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FEBRUARY/MARCH 2026 I VOL. 37, NO. 2
PUBLISHER Kevin R. Maher EDITOR Katie Kailus EDITORIAL ASSISTANT Kimberly Kapela CONTRIBUTING EDITOR Ed Enright SALES MANAGER Chris Maher DESIGNER Žaneta Čuntová
CHAIRMAN Kevin Maher PRESIDENT Frank Alkyer ASSISTANT TO THE PRESIDENT Sue Mahal
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, Illinois 60126
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February/March 2026
34 I FROM THE TOP ACT Entertainment’s Darius Seabaugh discusses the company’s acquisition strategy.
ON THE COVER ... Clockwise from left: PDP’s Concept Acrylic Kit; Fender’s Masterbuilt Dave Murray Stratocaster; Arturia’s AstroLab 37; QSC’s CB10; and Roland’s Aerophone Brisa.
39 I THE 2026 GEAR GUIDE The hottest new gear showcased at The 2026 NAMM Show — and beyond. Plus: Retailers share what’s flying off the shelves of their dealerships right now.
28 I IN THE TRENCHES X Cyph Shah offers his thoughts on how AI will disrupt the future of creativity. 30 I VIEW FROM THE REPAIR BENCH X Steve France shares why store owners should bring their techs to The NAMM Show next year. 32 I WOMEN OF NAMM X Bonnie Gallanter celebrates women in music during International Women’s Month.
40 I GUITARS, AMPS & ACCESSORIES 52 I AUDIO & RECORDING 58 I DRUMS & PERCUSSION 62 I PIANOS, KEYBOARDS & SYNTHS 66 I BAND & ORCHESTRA 70 I DJ & LIGHTING
16 I NEWS X Sweetwater-Presented Event Gives Guitars to Fire Victims X MoMM Becomes Certified Autism Center X D’Addario, TerraCycle Hit a Decade of Recycling X NAMM Foundation Starts Long-Term Endowment X Sennheiser, Neumann Sponsor 2025 SoundGirls X John Packer Musical Instruments Receives Royal Visit X Industry Veteran Ken Dattmore Passes Away 14 I INDUSTRY PROFILE X Post strategic-reset, Hanser Music Group discusses how it’s relaunching the Kustom Amplification brand.
RETAILER ASK THE 74 I ASK THE RETAILER
X Dealers share the aspects of their business they’re looking to improve upon most in 2026.
Steve France
Cyph Shah
Bonnie Gallanter
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B elieve it or not, but at the printing of this issue, we’re already almost a full month into 2026. And while this issue is all about the hot prod- ucts coming out at The NAMM Show and beyond, retailers are no doubt wondering what trends 2026 will bring after a very uncertain 2025 plagued with tariffs, price increases and an unsteady economy. Over the past few months, we’ve been speaking with MI industry executives on what they think this next year will hold, including Yamaha Corp. of America President Tom Sumner. PERSPECTIVE I BY KATIE KAILUS AI: A RETAILER’S BEST FRIEND IN 2026?
“We’re optimistic about 2026,” Sumner said in a November 2025 conversation with Music Inc. “From an instrument perspective, we’re definitely seeing guitars make a real resurgence after the pandemic. There was a huge surge during the pandemic itself, much of it driven by people who didn’t play at all before. When we looked at the data about a year later, a significant portion of those players were still playing at least somewhat, which was really encouraging. I think we’re starting to see the longer-term effects of that now, with an overall increase in players.” Sumner said that, from that standpoint, the guitar category is doing well. “Acoustic guitars especially [have] been one of the standout trends,” Sumner continued.
“At the same time, in 2025, a lot of us focused on other priorities, largely just coping with changing costs and day-to-day challenges. In 2026, we’ll hopefully be able to shift our focus back to the customer. We now have so many strong tools to reach customers and get them more engaged with music [like] AI that can help us connect more directly and meaningfully.” Taylor Harnois, general manager of Music Shop 360, recently shared his predicted 2026 MI retail trends with us, which echoed Sumner’s ideas on AI. “AI will continue to expand its footprint and be utilized more for personal- ized shopping experiences and helping retailers automate their merchandising systems,” Harnois said. “For example, imagine an AI assistant that builds a begin- ner’s learning plan when someone buys a guitar or dynamically adjusts in-store displays based on sales and season. Online music retailers currently outperform brick-and-mortar stores in sales per employee by more than three times, making AI-assisted efficiency an invaluable tool for smaller shops in the coming year.” Outside of MI, Forbes positioned agentic AI, or advanced AI systems that can take autonomous actions without human input, as its No. 1 retail trend for 2026. “2026 will be the year agentic AI moves from curiosity to practical utility for mainstream shoppers, with the first real shift toward automating everyday es- sentials like groceries, bills and household basics,” Jenny Hadlow, chief operating officer at Checkout.com, said in a Dec. 24, 2025, article by Forbes. Ready or not, here comes AI. And 2026 seems to be the year to jump on the bandwagon if you haven’t already. With so much changing, be sure to keep a finger on the pulse, and don’t forget to turn to Music Inc. for the latest. MI
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Acknowledging MI Excellence T hank you for featuring our national sales manager, Marty Kloska, in your Decem- ber 2025 “From the Top” article. We truly appreciate the recogni- tion, and it was a pleasure to see his insights and experience showcased in the pages of Mu- sic Inc. magazine. Your coverage captured exactly why Marty is so respected throughout the in- dustry. We’re incredibly thrilled and honored to have this music industry legend leading the way for Kepma in the U.S. His passion, leadership and deep understanding of the re- tailer community continue to inspire us and strengthen our mission every day. Thanks for highlighting his story and for your continued support of the people who shape our industry. With our new manufactur- ing facility featuring an annual production capacity of 600,000 Kepma acoustic guitars plus Marty’s leadership and a team of professionals, Kepma is leading the way by providing retailers with an extremely profitable and accessible line of acoustic guitars for players of all levels.
an educational and enjoyable read. I have spent my decades in the MI industry reading and following all the various news outlets and most have disap- peared, especially post-COVID. I am happy that Music Inc. has kept the lights on and provides all of us who work as music merchants a quality magazine to cherish and enjoy. Marc Harris Managing Director Furch Guitars Nashville, Tennessee Emphasizing Legacy & Brand Potential I ’m writing about the January 2026 issue’s Industry Profile feature on SKB Cases. We greatly appreciate the thoughtful cover- age and the article’s emphasis on the legacy and strong future potential of our brand. It’s en- couraging to see that optimism and vision reflected so clearly. I’d like to note a small correc- tion regarding the image caption. The caption identifies John Sax- ton as the new owner; however, his name is John Saxon, and he serves as our new executive chairman and CEO. Finally, I would like to ex- tend our sincere thanks to all our industry partners for their continued trust in our company and their shared commitment to a successful and productive new year. We value these partner- ships deeply and look forward to what lies ahead. Thank you again for the feature and for your ongoing support of our industry.
year’s show, and the content we captured, propels us into an exciting rest of the MI re- tail year. Jonathan Hendrix COO Spicer’s Music Auburn, Alabama Behind the Curtain at NAMM T he first thing I’m most ex- cited about when attending a NAMM show is education, education, education! Being a musician in business can be challenging but NAMM has provided such excellent learning opportunities year after year. I’m also excited to touch base with our ven- dors. NAMM has given me the opportunity to see “behind the curtain” to other parts of the industry, and I have come to understand, respect and ap-
preciate the wholesale side so much more.
Anna Huthmaker Owner
Huthmaker Violins Suwanee, Georgia Thanks for ‘Keeping the Lights On’ I truly appreciate your January 2026 Industry Profile focus- ing on Furch Guitars’ presence in the U.S. The planning and interview stages were handled professionally and [editorial as- sistant] Kimberly Kapela, who was able to interpret the con- tent beautifully on to the page. Sincere thanks to [publisher] Kevin Maher and the entire team at Music Inc. From my view, Music Inc. is the last music products maga- zine left standing serving our industry. It’s an important com- munication tool and is always
Brandon Foster Managing Director Kepma Guitars USA Nashville, Tennessee
Bringing NAMM Closer to Customers D uring last month’s NAMM show, we brought dedicated staff to help us create engaging content that’ll give our custom- ers a “microscopic view” of the NAMM show experience. Spicer’s Music was excited, not only to highlight our own presence at the event, but also to showcase the energy and vibrancy of our industry as a whole. We can’t wait to see how this
Dennis Piretra VP of Marketing SKB Cases Orange, California
EDITOR’S NOTE: MUSIC INC. ENCOURAGES LETTERS AND RESPONSES TO ITS STORIES. EMAIL LETTERS TO EDITOR@MUSICINCMAG.COM.
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INSIDE NEWS > Page 16 L.A. Fire Victims Receive Free Guitars > Page 20 NAMM Foundation Starts Endowment Initiative > Page 24 Artist Cautious Clay Shares What’s in his Gear Arsenal
HANSER MUSIC GROUP RETURNS TO SPOTLIGHT Following a strategic reset and years of behind-the-scenes development, Hanser Music Group-owned Kustom Amplification emerges with new modeling amps and a player-driven design. — By Kimberly Kapela Ted Burger
A s Hanser Music Group celebrated its 100-year anniversary in 2024, the Cin- cinnati-based company showed no signs of slowing down. Instead, the milestone year marked a period of renewed growth with a recent move into a new facility dedicated to U.S. engineering and sales, alongside major expansions of its Kustom Amplification brand and Powerwerks product lines. Founded originally as a music retailer, Hanser has evolved over the decades into distribution and eventually into brand own-
ership. For much of its existence, Hanser Music Group operated as a third-generation, family-owned business under the Hanser brothers. A shift came in 2019, when long- time employee Bob Imhoff purchased Hanser Music Group from the Hanser family. Under Imhoff’s ownership, Hanser imme- diately began reinvesting in its core brands, launching a redesign of Kustom and Power- werks. Today, Kustom’s offerings span ampli- fiers and pedals, while Hanser’s engineering expertise continues to drive innovation.
“The brand has a ton of history, but we also haven’t had new products for five-to-10 years, as far as anything truly updated,” said Ted Burger, president of Hanser. “But now, [we have] all brand-new stuff. The Kustom line and the guitar and bass products are brand new, and there’ll be brand-new Kustom P.A. products coming before the end of Q2.” Hanser is partnering with a U.S.-based 3PL, warehousing all inventory in-house and selling directly to retailers. “For the longest time, even after we ac-
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quired the company, most of our products were moving through third-party distribu- tors in the U.S. and Canada,” Burger said. “With 100 years of experience distributing in the U.S., it just didn’t make sense for us to rely on outside distributors, but we waited to make the change until our new products were ready.” Reclaiming its Identity When Burger came on board in 2019, shortly after Imhoff purchased the company, the vision for Hanser included entirely new products and a fresh direction. The journey hasn’t been without its challenges. COVID-19 forced a hard pause on much of Kustom’s work, and navigating shipping disruptions while remaining entirely self-funded since 2019 added extra pressure. But through it all, development continued. “Since 2020, we’ve been steadily build- ing the new lines,” Burger explained. “At the heart of it, we want to honor Kustom’s history while pushing it forward.” The new Kustom line is focused squarely on guitar and bass players, offering products that are both accessible and affordable without compromising on performance. “Sound-wise, we compete with anything out there,” Burger said. “We have decades of experience because we’ve built products for some of the companies we’d be compet- ing with. At the same time, we’re making sure it says ‘Kustom’ on it. We’re giving players the features they want at a better price than most of the competition. We’re no longer part of a larger company with dozens of brands, instead we’re concentrating on this for guitar players and bass players, and that’s what our engineering crew has always done best.” For retailers, stocking Kustom products comes down to one word: margin. “We’ve been around this long enough that we know what other companies that are doing comparable products to ours are offering, as far as margins, especially to in- dies, but even to the large retailers,” Burger said. “They all have deals with a lot of the large retailers worldwide because they have a lot of other products in those stores as well. We’re offering a much better margin on the same product that, in a lot of cases, is better quality.” Looking Ahead Building on that momentum, Kustom’s cur- rent product roadmap is designed to rees- tablish the brand’s credibility before fully reintroducing its visual identity. “All of our current work with modeling
amplifiers for electric guitar and bass is fo- cused on establishing that Kustom can cre- ate high-quality products with features that players actually want,” Burger said. “We also have some non-digital acoustic amps that reflect a long-standing strength of the Kustom brand, along with high-powered bass heads that perform exceptionally well.” Looking ahead, Burger said he sees Kustom’s next evolution having a strong visual heritage. “By the end of 2026, we hope to release either these exact products or something very similar technologically, but in a format that’s unmistakably Kustom,” he explained. “We’re talking about the classic tuck-and-roll design
— the padded vinyl or Naugahyde styling you see on vintage P.A.s and amplifiers, the kind of look you associate with bands like Creedence Clearwater Revival.” Burger said the company aims to establish trust through sound, features and reliability. Then, bring the history forward in a way that feels authentic rather than nostalgic. “Once the technology is established and players respect what we’re doing, what fol- lows is that same innovation wrapped in an old-school look,” he said. “That’s where we really start leaning into the heritage and reminding people what Kustom has always stood for.” MI
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A student who received a guitar during the “The Sound of What’s Possible” event on Dec. 6, 2025.
200 L.A. FIRE-AFFECTED STUDENTS RECEIVE GUITARS, MENTORSHIP AT SPECIAL EVENT N early one year after wildfires ravaged the L.A. area, The Los Angeles Col-
days we’ve ever had,” said Ben Dudley, executive director of Free Guitars 4 Kids. “Seeing students who’ve endured so much walk in with the weight of a tough year — and walk out with huge smiles and new guitars — was unforgettable. Our mission is to show kids they’re seen, valued and capable of extraordinary things. LACM, Sweetwater, and these incredible musicians helped make that mission real.” “These students showed so much strength and curiosity, and getting to share music with them was a privilege,” Paschke said. “Seeing them light up when they got their guitars was unforgettable. Music has shaped my entire life, and help- ing spark that same journey for someone else is incredibly rewarding.” “Saturday’s event was a powerful re- minder of why music education matters,” said Erin Workman, LACM’s executive vice president. “Watching these students light up as they received their guitars rein-
forced our commitment to opening doors for young creatives. That’s why LACM also awarded three students a free week of tuition to our Summer at LACM pro- gram, along with four individual private lessons through our LAMA Community Program. This experience will stay with all of us for a long time.” “Helping unlock the power of music for young people is core to who we are,” said Jeff Ostermann, chief people and culture officer at Sweetwater. “And bringing music to so many students who were impacted by the fires makes this event even more special and inspiring for us.” Throughout the day, 200 new guitars were given to students, who also received hands-on lessons from LACM faculty and pro touring musicians. The participating students also received mentorship experi- ences focused on confidence, creativity and musical curiosity. {fg4k.org; lacm. edu; sweetwater.com;}
lege of Music (LACM) and nonprofit Free Guitars 4 Kids (FG4K) welcomed 200 Los Angeles-area students to LACM’s Pasadena campus on Dec. 6, 2025, for The Sound of What’s Possible, a celebration of music, mentorship and second chances, presented by Sweetwater. Many of the participating students lost their homes, schools and instruments during January 2025’s Eaton wildfire in Altadena, California. The event opened with a special per- formance by Grammy-winning guitarist Brent Paschke (Pharrell Williams, Katy Perry and Snoop Dogg), who later joined students on the floor for hands-on guid- ance and encouragement. Students then unwrapped their first guitars, many fighting back tears, as a room full of professional musicians cheered them on. “This was one of the most meaningful
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MUSEUM OF MAKING MUSIC RECEIVES CERTIFIED AUTISM CENTER DESIGNATION, JOINS CARLSBAD INITIATIVE
T he International Board of Credentialing and Continuing Education Standards (IBCCES) has designated the Museum of Making Music, which is housed at NAMM’s headquarters in Carlsbad, California, as a Certified Autism Center (CAC). To earn this designation, at least 80% of guest-facing staff at the museum completed autism-specific training to equip them with an understanding of best practices, skills and resources to ensure every individual feels welcome and supported during their visit. “At the Museum of Making Music, we know music touches every heart and soul,” said Carolyn Grant, executive director, Mu- seum of Making Music. “Achieving Certified Autism Center status reflects our deep belief that everyone should be able to experience the power of music in a way that feels welcoming, safe and uniquely their own. Music is for ev- eryone, and this certification brings us closer to a world where that truth is fully realized.” “IBCCES is proud to welcome the Museum of Making Music to the global network of Certi-
fied Autism Centers, highlighting its efforts to ensure every person who visits the museum feels included and enjoys a welcoming experi- ence,” said Myron Pincomb, IBCCES board chairman. “The Museum of Making Music’s designation as a Certified Autism Center is a huge step in inclusivity for the entire Carlsbad community, and we look forward to seeing its ongoing impact.” The museum now provides a range of sup- ports to ensure every visitor feels comfortable and included. Noise-canceling headphones are available for children and adults, and a quiet
area offers space for breaks when needed. The Museum also features special interactive instruments designed for a variety of sensory needs, and staff are happy to suggest less busy times to visit so guests can plan their experi- ence with ease. By completing the CAC process, the MoMM joins a wider movement initiated by Visit Carls- bad to turn Carlsbad into a Certified Autism Destination (CAD). The designation means visitors have multiple trained and certified options to choose from when in the area. {museumofmakingmusic.org}
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John Packer Musical Instruments Visited by Lord-Lieutenant After King’s Award Win U . k.-based John Packer Musical Instru- ments was recently visited by Moham-
Majesty’s Lord-Lieutenant of Somerset to John Packer Musical Instruments, and to show him around our retail, office and ware- house facilities,” said Rob Hanson, manag- ing director of John Packer Musical Instru- ments. “Mr. Saddiq showed great interest in the continued growth of the company, and was particularly interested in the consider- able development in the export side of the business, as we export John Packer Musical Instruments to more than 40 countries all over the world.” In June, Hanson attended a reception at Windsor Castle, where he spoke with King Charles III. The King’s Awards for Enter- prise, previously known as The Queen’s Awards for Enterprise, were renamed in 2023 to reflect His Majesty The King’s de- sire to continue the legacy of HM Queen Elizabeth II by recognizing outstanding U.K. businesses. {jpmusicalinstruments.com}
med Saddiq, His Majesty’s Lord-Lieutenant of Somerset, to present a commemorative award and scroll on behalf of His Majesty the King after the company’s King’s award win. While present at John Packer’s Somerset headquarters, Saddiq received a tour of JP’s retail, office and warehouse facilities and chatted with members of staff about the company’s continued growth. The presentation came after John Packer Musical Instruments, which celebrated its 50th anniversary in 2024, won the King’s Award for Enterprise in the International Trade category earlier this year. It’s the second time JP Musical Instruments has won the award, having received the Queen’s Award for Enterprise in the International Trade category in 2018. “It was a huge honor to welcome His
Rob Hanson (right) receives a commemorative trophy from Mohammed Saddiq, His Majesty’s Lord-Lieutenant of Somerset.
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perpetual support for The NAMM Founda- tion’s enduring impact supporting music mak- ing at every level and in every community,” said John Mlynczak, NAMM president and CEO. “This historical achievement is made possible by the generous support of those who came before us, and we will grow this fund to ensure that those who come after us continue to benefit.” “The time is right to establish an endow- ment that will support our vision for the future of the Foundation,” said Julia Rubio, executive director of The NAMM Founda- tion. “We are creating a sustainable financial anchor for the work we are entrusted to do. Margaret Darby’s incredible bequest of $2 million makes an immediate impact and gestures such as hers, ensures that The NAMM Foundation remains a steady pillar for generations to come.” NAMM and The NAMM Foundation said the two entities share a global goal to grow this fund into a fully sustainable endowment to fund programs that give back to the music products industry. {nammfoundation.org}
NAMM Foundation Announces Long-Term Endowment Initiative N AMM and the NAMM Foundation have announced the creation of an initial
The combination of these funds have created The NAMM Foundation’s new board-designated endowment, which is a first step toward long-term stability while making a consistent global impact on the music community at large. “This endowment initiative establishes
endowment of $10 million, made possible by NAMM’s decade of contributions, in- vestment growth, and a transformative $2 million bequest from music advocate Margaret Darby.
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T he Sennheiser Group has announced it was a sponsor of the SoundGirls and Women in Vinyl Virtual Conference 2025 that was held Dec. 13–14, 2025. Sennheiser and Neumann.Berlin’s support of the conference underscores the brands’ commitment to fostering a more inclusive, diverse and skilled professional audio industry. In addition to providing several grants for attendees to ensure access for all who want to participate in the event, Sennheiser donated a variety of microphones, headphones and more gear that were raffled off throughout the show and presented an educational session about Sennheiser Spectera. The two-day virtual event featured keynote speakers from industry leaders like EveAnna Manley, Jett Galindo and Brian Hardgroove of Public Enemy and offered educational sessions for audio professionals at all stages of their careers. As part of its contribution, Sennheiser featured a dedicated session led by Greg Simon, manager and regional technical application engineering for the Americas. Karrie Keyes, executive director of SoundGirls.org and monitor engineer for Pearl Jam and Eddie Vedder, emphasized the significance of the sponsorship. “Sennheiser’s commitment to SoundGirls is a testament to [its] belief in the power of diverse voices in audio,” Keyes said. “Together, we’re shaping the future of sound.” “Sennheiser’s partnership with SoundGirls is more than just sponsorship; it’s a commitment to empowering the next generation of women in audio,” said Dawn Birr, strategic project manager of pro-audio business transformation at Sennheiser and a longtime member of the SoundGirls community. “SoundGirls is a vital organization for education, networking and mentorship within our industry. We are proud to partner with them and Women in Vinyl to provide resources that directly support their mission. This conference is an incredible platform for professionals to share knowledge, and we are excited to have Greg Simon represent Sennheiser with a session on the latest innovation in wireless audio, Spectera.” {sennheiser.com; soundgirls.org} Sennheiser, Neumann Sponsor Virtual Conferences
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INDUSTRY VETERAN KEN DATTMORE PASSES AWAY I ndustry veteran Ken Dattmore, who worked
Ken Dattmore
music students around the world. Dattmore later operated his own company, Pegasus Strings, before starting his career — and retir- ing — at Yamaha. During his tenure at Yamaha, he played a role in the growth of the electric violin, which won a NAMM Best in Show award at The 2016 NAMM Show. {yamaha.com}
with William Lewis & Son Company and Yamaha for a number of years, passed away on Dec. 4, 2025. He was 64. Dattmore started in the MI industry with the William Lewis & Son Company, which brought violins into the hands of thousands of young
Bob Rockwell
BOB ROCKWELL OF PLAYGROUND MUSIC PASSES AWAY R obert “Bob” Henry Rockwell Sr., for- merly of Playground Music in Florida, passed away on Nov. 19, 2025. He was 74. Rockwell was raised in Ypsilanti, Michigan and graduated from Ypsilanti High School in 1969. He went on to attend Eastern Michigan University. During a spring break trip to Tampa, Florida, he met and married the love of his life Sherry. The two were married for more than 50 years. Rockwell was a husband, father, grandfather, son, brother, uncle, friend, colleague, coach, co-worker and men- tor. He made a deep and lasting impact on his community both personally and professionally. He worked for more than 45 years with the family business, Playground Music Center. Rockwell was a trusted presence across the northwest Florida band community. During his career, Rockwell helped thousands of young musicians find their instrument, while serving countless band programs as a friend to educators, parents and students. {playgroundmusiccenter.com}
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GRAPH TECH LAUNCHES GRAPH TECH U.K. G raph Tech Guitar Labs has launched Graph Tech U.K., a new direct U.K.-based operation designed to deliver stronger service, faster product availability and improved support for retailers, builders and musicians across the United Kingdom. This development follows the wind-down of trading by Graph Tech’s long-time partners JHS. Graph Tech will work with Paul Smith, formerly managing di- rector at JHS and his son, Billy, in servicing the U.K. “I’ve known Paul Smith for a
ARTIST APPROVED
long time, and I’ve always looked forward to our meetings, whether
in U.S., Germany or China,” said Dave Dunwoodie, president of Graph Tech Guitar Labs. “I’m excited to work with him on our new U.K. venture. Paul brings a lot to the table as far as guitar, accessory and overall distribution knowledge, and I’m sure this will be a suc- cessful endeavor to help our U.K. customer base.” Graph Tech U.K. is now officially operating. U.K. customers can continue ordering and receiving support exactly as before. New re- tailers and builders can reach out for product information, stocking opportunities and technical assistance. {graphtech.com}
CAUTIOUS CLAY, SINGER-SONGWRITER
The popular artist who blends R&B, hip-hop and indie pop talks his first instrument, his favorite instrument and his latest gear obession. Music Inc.: What was your first instrument? Cautious Clay: My first instrument was a Gemeinhardt flute that I started playing around age seven. MI: What is your all-time favorite instrument? CC: I’d say my flute is probably the instrument that I know the most, and I’m the most unique on it when it comes to performance. A lot of the techniques with my mouth and tongue are not widely used by a lot of flute players in jazz or classical for that matter so I would say that’s what I have the most confidence and depth. MI : What instruments are currently in your arsenal? Are there any that are your go-to choices for recording or performing live? CC: Bass clarinet, flute, tenor sax, soprano sax, guitar and bass. For recording, I play a lot of bass. Bass ideas are always very organic and off-the-cuff for me. For performance, flute and saxophone are my go-to. MI : Amazing. Are there any new or emerging pieces of gear you’ve recently tried that have caught your attention? CC: Yes, I really love the “helix pedal” on my flute and saxophone. — By Kimberly Kapela
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GUITAR CZAR REOPENS AS REPAIR-ONLY SHOP After more than 32 years serving Utah’s music community, Guitar Czar has re- opened in a scaled-down form as an instrument repair shop in South Salt Lake.
A fter closing its doors earlier this year, Guitar Czar originally based in Murray, Utah, has reopened with a scaled-down op- eration focused solely on instrument repair. For more than 32 years, Guitar Czar served as a retailer for its local music scene, provid-
munity and being a part of so many people’s music journey and artistic discovery,” the store wrote. “Thank you to everyone who has supported us over the years.” While the retail portion of the business remains closed, the newly reopened repair shop held its grand opening on Nov. 22, 2025 and has already drawn at- tention for its specialized services. According to the store’s website, Guitar Czar is now “the only Plek service center in the Intermountain West.” The Plek Pro system is a com- puter-guided tool used by technicians to repair and set up guitars. In another Instagram post, Guitar Czar highlighted its streamlined repair process in the new space. “In our new shop we are continuing the practice of doing setups weekly,” the store shared. “This means that setups don’t have to sit in queue with major repairs and typi- cally get finished within a week as long as there are no major underlying issues with the instrument.” MI — By Kimberly Kapela
D ’Addario and TerraCycle, an interna- tional recycling leader, have celebrated the 10-year anniversary of the D’Addario Playback Free String Recycling Program, a large-scale initiative to recycle instrument strings of any brand. Over the past decade, the partnership has kept more than 16 million strings out of landfills and incin- erators, helping musicians, retailers and schools nationwide make sustainability part of their sound. “At D’Addario, sustainability is wo- ven into everything we do,” said John D’Addario III, CEO of D’Addario & Com- pany. “Partnering with TerraCycle has allowed us to engage our entire community — from local music shops to global tour- ing artists. This milestone celebrates both progress and possibility as we work toward a more sustainable future for music.” Since its launch in 2015, the D’Addario Playback Free String Recycling Program has provided a simple, free way for musi- cians to recycle instrument strings, which aren’t typically accepted through municipal recycling services. Through the partnership, participants can sign up online, download a free ship- ping label, and mail in used strings and clippings from any brand or instrument type — from guitar and bass to orches- tral strings. Once received, the collected strings are smelted and formed into metal ingots, which are then used by manufacturers to create new products for the future. {daddario.com} D’Addario, TerraCycle Celebrate a Decade-Long Recycling Program
ing instruments, gear and expert repairs to generations of musicians. When the store announced its closure earlier this year, long- time customers mourned over the loss of its repair shop, which many relied on to keep their instruments stage- and studio-ready. In an Instagram post announcing the closure, Guitar Czar cited tariffs, a slowing economy and the continued rise of online shop- ping as contributing factors to the decision. “We have loved serving the music com-
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> Page 30 View from the Repair Bench > Page 32 Women of NAMM
IN THE TRENCHES I BY CYPH SHAH THE CULTURE CLASH IN CREATION
I n a previous column I made mention of the new AI tools sprouting up in the music in- dustry. If you’re not hip to that, I’d suggest brushing up because we’re officially in the eye of the storm. In a not-so-surprising turn of events, the public is pushing back against artists who are utiliz- ing AI-generated resources to side step the traditional methods of content creation. But therein lies a bit of hypocrisy that consumers may need to put into perspec- tive. Understandably, it can be a confusing point of contention on an ethereal level because art has long been a pillar of human- ity. It has served historians as a cookie crumb trail to understand- ing ourselves, leaving clues that facilitate our ability to recognize the emergence of abstract con- scious thought, emotional ties, milestones of intellect reflected in symbolism and so much more. When uncovering lost civiliza- tions, we always look at what methods of art were formed that encapsulates not only their cul- ture at the time, but their core way of life. Now all of that is on the chop- ping block. How will future civi- lizations look back on the work we produce today? The salient word here is artificial. Are we sacrificing a part of humanity, or should we embrace that which spawns from our own creation by extension? Should we toe the line? And is “the line” even as
A breakdown of AI’s disruption of music, authenticity and the future of creativity from one industry retailer’s perspective.
defined as we perceive it to be?
AI-generated. The lyrics were written by the original artist, but the fact that the vocals didn’t stem from a human caused an outcry of falsehood. Pitchforks and torches were raised high in defiance. Subsequently the track was pulled from Spotify, then recorded with a human vocalist, and redistributed.
In the EDM production world, an industry that commonly uses plugin presets, prerecorded top loops and FX samples, that was the first notable example of public shaming cast upon a creator for partially using AI in an otherwise original work. Was this the first and last public ousting of its kind as we continue to bring AI into
THE INSTANCE At the tail end of 2025, an EDM track (“I Run” by Haven) hit the charts and quickly gained mil- lions of streams. It didn’t take long for it to become denounced by the masses after it was un- covered that the vocals were
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the fold? Or is it a precedent and warning to artists to tread lightly? THE PURISTS There are the purists who advocate that anything created using AI lacks realism and soul. But let’s not forget technology has long been playing a part in expediting our workflow. Automation of cumbersome and costly tasks can open the door to more output and the reallocation of energy to focus on creativity — a net positive. And then fac- tor in that dealing with people is messy — it involves navigating egos, training, mitigating environmental errors, the works. AI doesn’t require petty politics, renting studio time, sourcing specialized labor or extra equipment like recording microphones. Don’t get me wrong, I’m not advocating for disruption to the MI supply chain. Our retail shop, Astro AVL, depends on customers like these to come to us to purchase or rent the very same equipment artists have depended on for decades to get the job done. Let’s frame this another way. Vocals gen- erated by AI and then used by producers (who don’t possess the same vocal ability) is very much akin to the software engineers who utilize LLMs to expedite their coding process, effectively reducing the size of their team. Producers won’t be forced to outsource these tasks due to lack of options. Vocalists will still have a place in music, but it will be a choice to use them, not a necessity. I’m not diminishing the talents of vocal performers. In fact, it’s their art that has facilitated the training of these models. Unfair? Yes. The new modality? Also yes. THE OTHER SIDE Not everyone is turning up their nose at this approach. The current heavyweight of electronic music, John Summit, has another perspective. He’s said in the past he thinks the emergence of AI in music will force new heights of creativity and individualis- tic sound. The motivation to rise above is the responsibility of the artist. Rewarding authenticity will become a priority in these murky waters. So, maybe the music com- munity has to just accept this integration instead of fighting the tide. THE FORECAST So, the question becomes: can we fight the use of AI in MI? Probably not. Here is the long forecast. The human brain can produce 4,000 words a minute. In terms of output, we’re truly throttled by the physical limitations in
the interplay of our fingers, the mouse and keyboard. Music production software will be natively integrated with AI interfaces that allow you to dictate tasks verbally to perform actions. This can include generating vocals, setting up processing chains, crafting synths and other sounds. Go a little further down the road and verbal commands will be made obsolete by thought-based commands from integrations of tech like Neuralink. Ultimately, the tools available will reduce the barriers to entry for creators to zero if you know how to use them. So, the defin- ing characteristics of human music will
evolve to other markers of individualism. Bottom line: if you fight the tide you’ll likely drown in it. The public will have to assimilate to this new landscape and most of us more traditional music makers will have to follow suit or learn this the hard way. We’re existing in a transformative era, and we must walk the bridge to land unknown or opt to walk the plank. MI Cyph Shah is the manager of Astro Audio Video and Lighting in Glendale, California. He is also the lead instructor of the DJ School (Astro Mix Lab) and designs/commissions AVL systems for nightlife, art exhibits, corporate showrooms, sports facilities and live performance venues as Astro’s installation foreman. He has performed across the country for more than 20 years as a club DJ.
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VIEW FROM THE REPAIR BENCH I BY STEVE FRANCE Bring Your Techs to NAMM
A ttending The NAMM Show can feel like an information- gathering quest worthy of only Gandalf. For an MI store owner, the pressure is real: buying decisions have risk, every dollar matters and you’re hoping the local market responds the way you expect. My advantage on this particular quest to gather information was that I’m also a repair technician. We want our customers to see value in the products we select at The NAMM Show. We need sufficient margin, and we want to avoid profit-draining service issues after the sale. As musicians,
the related value proposition, the shared understanding will often pay dividends. For instance, when your customer is later standing at the shop counter with a problem, the technician is far more likely to support the product than bad- mouth it. Servicing product is inevi- table, so prepare your staff to offer this support. Have your technicians meet directly with manufacturing product specialists at the show. Encourage them to discuss construction and com- mon failure points and collaborate on foreseeable servicing needs. Then, during negotiations, incor- porate service-related supplies, like screws, guards and braces, into the buying agreement. If a manufacturer expects you to sell and support their products, they should help make the supplies for that support available. A successful trade show strat- egy should include your service technicians. Be a good coach and provide a clear game plan by com- municating every team member’s responsibility to the buying deci- sion, helping everyone understand the value proposition, and negoti- ating the needed service supplies into your buying agreement. Taking technicians to The NAMM Show can be one of the most effective staff devel- opment investments you make. With a clear plan and defined roles, their presence can con- tribute directly to better deci- sions, stronger customer support and a healthier bottom line. MI Steve France is a veteran instrument repair technician and educator based in St. George, Utah. He oper- ates Premium Music Products, where he develops Tech-Oil Lubricants and provides advanced training through Repair Masterclass for band and orchestra repair professionals.
we have an eye for value. As business owners, we can analyze the numbers. As a technician, I’m able to predict how, and how soon, products will fail. This perspective matters. Not every store owner has experience with how instruments break. But their technicians do. That’s why, if you didn’t bring your repair techs to The 2026 NAMM Show, you should seriously consider their attendance next year. GET STRATEGIC BUILD-QUALITY ADVICE That said, simply turning technicians loose on the show floor is rarely effective. Instead, owners should set everyone on their team up for success by clearly defining their roles and helping them understand their strategic value.
Teams perform best when everyone understands their position. It’s the owner’s responsibility to communicate those roles well. Front-line sales staff bring awareness of what local mu- sicians are asking for and can help identify products to stock. Marketing staff focuses on how products will be presented and merchan- dised. Owners evaluate pricing, margin and financial risk. And technicians assess build quality, serviceability and foreseeable repair issues. Everyone should also understand that
Ensure a better NAMM show ROI by bringing your repair technicians.
ultimately, the owner makes the final buying decision. Technicians need clarity on why the final decision on prod- uct is not theirs alone. Everything breaks, especially when it ends up in the hands of a junior high school student. Even the best-built products will require their technical skills, and higher- margin products often justify a slight increase in service work. A technician’s input is crucial, but it’s one piece of a broader business decision. When technicians are involved in buying decisions, they often develop ownership in the products selected. If they helped identify dif- ferences in construction quality, and the owner helps them understand
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WOMEN OF NAMM I BY BONNIE GALLANTER Celebrating Women in Music
A s we observe International Women’s Month this March, it’s a powerful moment to reflect on the incredible journey of women in music, a community rich with resilience, innovation and unwavering passion. At the heart of this celebration is acknowledging our shared history and past victories, while also envisioning a future where women continue to shape and define the musical landscape. From trailblazing pioneers to today’s rising stars, women have consistently broken barriers and redefined what’s possible. Much of this progress is built on the behind-the-scenes work of organiza-
LOOKING TOWARD THE FUTURE While it’s important to honor how far we’ve come, we must also look ahead. The future for women in music is bright, yet there’s still work to do. We must continue breaking down barriers by addressing gen- der bias, unequal pay and lack of representation in executive roles. Supporting mentorship programs, diversity-focused organizations, such as Women of NAMM and the Wom- en’s International Music Network, and inclusive industry policies is essential to building momentum. From behind the scenes, my fo- cus remains on creating platforms that elevate women, foster commu- nity and inspire action. Producing events like The She Rocks Awards involves more than logistics; it’s about cultivating relationships, amplifying stories and ensuring that voices which might otherwise go unheard have a place to shine. A YEAR-ROUND COMMITMENT Our celebration doesn’t end with March. Progress happens through ongoing, consistent action by building partnerships, curating programming, mentoring emerg- ing talent and advocating for eq- uitable practices throughout the year. Each effort strengthens our community and contributes to a more inclusive, vibrant industry. International Women’s Month is a meaningful reminder of where we’ve come from and where we’re headed. As someone who devotes countless hours behind the scenes, I’m proud to be part of this remarkable community. MI Bonnie Gallanter is the executive director of The Women’s International Music Network (WiMN), co-producer of the She Rocks Awards, producer and managing director of Valkyr Productions, and a member of Women of NAMM.
tions, events, and individuals committed to elevating women in music. As the executive director of The Women’s International Music Network and co-producer of The She Rocks Awards, I’ve had the good fortune to see firsthand how dedication, collaboration and vision drive meaningful change. HONORING OUR HISTORY Our community’s history is filled with stories of cour- age, creativity and perseverance. From female artists who challenged societal norms to industry leaders who pioneered new paths, their contributions laid a foundation of strength. Celebrating these milestones reminds us that the path wasn’t always easy, but perseverance and community made progress possible. Recognizing these stories during International
Women’s Month lets us honor those who came before us, inspiring future generations. The She Rocks Awards, founded by Laura Whitmore, was created as a platform to spotlight women making waves in music, providing visibility that was his- torically lacking. Its evolution reflects a broader movement toward inclusivity and celebrates the diverse talents that enrich our industry. CELEBRATING OUR WINS Every achievement in our community, big or small, deserves recognition. From breakthrough
“Supporting mentorship programs, diversity-focused organizations, such as Women of NAMM and the Women’s International Music Network, and inclusive industry policies is essential to building momentum.”
performances and recordings to leadership roles and entrepreneurial endeavors, women are demonstrating their impact across all facets of music. It’s our mission to shine a light on those individuals. Behind the scenes, this work involves mentoring, cultivating relationships, advocating for equality and creating spaces where women can thrive. Producing The She Rocks Awards requires careful planning, collaboration and an unwavering commitment to celebrating excellence. But it has grown into far more than an awards show — it fosters connection, amplifies voices and encourages women to feel seen, heard and empowered.
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FROM THE TOP DARIUS SEABAUGH I ACT ENTERTAINMENT INTERVIEWED BY KATIE KAILUS
HOW DO YOU START YOUR DAY? I typically start my day early, between 7 and 8 a.m. I’m not much for breakfast, so I usually grab a quick bite, a glass of juice and then take a quick glance at any emails that have come in overnight. I’ll offer a quick acknowl- edgement of them and answer any I can on the spot. Then, I get into my daily meeting schedule, which can range anywhere from individual meetings with my market- ing team members to overall company reviews and future strategic planning meetings with the wider leadership team. COOL, LET’S START OFF WITH SOMETHING FUN: WHAT’S THE LAST SONG OR BAND YOU STREAMED? I have a wide range of musical tastes from ’80s hair band rock to country music of all generations to classic rock, old school funk, island vibes, classic Christmas and maybe even some show tunes from time to time. I can ap- preciate all different talents as long as it’s arranged and performed well. The last band I streamed was Van Halen’s “Live Without a Net” show in New Haven, Connecticut, from 1986. THAT’S QUITE THE RANGE. AS ACT’S CURRENT SVP OF MARKETING, HOW WOULD YOU DESCRIBE YOUR MANAGEMENT STYLE? I’d say it’s best described as collaborative and empow- ering, with a strong emphasis on trust, clear direction and accountability. Having spent nearly four decades with the same com- pany, I’ve learned that the best results come when you hire talented people who are passionate about the industry and give them the strategic framework and resources that they need, and then get out of their way so they can excel. I set ambitious but realistic goals, make sure everyone understands the “why” behind what we’re doing — espe- cially how it supports our dealer partners and end-users. I’m very hands-on when it comes to mentoring and re- moving roadblocks, but I avoid micromanaging. I believe in regular check-ins, open feedback (both ways) and cel- ebrating wins as a team. At the end of the day, marketing in our industry is about creativity and relationships, so I work hard to foster an environment where people feel safe taking smart risks, sharing ideas and growing profession- ally. The longevity of our team speaks to that approach. Many of us have been together for 20, 30 and even 35- plus years. That continuity is one of our biggest strengths. CAN YOU SHARE WITH READERS A LITTLE BIT ON
YOUR BACKGROUND AND HOW YOU FOUND YOURSELF AT ACT ENTERTAINMENT? My path to ACT Entertainment really started back in 1986. Fresh out of Southeast Missouri State University, with degrees in engineering physics and calculus, I was on the path for a career in engineering. While music has always been an integral part of my life, post-college was when it became more of a focus for me. While taking some time to find myself and my path, I formed a band with some friends, and we started playing gigs on the weekends. I also took a job at a local retail music store in sales, giving a few guitar lessons and purchasing the accessories for the store. One of those accessory lines was Rapco Cables. I developed a good relationship with my Rapco rep, and he suggested I’d be a good fit in the sales team at Rapco. So, I joined that team, and the rest is history. Those early days were all about hands-on work with brands that were already legends in the MI world — build- ing connections with retailers, musicians and touring pros who relied on our gear every night. I performed many tasks over the years but always in sales and marketing. We’ve gone through numerous acquisitions, buying other brands and companies, as well as selling the company through various equity investment groups over the years. As the company grew and evolved, expanding our port- folio and eventually forming ACT Entertainment in 2021 by bringing together Rapco’s audio heritage with ACT’s cutting-edge lighting and production technologies, I’ve been fortunate to grow right alongside it. Today, as senior vice president of marketing, I lead global efforts across all our brands, but my roots are still firmly in that pro-audio and MI foundation. It’s been an amazing 39-year ride. What keeps me here is the same thing that drew me in initially: the pas- sion of this industry and the real impact our products have on creators and performers. SOUNDS LIKE YOU’VE HAD A GREAT CAREER TRAJECTORY. IN THE LAST FOUR YEARS, ACT HAS ACQUIRED BIG NAMES LIKE RAPCOHORIZON AND ULTIMATE SUPPORT. WHAT DOES ACT LOOK FOR WHEN ACQUIRING A NEW BRAND? That’s a great question. Joining ACT and RapcoHorizon together is where it all began as it was the first transforma - tion of the original ACT Lighting entering the sound and interconnects markets. Ultimate Support joined the family in 2022. Since then, we’ve welcomed others, like tvONE [with Green Hippo] in late 2023 and Ambersphere Solu-
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