FROM THE TOP DARIUS SEABAUGH I ACT ENTERTAINMENT
tions more recently. When we evaluate a potential brand for acquisition or partnership, we’re very selective and strategic. At the top of the list is heritage and reputation. We look for iconic, trusted names with a proven track record of quality, reli- ability and disruptive technologies that musicians, retailers and production pros already know, depend on and have come to expect from ACT Entertainment. This includes Pro- Co’s road-proven cables or Ultimate’s innovative stands. We also prioritize innovation and category leadership. We ask: does the brand bring cutting-edge technology or
for consistency in messaging, design and storytelling. We also foster close collaboration across category teams, with tools like a unified digital asset library and cross-training. So, whether we’re speaking to a music re- tailer, a film production house or a touring FOH engineer, the voice feels cohesive: professional, approachable and deeply rooted in the industry. SWITCHING GEARS A BIT, YOU MENTIONED YOU FORMED A BAND POST-COLLEGE. WHAT INSTRUMENT DO YOU PLAY AND HOW DOES THAT INFLUENCE YOUR LEADERSHIP?
unique solutions that push the industry forward? Ultimate Support Systems, for example, stood out for its engineer- ing excellence and passion for prob- lem-solving in support systems. Cultural fit is very important as well. We want teams that share our commit- ment to customer service and dealer support. Finally, it has to be comple- mentary to our portfolio, allowing us to offer more complete solutions to our MI retailers and live performance cus- tomers while expanding into adjacent categories like lighting, audio, video and infrastructure.
“MARKETING IN OUR INDUSTRY IS ABOUT CREATIVITY AND RELA- TIONSHIPS, SO I WORK HARD TO FOSTER AN ENVIRONMENT WHERE PEOPLE FEEL SAFE TAKING SMART RISKS.”
I’ve been playing guitar and other stringed instruments since I was about 12 years old. I’ve spent countless hours in garages, small clubs and bands over the years, and even had a short stint in the L.A. music scene back in the ’80s. Even today, I still pull out the guitars at home or jam with my old band friends whenever we can. That hands-on experience as a play- er has absolutely shaped my leader- ship style and how I approach mar- keting at ACT. When you know what it’s like to be plugged in night after night, deal with a noisy ground loop or rely on a solid stand to keep your
Ultimately, every acquisition is about enhancing the tools we pro- vide to help creators realize their vi- sion, whether that’s a guitarist relying on a ProCo cable or a touring pro using an Ultimate Support stand. ACT ENTERTAINMENT’S PRODUCTS TOUCH A LOT OF VERTICALS. HOW DOES THE TEAM MAINTAIN A UNIFIED IMAGE AND VOICE ACROSS THE MANY VERTICALS AND BRANDS? That’s one of the most important and rewarding chal- lenges we tackle every day. To keep a unified brand image and voice, we start with a strong, overarching narrative: ACT Entertainment empowers unforgettable live experiences through innovative, reliable technology backed by exceptional service and education. This ties everything together — whether it’s a guitarist plugging in a ProCo cable at a local gig or a lighting designer programming an MA Lighting grandMA3 console for a massive arena tour. Practically, my global marketing team enforces this through centralized brand guidelines, a shared visual iden- tity and tone of voice that emphasizes passion, expertise and reliability. We honor each individual brand’s heritage and unique personality — ProCo’s rugged American-made toughness, Ayrton’s creative innovation and PK Sound’s son- ic precision, while wrapping them under the ACT umbrella
rig stable, you develop a real appreciation for gear that just works with no excuses. It keeps me grounded and em- pathetic toward the end-users — gigging musicians, week- end warriors and pros — who depend on our products. I always ask: “Would this excite me if I were the one buying or using it?” That influences everything from how we position brands to the stories we tell, making sure we speak authentically to players and retailers, not just as a company, but as people who genuinely understand and love what music feels like from the stage. FINALLY, IF YOU WEREN’T WORKING IN THE MUSICAL INSTRUMENT INDUSTRY, WHAT DO YOU THINK YOU’D BE DOING FOR WORK? That’s a fun one to think about. Honestly, if I weren’t in the MI and pro-audio industry, I’d probably be doing something that still involves creativity, storytelling and building relationships. I might have been in advertising or brand marketing for a completely different passion area like outdoor gear, sports or automotive. I’ve always loved the energy of live performance and the way great gear enables artists to create magic on stage, so I could see my- self in a field with that same sense of excitement and com - munity, perhaps motorsports or the craft beer world. MI
36 I MUSIC INC. I FEBRUARY/MARCH 2026
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