Josh Vittek has spent his career helping MI brands cut through the noise. As the founder of Vittek PR, he works closely with musical instrument and pro audio companies to shape stories that resonate with dealers, artists, and players alike. In this Q&A, Vittek shares stories from his past, his perspective on today’s MI media landscape, effective brand communication, and where smart PR can make the biggest impact right now.
For those unfamiliar with your background, can you walk me through the various MI and MI-adjacent roles you had prior to founding VittekPR?
Right out of high school, I went to work at Carvin Corporation where I started out taking apart their famous X-100B guitar amplifiers and the huge FX and MX mixing consoles. The X-100B’s were a big part of the 80’s, especially in LA. Eventually I moved upstairs where I started assembling chassis’. Lots of pots, jacks, PCB’s, tubes, ribbon cables, and transformers. Then I moved back downstairs to start installing the chassis’ into cabinets. Ultimately, I end up at the end of the assembly line with my own final testing room. My job was to final test all the guitar, bass, and PA products before final packaging. They would literally roll 50 of these X-100B guitar amplifiers into my room at a time and it was my job to play through every single one of them. Tweak every knob. Slide every slider. Frequency sweep every speaker. I took it very seriously. There was no way I ever wanted a product returned because I might have missed anything. Even back then, I had a lot of pride in my work. Listening for snaps, crackles, and pops along the way. Rinse and repeat every day. I played through and listened to thousands and thousands of product. It was awesome.
Parallel to all of this, I had always had an interest in business. I was mowing yards by age 6. I charged a quarter for the front. A quarter for the back. As a teenager, I had subscriptions to magazines like Money, Worth, and Fortune. And papers like the Wall Street Journal and Investors Business Daily. So, when I turned 21, I went and got my Series 7 and Series 63 licenses. I became a “financial advisor”. That sounds more glamourous than it really was. I started off at a small firm. I was unaware of their notoriety at the time. Think Boiler Room. Wall Street. Wolf of Wall Street. It was amazing, in the most bizarre and wonderful way. It was a very fast way to learn how to become resilient and persistent. It also taught me that if I was going to be working 12 hours or more a day, that was not what I wanted to do with my life. I went back to Carvin and beg for a job in a different department.
Now, back at Carvin, my goal was to work at the factory during the day and gig at night for the rest of my life. This time, I was in the speaker department, installing crossovers and speakers into cabinets. I learned a lot about frequency response and how speakers performed. But after about six months, I was getting bored and started sticking my nose in the sales room. That was a no-no. If you’ve ever worked in a factory environment, it is common policy for the people in the back not to talk to the people in the front. But I eventually convinced them to let me cross the line. I thought I had made it! But the curiosity kept me wanting more. After having success in the sales department, I transitioned into the international distribution department, then became their inventory manager, then the buyer, and finally oversee marketing and artist relations. It was amazing. I had relationships with every magazine around the world, contacts for all of the raw material supplies needed to make musical instruments and audio products, international distributors, and had worked with and collaborated on product designs with the likes of Steve Vai, Alan Holdsworth, Tony MacAlpine, Frank Gambale, Bunny Brunel, Brian Auger, Derek Sherinian, Timothy B. Schmit and Joe Walsh of the Eagles, Mark Wills, Lit, Staind, and POD. Carvin was a family business. I was not a part of the family and changes were starting to become clear. By the time I was 28, I had climbed as high I could inside the Carvin business. Our daughter was now 10. Old enough to where we felt stable enough for me to leave and pursue a career playing guitar. I had to do it. We both knew if I didn’t do it then, it would never happen, and I would regret it later. So, I went and chased that dream. I played relentlessly all over Southern California for a couple of years. Then the phone rang…
In 2005, Gary Kahler of Kahler Tremolos and Brass Factory had acquired the rights back to his business, Kahler USA. He needed help putting it all back together. Initially, I started out just helping with artist relations so I could keep gigging. But I ended up coming in full-time as his General Manager. I rekindled the brands relationships with Kerry King and Jeff Hanneman of Slayer, Victor Wooten, Les Claypool, Glenn Drover of Megadeth, Les Dudek, and Jerry Cantrell and Mike Inez of Alice In Chains. We began selling bridges to Gibson, Fender, Peavey, BC Rich, Dean, PRS, ESP, Warwick, Framus, and Cort Guitars. I was crossing political lines. Then the smaller builders started coming on board. Fodera. Buddy Blaze. Rick Turner. Neal Moser. We were making waves.
One of my early memories of you, of course, was your inclusion in MMR’’s “40 Most Influential Under 40” feature in 2006. You and your company have rocked up quite a few other honors, as well — walk us through a few of the most significant and talk a little bit about how such accolades directly impact professional opportunities?
I was over the moon about that. To be recognized was fantastic and something I am still proud of to this day. Especially given that we were such a small company within the industry. In 2008, I was selected as a member of the Presidential Advisory Board for NAMM.
To help grow the Kahler business, I started helping the smaller builders with their own marketing. The more visibility they got, the more visibility Kahler got. It became a side hustle. That side hustle was becoming more profitable. The thought was crossing my mind to go out on my own. I bounced the idea off a couple industry legends to get their thoughts. Mal Stich had been a long-time part of BC Rich and was a key player in keeping that machine running throughout the 70’s and 80’s. Hap Kuffner gave the idea a thumbs up. Joe Lamond, CEO of NAMM said to go for it. At the time, Max Kay was really the only guy doing it independently and I knew he was phasing out of the MI industry and focusing more on other interests. But Elliot Rubinson of Armadillo Enterprises is the one who summed it up perfectly for me. We were sitting up in the Dean booth at NAMM, I presented the idea to him, he laughed, put his hand on my shoulder and said “the simple fact that you are asking me tells me you need to do it. If you don’t, you will regret it later. So, if you do, call me and I will be your first client.” In September of 2008 I started my own PR and Marketing firm and called Elliot.
On October 8, my first press release out of the gates was announcing Pantera’s Vinnie Paul leaving Pearl Drums for ddrum with a brand-new signature kit. I’ve since represented brands such as Dean Guitars, ddrum, Cort Guitars, Aristides Guitars, Peavey, Trace Elliot, Crest Audio, Korg USA, Spector, Dean Zelinsky, Darkglass, Aguilar, Wizard Amplification, Albion Amplification, B.C. Rich, Dean Markley, Fargen Amplifiers, NAMM, and Sheptone. In addition to working on their public relations, I’ve assisted in product development and managed collaborations with artists such as the Rolling Stones, Michael Bolton, Bruce Springsteen, Toby Keith, Jason Aldean, Motley Crue, Duran Duran, the Misfits, Earth, Wind and Fire, Rush, Night Ranger, Los Enanitos Verde, Poison, Andy Johns, Los Tigres de Norte, Lita Ford, Judas Priest, Misha Monsoor, Warrant, Robert Fripp, Steve Trovato, Brian Kahanek, Jeff Richman, Walter Trout, and Richard Smith.
- In 2025, NAMM interviewed me as part of the industry’s Oral History Archives.
- I have had the opportunity to work for, with, or represented some of the biggest brands in the business.
- I have collaborated with, and chased tone with, some of the greatest musicians in the history of music.
- A few years ago, we were recognized as a Power Partner by Inc. magazine and a Business to Business All Star. That really is cool as it comes from outside our industry.
- Alongside all of it, there have been acknowledgements from Musicians Institute for contributions to music education, guest speaking engagements at USC to students in the music and business departments, and something of a mentor/speaker at Covenant House to the kids and young adults in the program. These are the ones that warm my heart. It is all a bit surreal.
You, of course, do quite a lot of work directly in the MI industry — suppliers, brands, industry organizations — but you also have represented major artists and musical acts. Do you consider VittekPR to be more MI- or consumer facing, or is it more a case of “we cover music, period”?
I am a sucker for anything music. But I got to be into it. VittekPR primarily represents manufacturers and brands. The strong majority is in the MI space. That is where I come from and that is my love. But we do represent other businesses in other industries. The PR mechanics are the same, regardless of industry. And I really enjoy digging into new market segments.
As for artists, those are unique situations and not something I really would seek out in the past. But it is something I want to explore again. The landscape has changed for artists, and I want to dig deeper into how artists can move forward. The projects I did with Lita Ford, Brian Kahanek, Steve Trovato, and John 5 were really based off an established relationship I already with them. I am a fan of their artistry and am friends with each one. But this latest project with Marcus Deml took me by surprise. He was referred to me by former Guitar Player magazine Editor Michael Molenda. Coming in with a recommendation from Mike, I had to at least listen and when I did, I was blown away. Marcus is an amazing guitarist. I would even say that he is one of the best in the world today. More people need to know about him, and I want to be the one who tells the world all about it.
What are your thoughts on the differences between media outreach to trade media, such as MMR, compared to more mainstream publications and outlets, such as Rolling Stone, Huffington Post, Fallon? Is one “easier” than the other? Do you need to bring different approaches to each, or is it pretty much the same strategies?
The strategies are the same. Knowing what the objective is what determines which ones we approach. New product launches are of interest to both trade and consumer media. New hires, industry personnel, and corporate restructuring are only relevant to the trades.
The MI industry and its consumer base are just not big enough to justify mainstream media coverage – for the most part. We are a very small percentage of their demographic. BUT! Occasionally, we do have something that is unique or entertaining, it crosses over.
In the so unique category, Ciari Guitars had been around for a few years. Needing more attention, we ended up putting together a press release and distributing it for them as they headed into NAMM. This was a folding electric guitar that could fit in a carry-on. But it was a REAL electric guitar. A professional player can literally use this guitar for fly dates. When I distributed the release, I also distributed it to some of my engineering and technology media contacts, and it took off like wildfire.
As for entertaining, one of the best mainstream hits for me was a client with a product called The Guitar Hanger. A great idea that was simple – one of those “why didn’t I think of that” ideas with a very entertaining promo video. The video was so funny, it made it onto Fallon. If I remember correctly, the product even made it into a skit on the show later that year.
It’s all about finding the right fit. I take more of a sniper approach than a buck shot. I try my best not to send content to journalists where the subject is not relevant. I don’t send guitar press releases to keyboard journalists. And when something has legitimate potential for mainstream, then I reach out to the relevant journalists.
Aside from VittekPR, you also are top-dog at Heist Monkey Entertainment — can you talk about that side of your professional activities?
Heist Monkey Entertainment was a video production company started by me and a guitar student of mine, who happened to own an ad agency in Orange County, California. I had an idea for a television show, we created a sizzle reel to shop around Hollywood, and everyone kept raving about the sizzle reel. Sizzle reels are like a trailer for a movie, but instead, a trailer for a television idea. People started asking us to make trailers for other ideas. The company is dormant right now. All of us involved evolved. My PR firm took off. Their ad agency got bigger. And the other two guys behind the camera started winning EMMY’s and OSCAR’s. And this whole internet 2.0 changed all the rules.
But I have always been on the periphery of television and film. It is such an amazing medium. I love the production side of things. In fact, we have been assembling a new team at VittekPR to start a video production division.
There has been some significant developments for you of late — please share with our readers some of the “big news” and how those opportunities arose?
Thank you. I am so stoked for this. NAMM has brought in VittekPR and Stungun Productions to lead artist relations for the 2026 show. It is as collaborative effort where we will handle managing, overseeing, and executing all aspects of VIP artist, musician, and band appearances, as well as celebrity participation. Everyone involved has been preparing for this for quite some time now. As of this morning, the star power scheduled to attend the show is bigger than it’s ever been before. I can’t wait for the announcements to hit. NAMM and our exhibitors are coming in strong to make the industry’s 125th Anniversary unforgettable.
As for how it arose. VittekPR has been representing brands at tradeshows this whole time. NAMM is our Super Bowl. NAMM is the pinnacle of MI trade. At any given show, we have represented anywhere between 3 and 28 brands on the floor. In addition to managing publicity and media coverage at the shows for brands, we are often overseeing the artists for those brands. There is a lot of hospitality involved that includes travel logistics, accommodations, moving them on the floor, and safety. All those responsibilities have put me in constant contact with NAMM and ACC personnel over the years. I believe it arises from the 30 years of work we have put into the show. Artists play a pivotal role for NAMM, the exhibitor, the media, and the consumer. We want to elevate the experience for everyone.
Looking back on your many achievements, what are some milestone moments that stick out for you? Any favorite accomplishments, favorite clients, favorite events?
Being a small part of Gary Kahler’s journey will always be pivotal. All my time and experience at Carvin is what would later set the groundwork for whatever it is I have become.
Favorite events tend to be the accumulation of the perfect storm. Often at NAMM. Way back in the 1900’s with Carvin, I had Timothy B. Schmit of the Eagles signing at the booth. Unbeknownst to me, Tony DeLaRosa had Paul Stanley of KISS signing across the aisle for Samick. Apparently, Paul and Timothy are close friends, Paul came over to the booth. Then Chris Squire of YES shows up. Paul is in full KISS attire and ends up standing up on the cocktail table posing for pictures. The crowd was insane. The aisles were completely blocked. Security had to come and shut it all down.
In 2006, I had Victor Wooten come perform in the little 10×10 Kahler booth. The crowds infiltrated the neighboring booths, moving displays and disrupting business for all. The company who had Ovation and Hamer at the time had a huge island booth across the aisle with a second floor full of meeting cubicles. The crowd even went up there to get a view of Victor. Security had to come and shut that one down, too.
I had Dean Markley as a client for a while. Nikki Sixx had been out of the spotlight for a bit but had new projects coming out. We had a 5PM signing at the booth and the line started as soon as doors opened at 10AM. It wrapped and weaved all around the aisles of Hall B. A fist fight broke out and when Nikki walked out, everyone converged. It was a beautiful thing. Security showed up. But I was smart enough to give them the heads up this time and we managed through.
My favorite accomplishments are when I get to see the results of our work for our clients, artists, and consumers. When we land a lead story or cover will never get old. Helping artists achieve the tones they hear in their heads and bring it to life is so inspiring to watch as it all unfolds live, onstage. And ultimately, seeing all of it inspire someone to pick up a musical instrument, that is the greatest accomplishment of them all.
But revisiting all those memories recalls what ended up being a documentary called HAITI 10. Back in 2010, a huge earthquake ravaged Haiti. Injuring millions, killing hundreds of thousands, and destroying a lot of the infrastructure within the country. Many were left homeless. Many children were orphaned. There was a family outside of Port au Prince, with 10 children of their own, taking direct care of an added 17 orphaned children with food, clothing, shelter, education, and more throughout their neighborhood. NAMM photographer, Jon Moyer, was there documenting the aftermath on a private trip through his church. I was working on some PR for his photography work in California. When he returned, he showed me images and mentioned that one kid was a fan of Victor Wooten. His bass was destroyed in the earthquake. The fact that a kid in Haiti knew who Victor was blew my mind. I knew Victor. I reached out to him to get some autographed CD’s and a copy of his book, The Music Lesson. I reached out to Cort Guitars who gave him a new bass. I just wanted to send them down to the kid. I wanted to give him some inspiration. Some hope. Hartke donated a bass amp. Dean Markley donated more strings than anyone had ever seen on the island and handed over all the shirts, hoodies, and swag they had in stock. After talking with Victor, the idea of Victor flying down to meet the kid was put on the table. Which led to, if Victor is flying down to meet the kid, we should send Jon to take photos. If Jon is going to take photos, we should take videos. We recruited NAMM’s Pete Johnston to shoot the video. If Victor is flying into Haiti, then I should go to at least try and make everything safe and easy for him. We ended up taking a team of nine into Haiti. The U.S. Secretary of State made us sign waivers making sure we understood that the US government was in no way responsible for our safety or return. They made it clear – do not call us. While my conversations with NATO were a little more productive, they really didn’t want us there either. The UN was just a bit more welcoming. But for some reason, we all wanted to do it, nonetheless. Seeing the kid’s face when Victor shows up and surprises him is unforgettable. Word spread fast that Victor was in town leading to Victor performing during a church service. It was standing room only. Outside, they had PA speakers and car boom boxes on the roof blaring out over the neighborhood as he performed his wonderful arrangement of Amazing Grace. To be a small part of the joy and inspiration that Victor brought to that entire community is probably my greatest milestone, my biggest accomplishment, my favorite event, and a good representation of my favorite clients over the years. Everyone involved has inspired me for a lifetime.
Looking to the future, what’s on the horizon for you and your work in the MI industry?
Music is my everything. It is my life. Music makes the world go ‘round. It is in the beat of your heart, the rhythm of your breathe, the cadence of your walk. Your speech. It is in the love you share. Music takes you to places that are not possible by any other means. Music helps express thoughts and emotions that words simply cannot. I want to inspire more people to play musical instruments. The more people that play a musical instrument, the better our society and world will be. And as a byproduct, the better our industry will be. I would estimate that I only know about 20% of the businesses and people within our industry – if that. If I can continue to grow my network of people and businesses, I can contribute more to inspiring people to make a little music.
