee’s legacy and reputation. We will continue to develop and offer the best-sounding audio tools that we can create.” Ulrich previously owned Plugin Alliance and Brainworx, both of which he sold in 2021. More recently, he became the new owner of California-based tube-audio specialist Manley. Both companies now operate under Ulrich’s privately funded RCKFRC Group. {apogeedigital.com}
“I hope to spread the word about Fryettes’ products throughout the marketplace and contribute to the company’s growth,” Emmerman said. “I feel fortunate to be associated with a company that is so respected for its ingenuity, quality and for staying true to its core values,” he added. “We’re a tight-knit efficient team and are always on the lookout for talented self-starters,” said Steven Fryett, founder. “We feel that Scott’s experience and ability to execute sales and marketing strategies will make a strong contribution to the success and growth of Fryette Amplification.” {fryette.com}
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EMD Music Now Distributes Rossetti Accordions E MD Music has announced it will distribute
with them and our dealer network.” “We’re thrilled to embark on this new partnership with EMD,” said Erika Alvarez, co-owner of Rossetti Accordions. “With the expansive dealer network that EMD holds, backed by their highly experienced sales team, we believe our partnership will de- liver Rossetti accordions to a wider range of markets.” {emdmusic.com}
Rossetti Accordions throughout the U.S. “We’ve been looking to enter the accordion market for some time, given its strong presence in the U.S.,” said Tony Graham, sales manager at EMD. “Finding the right balance between quality and affordability was key, and teaming up with an established brand like Rossetti is the perfect fit. We’re excited to work closely
Rossetti Accordions’ Erika Alvarez and EMD Music’s Tony Graham.
T he 50th Percussive Arts Society International Convention (PASIC) took place November 12–15, 2025, in Indianapolis. The annual show brought together musicians, students, educators, industry representatives and other enthusiasts from around the world to celebrate the percussive arts. PASIC50 welcomed a record- setting attendance of more than 7,800 participants. Attendees traveled from across North America and at least 24 countries to experience a wide array of concerts, clinics, masterclasses, workshops, panels and presentations representing every corner of the percussion world, including drum set, keyboard percussion, symphonic, marching, world, interactive drumming and more. Throughout the weekend, more than 25 new works were premiered as part of PASIC’s expanded new-music initiative. In total, PASIC50 featured more than 100 sessions showcasing percussion in all its forms, from timpani to tap dancing, marching percussion to marimbas, and djembes to drum sets. PASIC concluded with a concert by Galactic featuring Jelly Joseph and Stanton Moore, blasting their funk-infused New Orleans rhythms, drawing many of the convention’s performers and presenters onstage to join in the celebration. {pas.org} PASIC50 Celebrates 50 Years, Breaks Attendance Records
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> Page 26 My Turn
> Page 28 View from the Repair Bench
> Page 30 NAMM YP
> Page 31 Women of NAMM
MY TURN I BY JOHN POWELL SIGNALS FROM NOISE O ver the past 20 years, musician- ship amongst young people in America has declined. The then maybe more young people will gravitate to music versus video games. Perhaps we’ll help society with expression, elevate the creative form and strengthen our businesses. Because if we’re not here, we can’t do any good. Now I will speak to my mis-
atmospherics in retail, hospitality and restaurants — music and video that align with their brand image and sound systems that deliver the content for brand resonance. Music draws the right foot traffic, retains the right customer (even repels the non-aligned) and supports com- merce in scientifically proven ways. If all the big brands are doing this in their hotels, high street stores and trendy restaurants, why aren’t we doing it in MI retailing? It won’t take much to transform the retail environment into a destination for our customers — Metal Mondays, Techno Tuesdays, Folk Fridays — and transform customers into a community to support conversion. That’s essentially what those fun- nel experts are doing online! The next step is also an embrace — embrace the phone and use it to our advantage. The digital deni- zens will tell you that we live in a “content economy” where artists command eyeballs, and eyeballs are the currency. Retailers need to have a social presence, but it needs to tie in with step two, being fiercely local, with an emphasis on creativity and possibility. By cre- ativity, I mean demonstrating how to utilize instruments and devices to create art and beautiful experi- ences, while also teaching creators how to showcase and share their art online and, ultimately, in real life. If we can break down barriers and show that creativity is within the grasp of the next generation,
root cause of this shift could be that the next generation of musi- cians are spending more time on their phones and less time with one another in bands, clubs, ga- rages and schools making music or together in dens, bedrooms or cars listening to music. Music is a critically important thread in the fabric of American culture, and it’s being lost in the same way that indigenous languag- es, customs and skills have been lost in other societies around the world. The result could be a loss of identity at the local, regional and national level. No new additions to “Jack And Diane,” “Blowin’ In The Wind,” “Free Bird” or “Stairway to Heaven” as American anthems, and no more signature regional tie-ups like jazz in New Orleans, rap in the Bronx, grunge in Seattle or techno in Detroit. So, as we kick off The 2026 NAMM Show, what do we do about it? We need to embrace our greatest threat — get to the smartphone and make it a forum for music creativity, community, collaboration and commerce. The first step towards that end is to book a flight to Anaheim, Cali- fornia, and bring together as many members of our broad community of retailers, brand enthusiasts, mu-
sion. I love the DJ art form. I think it’s so creatively inclusive, rich and diverse. From techno to trance and house to EDM, there are countless stories, communities and incred- ible artists. However, we need to have greater confidence, a stronger voice, and a more prominent pres- ence in retail. We’ve always been the rebels, but it’s time to step up and accept our role as leaders in bringing more new musicians into the creative fold. I work on this mission every month with AlphaTheta Music Americas. We partner with schools, community groups, emerging art- ists, social media initiatives and charity groups to fly the flag of the DJ art form. Just because it looks like tech doesn’t mean it’s easy, and the truth is that not everyone can pick up a gateway product and become good overnight. It’s tough and demanding of time and effort, but it’s also incredibly rewarding, and I’ve seen it bring great joy to both the artists and the audiences. At NAMM this year, we’ll double down on DJ, and I hope that you do as well! MI John Powell is the president of AlphaTheta Music Americas, parent company of Pioneer DJ.
How to make music retail
sicians, media and influencers to discuss, learn about, create and connect with one another through music. The energy of a show is not simply inspiring and empowering — it also comes with education, experiences and insights that can inform strategies for growth in the year ahead. The second step is embracing the obvious: music is a powerful experiential driver of emotions and decisions. It’s no secret that brands employ music to support heard in today’s congested media environment — and how that’s the key to growth in 2026.
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MY TURN I BY RANDE VICK How Human Touch Wins
F or years, we’ve heard the same MI retail obituaries: “Ama- zon killed the mom-and-pop shop.” “Brick-and-mortar is dead.” “People just don’t shop in person anymore.” And yet, Barnes & Noble is making a serious comeback after planning 60 new location openings in 2024. Lego stores are packed after adding 24 more stores in the first half of 2025. And Rockstars of Tomorrow is scaling a national performance- based music school to compete with School of Rock. Closer to home, the Gibson Garage in Nashville, Tennessee,
and leaned into being a “third place” outside of home and work. And in music retail, the Gib- son Garage isn’t just a store. It’s a musician’s pilgrimage site. People travel just to Nashville to expe- rience it, post photos and walk away with not just a guitar but a story. YOU DON’T NEED A REMODEL Here are five ways any music retailer can start designing for immersion right now: 1. Create intentional zones. Set up a plug-in corner with vibe lighting. Turn the pedal wall into a gallery. Suggest action. 2. Use lighting and sound stra- tegically. Ditch the fluorescents. Curate playlists that match your audience. Let the environment tell a story. 3. Add a sensory surprise. A signature scent, a handwritten note or a warm greeting. Novelty tells the brain, “This matters.” 4. Let customers feel like artists, not shoppers. Host jam sessions. Run open mics. Make them the main character in their own musical journey. 5. Build rituals. Host weekly acoustic nights and “first guitar” ceremonies for kids. Create tradi- tions customers can anticipate. The truth is online will always win on convenience. But conve- nience doesn’t create memories. In 2026 and beyond, the music retailers who thrive won’t be the ones with the most inventory. They’ll be the ones that make people feel something. MI Rande Vick is the founder of Vick Agency, a neuroscience‑driven brand consultancy special- izing in the music industry and professional services, and author of “NeuroBranding.”
has become a destination where people line up to play, hang out and post about the experience. Indie shops around the country are thriving because they’ve turned themselves into community hubs rather than just storefronts. Why? Because these brands stopped competing on inventory and started building immer- sive experiences. They’re not just selling. They’re staging. They’re engineering emotion. And they’re winning because of it. ONE MOVE THAT CHANGES EVERYTHING If I could suggest music retailers do just one thing in 2026 to win bigger, it would be this: Design for immersion. Customers no longer come to your store because it’s the only option. They come if it feels better than shopping online. Immersion is what creates that feel- ing. It’s not just about having an “experience.” It’s
about engaging the senses, triggering emotion and turning a transaction into a memory. THE BRAIN TAGS EMOTIONAL EXPERIENCES AS IMPORTANT Our brains don’t record SKUs. They record mo- ments. Neuroscientist Lisa Genova puts it this way: “Emotion tells the brain: remember this.” When something makes us feel excited, in-
“Algorithms will never compete with goosebumps.”
spired or simply seen, the brain releases oxytocin, a neurochemical tied to trust and belonging. Pair that with sensory cues (lighting, sound, texture and even smell) and the brain encodes it as a core memory, not a passing interaction. That’s why algorithms will never compete with goosebumps. WHAT IMMERSION LOOKS LIKE Immersion is what’s making Rockstars of Tomorrow more than just another music school. The company, which now has locations in California, Nevada and Indiana, creates a space that feels like a backstage lounge: velvet couches, deep red walls and mood lighting that whispers, “This is how Ozzy would do it.” This same idea is what brought Barnes & Noble back from the brink. Under new leadership, they stopped being a uniform chain
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